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Category: Entertainment

  • BAFTA Jury Member Steps Down Over ‘Utterly Unforgivable’ Handling of N-Word Incident

    BAFTA Jury Member Steps Down Over ‘Utterly Unforgivable’ Handling of N-Word Incident

    A member of one of the British Academy’s juries has stepped down from his position following Sunday night’s N-word controversy at the Film Awards.

    Jonte Richardson, a Black writer and producer, has resigned from BAFTA’s emerging talent judging panel, citing the organisation’s “utterly unforgivable” handling of the incident in which Tourette’s syndrome activist John Davidson involuntarily shouted the N-word while Michael B. Jordan and Delroy Lindo were presenting on stage.

    “I cannot and will not contribute my time energy and expertise to an organisation that has repeatedly failed to safeguard the dignity of its Black guests, members and the Black creative community,” Richardson wrote on social media.

    The incident prompted a firestorm of anger which snowballed further when the BBC failed to cut the outburst from their time-delayed broadcast. Late on Monday, BAFTA put out a statement in which it said that it took “full responsibility” for putting its “guests in a very difficult situation and we apologise to all.” It also said it wanted to “apologise unreservedly” to Jordan and Lindo. “We would like to thank Michael and Delroy for their incredible dignity and professionalism,” it said.

    See Richardson’s full statement below.

    After considerable soul-searching, I feel compelled to withdraw from the BAFTA emerging talent judging panel. The organisation’s handling of the unfortunate Tourette’s N-Word incident last night at the awards was utterly unforgivable. I cannot and will not contribute my time energy and expertise to an organisation that has repeatedly failed to safeguard the dignity of its Black guests, members and the Black creative community. This is particularly unfortunate given that this year’s cohort boasts some incredible Black talent, especially one of my favourite shows of 2025 “Just Act Normal”. However, when an organisation like BAFTA, with its own long history of systemic racism, refuses to acknowledge the harm inflicted on both the Black and disabled communities and offer an appropriate apology, remaining involved would be tantamount to condoning its behaviour. I hope BAFTA leadership comprehend the damage they and the BBC have caused and take the necessary steps to ensure their production staff are inclusive enough to prevent such an issue in the future.

  • France’s Vivendi Acquires Italy’s Lucky Red in Latest European Consolidation Move

    France’s Vivendi Acquires Italy’s Lucky Red in Latest European Consolidation Move

    France’s Vivendi, the parent company of Canal+ Group, has acquired a 51% majority stake in prominent Italian distribution and production company Lucky Red, in the latest consolidation move in Europe.

    Lucky Red, which is a leading Italian indie film distributor, and is also active in film and TV production, was among the few Italian outfits that had not yet been snapped up by a bigger international group

    The Rome-based company’s recent releases include “Sentimental Value,” “Nouvelle Vague,” “Greenland 2: Migration” and Robbie Williams biopic “Better Man.” Their standout productions comprise Gabriele Mainetti’s “Freaks Out” and Netflix’s first Italian film “On My Skin.”

    The deal, which reportedly values the 51% Lucky Red stake at roughly $30 million, is not expected to lead to management changes or impact creative decisions within the company founded in 1987 by Andrea Occhipinti and Kermit Smith. It is described in a statement as a “strategic partnership” geared towards European synergies. Occhipinti is the holder of the remaining 49% stake.

    Lucky Red over the past 39 years has distributed some 400 titles by the world’s top auteurs including Ang Lee, Jean Pierre e Luc Dardenne, Nanni Moretti, Aki Kaurismaki, Mario Martone, Hayao Miyazaki, Alexander Payne, Stephen Frears, Pablo Larrain, Paolo Sorrentino, Cristian Mungiu, Todd Haynes, Sofia Coppola, Denis Villeneuve, Wes Anderson, Darren Aronofsky, Jia Zhangke, Wong Kar Wai, Tim Burton, Asghar Farahdi, Luc Besson, Jim Jarmusch, and Jafar Panahi.

    The Lucky Red acquisition deal was reportedly inked in Rome by Occhipinti, along with business partners
    Valerio Scarinci and Stefano Massenzi, with StudioCanal CEO Anna Marsh. 

    In 2024 Lucky Red reported revenues of over €50 million ($58.8 million) and a net profit of €3.7 million ($4.35 million). Revenues in 2025 reached nearly €24 million, placing the company eighth among Italian distributors.

  • ‘Wuthering Heights’ Holds No. 1 at U.K., Ireland Box Office

    ‘Wuthering Heights’ Holds No. 1 at U.K., Ireland Box Office

    Warner Bros.’ “Wuthering Heights” remained at No. 1 at the U.K. and Ireland box office in its second weekend, taking £3.8 million ($5.3 million) and pushing its cumulative total to £16.2 million ($22.1 million), according to Comscore.

    “GOAT” held at No. 2 with $3.8 million, reaching $14.3 million in total, while “Crime 101” added $1 million in third place for a $4 million cumulative. Both titles are distributed by Sony.

    Disney’s long-running “Zootopia 2” was in fourth with $926,000, lifting its total to $48.6 million after 13 weeks on release.

    The highest new entry was Mubi’s “The Secret Agent,” which debuted at No. 5 with $566,000. Close behind, Studiocanal’s “Cold Storage” opened in sixth place on $544,000.

    Further down, Disney’s “Send Help” moved to seventh in its third weekend, adding $465,000 for a $5.3 million total. Lionsgate U.K.’s “Wasteman” bowed in eighth with $450,000, followed by Universal’s “The Moment” in ninth with $441,000.

    Entertainment Film Distributors’ “Good Luck, Have Fun, Don’t Die” rounded out the top 10 with $379,000.

    Looking ahead, Paramount’s “Scream 7” is the clear commercial driver of the upcoming frame. Directed by Kevin Williamson and headlined by Neve Campbell and Courteney Cox alongside a new ensemble, the latest installment of the long-running horror franchise is positioned to inject fresh momentum into the market.

    Event cinema remains prominent. The National Theatre continues its stage-to-screen run with “Audience – NT Live 2026,” while Trafalgar Releasing brings concert film “Twenty One Pilots: More Than We Ever Imagined” to cinemas. Universal also rolls out “EPiC: Elvis Presley in Concert,” directed by Baz Lurhmann, across 300-plus sites.

    Altitude Film Distribution opens Cannes winner “Sirat,” while Disney releases “The Testament of Ann Lee,” starring Amanda Seyfried. Tull Stories debuts “The Spin,” and Munro Film Services platforms “La Boheme.” Anime Ltd. adds “All You Need Is Kill,” and Cosmic Cat launches documentary feature “Molly vs The Machines.”

  • TelevisaUnivsion Narrows Losses in Q4

    TelevisaUnivsion Narrows Losses in Q4

    Spanish-language media giant TelevisaUnivsion said it narrowed its losses in the fourth quarter as it generated profits from its ViX streaming service and grappled with sluggish ad trends in the United States.

    The owner of the Univision TV network reported a net loss of $234.7 million, compared with a loss of $809.7 million in the year earlier period. Revenue fell 2% to $1.32 billion.

    “We meaningfully transformed our business and delivered on the expectations that we set at the outset of the year,” said Daniel Alegre, CEO of TelevisaUnivision, in a prepared statement. “ViX delivered record revenue, achieved profitability in every quarter, and expanded operating margins throughout the year, evolving into a scalable growth engine that is now a strategically central component to our business model. In 2026, we are building on this momentum to deepen audience engagement, unlock greater value for our partners, and reinforce our leadership as the Voice of Hispanics.”

    TelevisaUnivision has been working to bolster its balance sheet after Alegre took its corporate reins of TelevisaUnivision from Wade Davis, the former Viacom CFO who orchestrated a buyout of Univision in 2020 before merging it with Mexico’s Grupo Televisa in 2022, ceded his CEO role to him. Alegre was president and chief operating officer of Activision Blizzard, which was acquired for $69 billion by Microsoft. Davis remains TelevisaUnivision’s vice-chairman.  Since Alegre joined in 2024, TelevisaUnivision has been working to streamline operations that had previously been siloed by geographic region. The company owns media assets in both the United States and Mexico

    Revenue in the U.S. revenue declined 7% to $777 million, or 3% excluding political advertising. Revenue from operations in Mexico rose 7% to $546 million. Advertising revenue was flat at $856 million. In the U.S., advertising revenue declined 11% to $423 million. In Mexico, advertising revenue grew 15% to $433 million.

    The company said revenue from subscriptions and licensing fell 4% to $446 million. Revenue in the U.S. fell 2% to $341 million, while revenue from Mexico operations declined 12% to $105 million.

  • Disney+, ITV Extend U.K. Content-Sharing Partnership With Hulu’s Amanda Knox Drama and ‘The Stolen Girl’

    Disney+, ITV Extend U.K. Content-Sharing Partnership With Hulu’s Amanda Knox Drama and ‘The Stolen Girl’

    Disney and U.K. media conglomerate ITV have extended their strategic content-sharing partnership with two new titles.

    “The Twisted Tale of Amanda Knox” and “The Stolen Girl,” both Hulu Original series, are set to air on ITV1 in primetime slots as well as the broadcaster’s streaming platform ITVX. They will be broadcast under the brand “Disney+ presents a Hulu Original.”

    Psychological drama “The Stolen Girl” will air first on Feb. 25. Produced by Quay Street Productions with Brightstar it follows a family whose young daughter goes missing during a sleepover. It first debuted on Disney+ in April 2025.

    “The Twisted Tale of Amanda Knox” follows later in the year, dramatizing a case that gripped audiences on both sides of the Atlantic after a young British exchange student is found murdered in Italy and her American roommate is soon arrested for her murder.

    The two platforms first inked a licensing deal in 2023 before expanding to a cross-promotional initiative that saw each streamer publicize the other under banners titled “Taste of ITVX” and “Taste of Disney+,” enabling viewers to watch curated titles from the other’s service.

    In recent weeks Disney has also signed a multi-year deal with U.K. broadcaster Sky, which will see Disney+ bundled with other platforms including Netflix and HBO Max in a money-saving deal for Sky customers as well as launching a Disney+ Cinema linear channel on the broadcaster’s EPG.

    “This marks an exciting next step in our collaboration with ITV,” said Karl Holmes, general manager for Disney+ EMEA. “We’re thrilled that two of our most compelling original series will air on ITV’s powerful primetime platform, introducing millions more viewers to Hulu Originals on Disney+.”

    Kevin Lygo, ITV’s media and entertainment MD, said: “We are delighted to be deepening our relationship with Disney. Bringing these premium original series into our primetime linear schedule is fantastic for ITV audiences. This extension perfectly complements our existing relationship and showcases the strength of the content-sharing model we established last summer.”

  • Disney, ITV Extend U.K. Strategic Partnership With Exclusive Primetime TV Premieres for Hulu Series

    Disney, ITV Extend U.K. Strategic Partnership With Exclusive Primetime TV Premieres for Hulu Series

    The Walt Disney Co. and U.K. TV giant ITV unveiled an extension to their U.K. strategic partnership following “the successful launch of their content-sharing agreement last summer.”

    Building on their collaboration between Disney+ and ITVX, the new agreement will bring two Hulu original series from Disney+ to ITV’s flagship channel ITV1 in exclusive primetime linear slots. As such, the news expands the companies’ content relationship beyond streaming discovery to a broader free-to-air audience.

    The Stolen Girl, a psychological drama, produced by Quay Street Productions with Brightstar, will premiere on ITV1 on Wednesday, getting its free-to-air premiere in the U.K. The series focuses on the emotional fallout of every parent’s worst nightmare. A family’s young daughter goes missing after a sleepover, leading to “a tense story of deception, family secrets, and betrayal.”

    Later this year, The Twisted Tale of Amanda Knox will also air on the flagship ITV network. The drama explores the real-life case that captivated global audiences, focusing on such themes as media scrutiny, justice and public perception.

    Both titles will be broadcast under the brand “Disney+ Presents a Hulu Original”, underlining their provenance and connection to Disney+.

    The news reflects the continued evolution of the ITV–Disney relationship. Launched in July 2025, the “A Taste of Disney+” rail on streaming service ITVX and the “A Taste of ITVX” rail on streamer Disney+ have enabled viewers to discover curated titles from each partner’s services.

    “This marks an exciting next step in our collaboration with ITV,” said Karl Holmes, general manager, Disney+ EMEA. “We’re thrilled that two of our most compelling original series will air on ITV’s powerful primetime platform, introducing millions more viewers to Hulu Originals on Disney+.”

    Added Kevin Lygo, managing director of media and entertainment at ITV: “We are delighted to be deepening our relationship with Disney. Bringing these premium original series into our primetime linear schedule is fantastic for ITV audiences. This extension perfectly complements our existing relationship and showcases the strength of the content-sharing model we established last summer.”

  • Motion Picture Association Steps Up Overseas Anti-Piracy Effort by Hiring Former Disney Executive

    Motion Picture Association Steps Up Overseas Anti-Piracy Effort by Hiring Former Disney Executive

    The Motion Picture Association is stepping up its overseas anti-piracy effort by appointing former Disney digital anti-piracy executive Thomas Limouzin-Lamothe in the newly created role of VP content protection across the Europe, the Middle East and Africa (EMEA) region.

    Limouzin-Lamothe will report to Larissa Knapp, the former high-ranking FBI official and anti-piracy investigator who in 2024 joined the MPA as EVP and chief content protection officer.

    Limouzin-Lamothe will now lead the MPA’s content protection strategy across EMEA. “He will work closely with regional stakeholders, law enforcement agencies, industry partners, and member companies to address the challenges of digital piracy, including live sports piracy and illicit IPTV piracy,” according to a statement.

    The MPA leads global anti-piracy organization Alliance for Creativity and Entertainment that comprises more than 50 media companies around the world whose governing board members are Amazon, Apple TV, Netflix, Paramount Global, Sony Pictures, Universal Studios, Walt Disney Studios and Warner Bros. Discovery. A recent ACE member is the Union of European Football Associations (UEFA), which joined in October 2025.

    Recently, studios have been taking legal action against AI firms such as China’s MiniMax for using copyrighted characters including Darth Vader, Spider-Man and Batman to generate content, as well as Chinese tech giant ByteDance for its controversial AI video generation tool Seedance 2.0, marking a shift in the anti-piracy fight toward defending IP against AI-driven copyright infringement.

    “I’m honored to join the Motion Picture Association at a time when collaboration and innovation are more important than ever in protecting creative works,” Limouzin-Lamothe said in the statement. “I look forward to working with MPA members and regional partners to strengthen enforcement, disrupt illegal services and support a sustainable creative ecosystem throughout EMEA in an ever-evolving piracy landscape.”

    Limouzin-Lamothe started his career as an IP litigator, spending a decade working at top French law firms. His experience spans intellectual property law, cybercrime enforcement and large-scale anti-piracy operations in both private practice and in-house leadership roles. Prior to Disney, he held positions at 21st Century Fox and Microsoft, “where he built and led multinational teams, developed region-wide enforcement strategies and delivered measurable revenue and compliance outcomes across EMEA, with a focus on the Middle East, Africa and Central and Eastern Europe,” the statement said.

    As Disney’s chief legal counsel for anti-piracy in EMEA, Limouzin-Lamothe was involved in global investigations where he helped manage intelligence-driven enforcement initiatives protecting films, television content, streaming platforms and sports rights across multiple markets in the region.

  • Netflix, Amazon Prime, Disney+ to Come Under Enhanced U.K. Regulation by Ofcom

    Netflix, Amazon Prime, Disney+ to Come Under Enhanced U.K. Regulation by Ofcom

    The U.K. government said on Tuesday that streaming services with more than 500,000 U.K. users, including Netflix, Amazon Prime Video, Disney+, ITV’s ITVX and Channel 4’s services, will be covered by enhanced regulation by U.K. media regulator Ofcom “designed to protect audiences and improve accessibility.”

    The government unveiled “secondary legislation to implement the Media Act 2024, bringing the largest, most popular VOD services in the U.K. under enhanced regulation by Ofcom,” it said. “Platforms such as Netflix, Amazon Prime Video and Disney+, and the public service broadcaster VOD services like ITVX and Channel 4, will be required to follow similar Ofcom content rules to those currently in place for traditional broadcasters.”

    By designating the most popular streaming platforms as “tier 1” services, they will need to adhere to a new VOD standards code. “Similar to the Broadcasting Code, this will ensure that news is reported accurately and impartially and audiences are protected against harmful or offensive material,” the government said. “Audiences will be able to complain to Ofcom if they see something concerning, and Ofcom will have powers to investigate, and take action, where they consider there has been a breach of the code.”

    Under a new accessibility code covering the services, they will be subject to minimum requirements for accessibility features. For example, streamers will need to ensure that at least 80 percent of their total catalogue is subtitled, 10 percent is audio-described, and 5 percent is signed.

    The regulations are designed to “reflect the significant shift in how audiences choose to watch TV,” the Labour Party government said. After all, around two-thirds of U.k. households subscribe to at least one service from Netflix, Amazon Prime Video or Disney+, with 85 percent of people using an on-demand service each month, compared to 67 percent who watch live TV.

    “While licensed television channels must comply with Ofcom’s Broadcasting Code and accessibility requirements, such as subtitles, many of the U.K.’s most popular VOD services are not regulated to the same standard,” highlighted the government. “Some are not regulated in the U.K. at all. This poses a risk to audiences and a lack of consistency across TV and TV-like services.”

    As a result, the U.K. government called its move an attempt to “create a more level regulatory playing field and ensure that U.K. audiences – particularly children and parents – can be confident that protections from harmful material are in place, whether they tune in via traditional channels or a mainstream on-demand service.”

    Said Secretary of State for Culture, Media and Sport Lisa Nandy: “We know that the way audiences watch TV has fundamentally changed. Millions now choose to watch content on video-on-demand platforms alongside or, in the case of many young people, instead of traditional TV. The Media Act introduced vital updates to our regulatory framework, which this government is committed to implementing. By bringing the most popular video-on-demand services under enhanced regulation by Ofcom, we are strengthening protections for audiences, creating a level playing field for industry and supporting our vibrant media sector that continues to innovate and drive growth across the U.K.”

    Ofcom will shortly begin a public consultation on the new standards and accessibility codes to provide an opportunity for the public and providers to set out their views on the rules.

  • Netflix, Prime Video and Other Streamers in U.K. Will Be Subject to ‘Enhanced Regulation’ and Ofcom Investigations Following New Legislation

    Netflix, Prime Video and Other Streamers in U.K. Will Be Subject to ‘Enhanced Regulation’ and Ofcom Investigations Following New Legislation

    Streaming platforms in the U.K. are set to come under “enhanced regulation” from media regulator Ofcom, which already oversees television and radio broadcasting in the country. The rules will give Ofcom the power to accept viewer complaints and investigate streaming platforms.

    The U.K. government is set to implement another layer of legislation to the Media Act 2024 to bring video on demand services in the U.K. under Ofcom’s eye. It will apply to the biggest streaming platforms including Netflix, Amazon’s Prime Video and Disney+ as well as broadcaster platforms such as ITVX and Channel 4.

    Any video on demand platform with more than 500,000 users will automatically be designated a “Tier 1” service, bringing them under a new video on demand standards code, which will be similar to the Broadcasting Code followed by traditional broadcasters such as the BBC and ITV.

    The code will include rules on accuracy and impartiality and protecting audiences against “harmful or offensive” material. Where Ofcom considers there has been a breach of the code they will have the power to take action.

    There will be a public consultation to establish the video on demand standards code, giving the public and streamers to put forward their views on what should be included.

    The news comes as increasing numbers of viewers abandon traditional television for on demand streaming platforms. According to the latest report from U.K. ratings body Barb, live TV viewing dropped significantly between 2022 and 2025, from 60% to 45% of all viewing. It also found that a third of audiences who turned on a TV set in the U.K. went to streaming platforms or YouTube as their first choice of viewing — the same number as those who went to traditional broadcasters. (The final third was miscellaneous).

    “We know that the way audiences watch TV has fundamentally changed,” said culture secretary Lisa Nandy. “Millions now choose to watch content on video-on-demand platforms alongside or, in the case of many young people, instead of traditional TV.”

    “The Media Act introduced vital updates to our regulatory framework which this government is committed to implementing. By bringing the most popular video-on-demand services under enhanced regulation by Ofcom, we are strengthening protections for audiences, creating a level playing field for industry and supporting our vibrant media sector that continues to innovate and drive growth across the U.K.”

  • Beta Film Sells Channel 4’s Most-Watched Series ‘Patience’ in 100 Territories

    Beta Film Sells Channel 4’s Most-Watched Series ‘Patience’ in 100 Territories

    Beta Film has secured a wave of international sales for the British hit series “Patience,” bringing the Channel 4 show to 100 territories around the world.

    “Patience” travels to AMC Networks for Latin America, ABC for Australia, and across Africa to BBC Brit. In Europe, RAI acquired the rights to the series for Italy, while ProSiebenSat.1 bought the series for Germany, VRT for Belgium, TET for Latvia and Telia for Estonia. In Asia, NOW TV in Hong Kong and NHK in Japan have acquired the rights, as well as Ajara TV for Georgia. Previous deals with Scandinavia, Spain, New Zealand and others have already been announced.

    Produced by Eagle Eye Drama in association with Beta Film, “Patience” Season 2 continues to build on its success: On Channel 4, the series was the channel’s most-watched show across linear and streaming since its return. With the first episode delivering a 28-day audience of 4.2 million, and streaming viewing minutes up 38% year on year, this marks 18% rise on the launch of Season 1.

    In the U.S., “Patience” was also one of the most popular series of 2025 on PBS’s digital platforms.

    Set in the historic city of York, “Patience” Season 2 once more stars Ella Maisy Purvis as the young police archivist Patience Evans, who is joined by a new team lead, Detective Frankie Monroe, played by BAFTA winner Jessica Hynes (“Miss Austen,” “The Franchise”), to tackle a series of tricky and twisted crimes. Detective Frankie Monroe brings a radically different management style, sparking tensions and forcing both “Patience” and “Frankie” to adjust.

    Recently greenlit for a third season, “Patience” is set to begin shooting in Belgium and York this spring. Returning alongside Ella Maisy Purvis and Jessica Hynes are Nathan Welsh (“Trying,” “Domina”), Mark Benton (“Bookish,” “Inside No. 9”), Adrian Rawlins (“Inspector Barnaby,” “Slow Horses”), Tom Lewis (“Gentlemen Jack”), Ali Ariaie (“The Great,” “The Couple Next Door – Deadly Attraction”), and Liza Sadovy (“Outlander,” “A Real Pain”).

    Behind the camera, Maarten Moerkerke (“Professor T”) returns as director and is joined by Jan Matthys (“Outlander”). Matt Baker, lead writer on “Patience” Season 1, returns and joins forces with Amy Shindler and Beth Chalmers, both lead writers of Season 2.

    Jo McGrath and Walter Iuzzolino serve as executive producers across all seasons.

    Beta Film handles worldwide distribution. PBS Distribution holds the North American rights to “Patience.”