Tag: Entertainment-HollywoodReporter

For years, Netflix has been the anchor tenant at Sunset Studios in Los Angeles, making the ICON building its Los Angeles headquarters and occupying the EPIC and CUE buildings as part of the complex on Sunset Boulevard.

The streaming giant run by co-CEOs Ted Sarandos and Greg Peters has a lease on those buildings through 2031 with the owner, Hudson Pacific Properties, which receives $27 million in base annualized rent from Netflix.

As of early March, Hudson Pacific CEO Victor Coleman described at an investor conference that “our conversations with them are fluid” regarding future leases. Netflix is the No. 2 tenant for Hudson Pacific among its office tenants, occupying 722,305 square feet of space, just behind Google, so a loss of the streaming giant would be a notable loss for the soundstage operator.

“We remain fully engaged with Netflix and believe this portfolio is the optimal long-term solution for their LA office needs, given the quality, location and expansion potential of these assets,” Coleman had said on the company’s February earnings call.

But it seems like an exit could be a stronger possibility now. Netflix is in talks with Goldman Sachs to buy the Radford Studio Center, Bloomberg reported, citing unnamed sources, on Tuesday. Netflix and Hudson Pacific reps did not immediately reply for comment.

The historic studio was in the hands of the then-named ViacomCBS corp until 2021 when it was sold — as part of a slimming down of the Shari Redstone-run empire — to Hackman Capital Partners and Square Mile Capital Management for $1.85 billion.

At the time, Hackman Capital had bet that studio infrastructure would be a hot commodity as majors had been bulking up on spending for streaming shows near the height of what was then a race to catch up to Netflix. Then, ahead of the 2023 dual labor strikes of the Writers Guild and SAG-AFTRA, the content spend pullback hit and stage occupancy started waning.

Investment bank Goldman Sachs had taken over the Radford lot after Hackman defaulted on its mortgage, Bloomberg reported in January, citing a letter to investors that wasn’t made public. (Hackman hasn’t commented on its sales or divestments.)

Netflix, which just received a $2.8 billion break up fee in connection with its abandoned pursuit of Warner Bros., has made a concerted effort to build its soundstage bases over the years, outside of its L.A. office. Those include the formerly named ABQ Studios in Albuquerque, New Mexico as well as $1 billion to build its East coast base at the former site of Fort Monmouth, New Jersey (which won’t be ready for a few years).

Dwayne Johnson and Stephen Merchant‘s 2019 film Fighting With My Family is getting the musical treatment.

Merchant’s biopic is being developed for the stage by Tilted Musicals, in collaboration with Seven Bucks Productions (co-founded by Johnson and Dany Garcia), Merchant himself, Kevin Misher and Birmingham Hippodrome.

With the book and lyrics by Olivier Award-winning playwright Jon Brittain (Rotterdam, Kathy and Stella Solve a Murder!), Fighting With My Family will feature a new soundtrack by singer-songwriter Miranda Cooper and Nick Coler.

The movie, directed and written by the U.K. Office co-creator Merchant, premiered in January 2019 at Sundance. The movie follows the true story of WWE superstar Paige (real name Saraya Bevis), played in the film by Florence Pugh. Vince Vaughn depicted her WWE trainer, and The Smashing Machine star Johnson featured as himself, as well as a producer on the film opposite Garcia for Seven Bucks Productions.

Merchant confessed he always thought of the film as a musical. “A young woman from the ‘chorus line’ fighting to get her big break, surrounded by theatrical, larger-than-life characters and huge sweeping emotions,” he said. “I approached each wrestling match like it was a different dance number, building to a big show-stopping finale. Seeing the film reimagined for the stage feels like the natural next step.”

Johnson, who will next be seen in the live-action Moana and Jumanji 3, said Fighting With My Family feels “exceptionally well-suited for the stage.” He continued: “It’s packed with personal emotion expressed through the dynamic world of wrestling, which has always been about storytelling and connecting with a live audience. Working with Stephen Merchant on the film was a truly special experience, and his brilliant work deserves this new act. As it comes to life musically, I have no doubt it will be an absolute blast for theatergoers.”

It marks the first musical developed and produced by Tilted Musicals, a new production company run by Cooper and U.K. producer-director Sam Hodges.

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Dressing a star client for awards season or a film’s media tour requires careful planning. But dressing a star for the Cannes Film Festival is a next-level challenge — especially if that star is a juror who must navigate every day of the world’s most prestigious cinema showcase.

Just ask Maryam Malakpour. She signed on to be Halle Berry’s stylist just before the 2025 festival, which meant she had to hit the ground running. As a juror, Berry appeared at multiple events throughout the fest, from the first day’s jury photocall and the opening ceremony — each required separate looks — all the way through to the closing ceremony 12 days later.

Gala affairs in between included high-wattage premieres of Mission: Impossible — The Final Reckoning and The Phoenician Scheme and splashy dinners hosted by Chopard and L’Oreal Paris and the Kering Women in Motion Awards. Malakpour’s final designer roster for Berry included day and evening looks by Chanel, Dior, Jacquemus, Elie Saab, Alexandre Vauthier and Gucci.

Throw in a couple of curveballs, such as last-minute switches because of Cannes’ late-game rule banning voluminous gowns with trains on the Croisette, and Malakpour’s inventive curation of Berry’s looks was nothing less than impressive. That’s why The Hollywood Reporter knew the star stylist was perfect to not only ask about her memories of that round-the-clock assignment but also to suggest style and packing advice for anyone planning to make the trek to the South of France for this year’s event.

How much time do you need to plan for Cannes, especially when dressing someone who’s on the jury?

It is hard to say how much time in general you need to plan for Cannes. I only started the prep less than a month from the scheduled travel date to Nice, which felt pretty full on. As soon as I received the call, I started. Even though the final schedule was not in place, we had to set ourselves up and be ready for anything. None of us really knew how big and rigorous the schedule would become. On the final schedule, we had approximately 10 major gown or event looks and about the same amount of daytime and photo-call looks.

Aside from the multiday aspect of the festival, how does Cannes differ from a style perspective compared with, for example, planning for awards season?

There is something about traveling and being in a foreign country, adapting to the environment and culture, that makes a big difference.

How does the location play into your planning? 

Location plays a major role — it influences not just aesthetics, but attitude and mood. From the moment we started the prep, the conversation and our goal was clear: We are going to embrace everything we love that is French, especially from the South of France. We referenced some of the most memorable style icons, i.e., Jane Birkin and Brigitte Bardot. We even had a French playlist throughout our fittings to set the mood. Our single goal was to reinvent and compose the ultimate effortless style with great confidence and poise, a total look, from the French bob haircut to the most chic and unpredictable looks.

Does South-of-France glamour differ from Hollywood glamour, and if so, how? 

South-of-France glamour and Hollywood glamour are different, mainly because they come from very different cultural roots. For the South of France, the vibe is effortless, sunlit, colors are more neutral, breezy, [with] oversized sunglasses, slightly undone hair, soft glam and glowing skin. There is a nostalgic mood of “Je ne sais quoi,” sophistication and confidence. It’s the kind of glamour where looking slightly imperfect actually adds to the appeal.

A great example is the opening look of Halle Berry in a black and cream striped sleeveless gown by Jacquemus. Hollywood feels more dramatic: bold colors, sculpted silhouettes, statement gowns and full glam makeup and perfect hair.

Looks for the day photo-calls are of course radically different from the evening carpets on the Croisette — how did you approach this dual strategy with Halle’s looks? 

We approached the festival with a clear strategy: researching each venue and event in advance so we fully understood the setting, the light and the tone. Every look was then developed in direct response to that context. What works on the steps during the Cannes Film Festival is very different from what reads well at a private dinner along La Croisette.

During the edit, we were constantly thinking ahead and strategizing around the key moments: the opening and closing ceremonies as well as the film premieres — all under full daylight. Unlike the controlled lighting of Hollywood carpets, the full sun demands precision and simplicity. Everything had to be exact yet never feel over-styled. 

Did you have a conversation with Halle in advance about what you both were thinking style-wise and how to navigate the many events between day and evening? 

The goal was always to keep the looks light, breathable and unforced. For example, one of the daytime events was a luncheon held at the gardens of the Musée de la Castre. The setting called for something polished but relaxed, in tune with the ease of La Croisette. We chose a mint green jacquard midi dress by Gucci, tailored at the waist and finished with a self-fabric skinny belt. The look stayed true to that effortless daytime elegance: nude slingback pumps to elongate the silhouette, balanced with a burgundy shoulder bag for a subtle pop of color, finished with a silk foulard tied at the strap for movement and softness. And, of course, oversized sunglasses — essential, not just as an accessory, but as part of the attitude.

Which of her looks from last year’s festival were particular favorites of yours? 

My favorite look was the Chanel Spring 2025 Haute Couture pantsuit embroidered with beaded and organza flowers for the premiere of The Phoenician Scheme. I loved this look because it felt unconventional and unexpected. It challenged the hardcore red-carpet critics who are used to and expect the same thing. They were confused by it and said it was just like a breath of fresh Riviera air, and it’s not doing enough. They expected that someone like Halle Berry should arrive in a sparkly, overtly sexy gown, which we deliberately stayed away from. 

What is your style advice for anyone planning on attending the festival this year? 

My advice is simple: chic elegance with an artistic point of view. It is what keeps it from feeling predictable, always with a subtle twist.

Are there any trends we’ve seen from the most recent runways that you believe will play a role in the festival this year? 

This is nothing new, but we did see a lot of sheer fabrics — chiffon, lace, organza — in delicate nudes and pastel colors; mint green, dusty rose everywhere across the Spring/Summer 2026 collections.

Which recent collections or looks from recent collections feel particularly Cannes-friendly to you?

MM: My favorites are: Haider Ackermann’s Tom Ford Resort 2026. It’s chic and elegant, with precise tailoring. Matthieu Blazy’s Chanel 2026 Haute Couture, with airy layers, dreamlike proportions and colors and a kind of quiet storytelling. And Celia Kritharioti’s 2026 Haute Couture, who has been on my radar since last year. I love her clean, elongated, sculpted gowns.

What advice do you have for smart packing, for both clothing and accessories, so someone doesn’t go overboard and then wear only a small percentage of what they’ve brought?

I’ve found that it is definitely best to use lightweight hard cases. I always use Away luggage, as they are minimal weight and very spacious. I love the trunk specifically for accessories. I also think it’s important to pack entire outfits together, so it’s extremely obvious what goes together to avoid any confusion and accidental repeat wear.

Are there any “must-haves” in fashion or accessories that you’d recommend to guarantee style success in Cannes?

The perfect edit is full of versatility that easily transitions from daytime to evening — apart from the red carpet, of course. Think tailored linen or silk suits, a crisp white shirt with high-waisted trousers, or minimal but perfect dresses, i.e., the slip dress. The go-to labels: The Row for ultimate understated power; Loro Piana, luxe and full of texture; and Jacquemus, for a Riviera artistic twist. 

A variety of sunglasses would be a real must-have item, like oversized black frames, a sharp cat -eye or minimal gold-rimmed aviators. My top picks are from Saint Laurent, Celine and Linda Farrow. Another must-have, and most importantly, shoes that you can actually walk in. Elegant but stable mid-height or platform heels, chic flats and sandals for daytime transitions. Lastly, the chic nonchalant piece that you must have is a silk scarf tied loosely in your hair, paired with an oversized blazer thrown over a gown with a vintage clutch. Adding a good vintage piece is always great.

Finally, did you pack anything for yourself last year that you would recommend as a terrific option for someone attending for the first time? Or is there a favorite item you always include in your own suitcase, regardless of where you’re headed? 

I love and highly recommend my vintage black slip dress, mid-length with lace around the decolletage, from Sabbia Rosa in Paris. It’s great for daytime with sandals or flats and easily transitions to evening with a pair of heels and an ivory satin blazer from Bella Freud in London. Also, something that is just very European: I always pack a lightweight trench coat to play it safe in the unpredictable weather.

A Pair of Posh New Hotels Open Their Doors

Ahead of the 79th Cannes Film Festival, two new high-end hotels have opened on France’s sunny Mediterranean shores to tempt guests with sophisticated accommodations and picturesque views. For anyone looking to decompress post-Cannes, consider either of these elegant boltholes.

Como Le Beauvallon
Gulf of Saint-Tropez, France

Originally debuting in 1914, Como Le Beauvallon was one of the original Belle Epoque palaces on the French Riviera, surrounded by private gardens and overlooking the azure waters of the Gulf of Saint-Tropez. The hotel closed in 2008 and was briefly reinvented as a private estate available for rentals and events, but following a meticulous restoration, it’s back as a 100-room resort set to open April 24.

Two undisputed French creative stars have imbued Como Le Beauvallon with their respective passions: Chef and restaurateur Yannick Alléno, whose Beauvallon Sur Mer offers an Asian-meets-Mediterranean menu amid pristine beach views, and interior designer Dorothée Delaye, who has restored much of the original resort’s refined elegance.

Zannier Île de Bendor
Bandol, France

Opening May 1, this latest resort in the Zannier hotels family is located on Île de Bendor, a luxury private island near Bandol on the Provençal coastline. To reach Cannes from Bandol will take a little less than two hours by car, but it’s only 45 minutes via one of the area’s many private helicopter services that can ferry guests from the film festival to points beyond.

Originally conceived in the 1950s as Riviera hotspot for stars and artists, the 93-room resort underwent a five-year restoration and has been reimagined as a rustic-meets-elevated haven of wellness, sustainability and Provencal charm.

This story appears in The Hollywood Reporter’s 2026 Travel Issue. Click here to read more.

L.A.’s film office on Tuesday unveiled a six-month pilot program aimed at removing cost barriers for small shoots as outcry over Hollywood’s production downturn has snowballed into a political campaign issue.

FilmLA’s new “Low Impact Permit Pilot Program” will reduce the city’s typical permit fees for tiny productions with fewer than 30 cast and crew members. The program will only apply to productions that shoot for a maximum of three consecutive days and in a maximum of three locations.

For those who meet the qualifications, application fees will drop from the typical $931 to $350, and notification fees will drop from $250 per location to $156 per location. L.A. Fire Department spot check fees ($285) will also be waived for these shoots. The initiative will roll out starting April 27.

That criterion makes the program seem tailor-made for microdramas, small student films and various new media productions, but it will not apply to the majority of professional feature films, television series and commercials.

The initiative was announced during a press event at Echelon Studios, a sprawling production complex under construction in Hollywood, where Mayor Karen Bass also announced a Department of Transportation pilot program that will reduce city parking lot expenses by 20 percent for all productions — the same perk afforded to Baywatch amid its filming issues at Venice Beach. The city additionally announced that it was working with Echelon’s developers to expedite its permitting process.

The pilot program emerged out of a June 2025 Board of Public Works hearing over the renewal of FilmLA’s contract with the city. In the wake of the Palisades and Eaton fires, FilmLA had come under fire for, critics said, presenting additional barriers to filmmakers and production teams that made filming in the city too onerous and expensive.

The Board of Public Works renewed the organization’s contract for five more years, but made requests of the organization after hearing from angry production workers.

One of them was for a tiered permitting system. ”There was a lot of outcry, at the time, that there is no tiered permitting system in the FilmLA ecosystem,” said Board of Public Works commissioner Steve Kang in an interview on Tuesday. “There was a request from the Board — and of course the mayor at the time, because she’s a big champion of equity — that we should develop a tiered permitting system. So that was the impetus behind this conversation and then the big announcement today from FilmLA and its board.”

FilmLA’s board has agreed to cover the costs of the new program for up to six months through the organization’s operating reserve. In a statement, FilmLA CEO Denise Gutches — who rose to the position after FilmLA’s previous CEO retired in the fall of 2025 amid sustained controversy over the organization’s role in L.A.’s production exodus — said the organization believes that “when community impact is small, regardless of the project type or production budget, the City and FilmLA review process should be simple.”

Data will be gathered over the course of the pilot program to determine how to turn it into a longer-term commitment. But the city has larger goals than simply creating a lower-cost tier for tiny shoots, says Kang, who notes that L.A. Councilmember Adrin Nazarian is pushing a motion to remove barriers for shoots with 50 cast and crew members or fewer.

“Today was all about 30 and under, but we are also working closely with Councilmember Nazarian while the motion goes through its normal legislative process to potentially increase the threshold in the future,” Kang said.

Asked whether the ultimate ambition is to create a much more sprawling tiered permitting system that would apply to larger productions, Kang said, “Correct.”

Mexico’s West Coast — despite a brief and now-subsided outbreak of violence in February in Puerto Vallarta — remains a major travel destination for Hollywood, with a host of new resorts casting an allure.
From Cabo (just a two-hour plane ride from Los Angeles) to spots farther south in the Punta Mita and Costalegre areas, here are top places to check in along the coast.

Cabo

Cabo is popping with new and renovated hotels, further bolstering its front-row positioning as a Hollywood travel mainstay. The entire region is experiencing a growth spurt, starting with the recent opening of the first Park Hyatt in Mexico at the Cabo del Sol development. Upcoming openings include the first Soho House in Cabo (coming this fall) and the eagerly anticipated Amanvari (from Aman), which will join Four Seasons in the Costa Palmas development along the East Cape.

Global brands are not just launching new properties, but are also adding elite services to existing concepts. Zadún, a Ritz-Carlton Reserve, recently partnered with Sensei to offer the luxury well-being company’s highly personalized programs at the property, located near San José del Cabo. Waldorf Astoria Los Cabos Pedregal just completed property-wide renovations and upgrades, including adding a new bubbly and seafood tasting experience at the Champagne Terrace at El Farallon, its cliffside restaurant overlooking the sea.

Responding to a rising demand among affluent second-home buyers for properties that offer resort amenities, it seems that every major hospitality brand operating in Cabo now offers a community-based residential component as well, from Four Seasons Private Residences Los Cabos at Costa Palmas and Park Hyatt Los Cabos Residences at Cabo Del Sol to the in-development Rosewood Residences Old Lighthouse, set on a 550-acre estate.

Punta de Mita and Riviera Nayarit

Punta de Mita in the Riviera Nayarit area was once upon a time a sleepy fishing village north of Puerto Vallarta, but it has been growing exponentially over the past decade. Up until a handful of years ago, Four Seasons and St. Regis dominated the luxury market, drawing repeat celebrity visitors such as John Legend, Lady Gaga and the Kardashian clan. While the area experienced a two-day outbreak of retaliatory violence and road blockades earlier this year following the killing of a drug cartel leader by the government, no international tourists were harmed during the incidents and Puerto Vallarta is by all accounts back to business as usual.

Covering 1,500 acres with more than 20 residential communities, the sprawling Punta Mita development already includes Four Seasons Resort Punta Mita and The St. Regis Punta Mita Resort. “It has been the pioneer and setting the benchmark in the region because of the Four Seasons and St. Regis, and real estate values have done very well. It created the confidence of other brands to develop in the area after observing the growth over the last few decades,” says Carl Emberson, director marketing and operations for the $700 million Punta Mita development, which is estimated to be completed in 2030. A pair of new hotels from Montage and Pendry will open at Punta Mita in 2027 and 2028, respectively. Elsewhere in the area, Conrad, W and One&Only have opened properties in recent years and fractional luxury home ownership company Pacaso has just debuted Uavi, a four-bedroom penthouse residence near Punta Mita, while Omni and Belmond have plans to debut new resorts there.

Here are a few other luxury spots — all opened within the past three or so years — to check in to in the area:

Bonding With Nature: Naviva, A Four Seasons Resort

Located next to Four Seasons Resort Punta Mita (with access to all of its amenities including a lazy river), Naviva offers 15 tent-style bungalows surrounded by jungle, set on the edge of a private peninsula. This isn’t glamping, though. Accommodations feature a living room and separate king bedroom, a private plunge pool, a hammock, fire pit, outdoor shower, and oversized bathrooms with deep soaking tubs and skylit showers. This is the brand’s first adult-only, all-inclusive resort in the world with a biophilic design geared toward immersing guests in the natural surroundings. To deepen the relaxation, purify your mind and body during a temescal sweat-lodge ceremony or schedule a treatment in one of the two cocoon-like spa pods, each of which features a private garden.

Diverse Ecosystems and Local Traditions:  Rosewood Mandarina

The new Rosewood Mandarina is an all-suite sanctuary spread across three distinct ecosystems, from ocean to mountain and flatlands. The grounds include design elements crafted by local artisans found throughout the 134 suites as well as two stand-alone villas with private plunge pool. The culinary offerings range from Mexican fare at La Cocina and Spanish flavors on the beach at Buena Onda to Japanese fine dining at Toppu. Activities on offer include horseback riding, surfing, golf, ziplining and world-class polo at the Mandarina Polo & Equestrian Club. For holistic wellness, Asaya Spa offers treatments and rituals rooted in the healing traditions of the local Huichol and Cora cultures.

From the Jungle to the Beach: Nauka with Siari Riviera Nayarit, a Ritz-Carlton Reserve

Located within the 920-acre Nauka private-member community, Siari Riviera Nayarit, a Ritz-Carlton Reserve, is named for the Uto-Aztecan word siari, meaning green. Set in a landscape of jungles and mangroves near the region’s largest swimmable beach, the resort is perched on the edge of a coastal cliff, featuring 91 suites and rooms and 34 residences, including the five-bedroom Siari Presidential Suite. Guests can enjoy a meal at one of the property’s three restaurants, including Zula from celebrated Mexican chef David Castro Hussong; personalized butler service; and golf at the development’s Tom Fazio-designed course. Siari’s private FBO services means guests can arrive by private jet or helicopter, while Nauka features a rare 400-slip deep-water marina accommodating yachts up to 220 feet.

Ideal For Families: Susurros del Corazón, Auberge Collection

Set between jungled cliffs and a stretch of shoreline overlooking Bahía de Banderas in Punta de Mita, this resort offers 82 ocean-view studios, casitas and suites, along with 30 two to five-bedroom casas and oceanfront residences, plus a seven-bedroom signature villa. Susurros del Corazón is highlighted by three infinity-edge pools that cascade down to the beach; Morritos Kids Club; and four dining options including La Boquita, an open-air taqueria with ceviches and agave-forward cocktails. The ONDA spa will have you covered when it comes to decompressing, from bodywork to breathwork, while activities range from pottery-making and cooking classes to private surf lessons, fishing trips and a healing cacao ceremony.

Costalegre, Jalisco

Meaning “the coast of joy,” this coastal stretch farther south along the Pacific Coast is less developed than Riviera Nayarit, making the Costalegre a popular yet low-key destination for creatives seeking downtime. The area may be a little harder to get to than some destinations — many resorts are a 60- or 90-minute drive from Manzanillo airport, while private aircraft can fly into Costalegre COJ Airport. The remote location translates to a landscape that is replete with protected biosphere reserves and marine ecosystems with turtle sanctuaries.

Careyes, a gated community known for its idiosyncratic architecture, and Cuixmala, an eco-resort with a biodynamic farm, were early pioneers of the Costalegre, which has been a favorite over the years for the likes of Mick Jagger, Kevin Hart, Emily Ratajkowski, Tom Ford and producer Lee Daniels.

Now larger hospitality brands are in the area as well, with Four Seasons opening a property there in 2022 and Chablé Hotels planning an arrival in 2027. The latter, a Yucatan-based design-driven hotel company, is expanding into branded residential real estate in the Costalegre with a plan for three communities. The Residences at Chablé Costalegre will be part of Reserva Tezcalame, a master-planned development with 19 ocean-view homes and an adjacent 71-key hotel, designed by Cuaik SDS with landscape architecture by Maat Handasa. Planned amenities include three restaurants overseen by chef Jorge Vallejo, a beach club, spa facilities and community event spaces.

For Privacy and Seclusion: Las Rosadas Private Villas

Spread out over a 387-acre nature preserve on a quiet, secluded beach, this is an ideal choice for discerning celebrities who crave privacy. Las Rosadas is made up exclusively of seven private homes offering concierge services, including two villa estates, four Ocean Club Villas and one charming beach bungalow. For the ultimate in privacy, book the new four-bedroom Villa Esperanza, with expansive outdoor entertaining areas and stunning ocean views in a secluded area of the resort.

And while it’s not a hotel, the amenities are abundant. Beside a private ocean cove, you’ll find Bar Mono and lounging areas under a palm-thatched palapa in the sand, not far from the Playa Pool and open-air garden patio of La Terraza restaurant near a palm grove. Michelin-starred French chef Laurent Manrique creates a seasonal menu with farm-to-table fruits and vegetables. At dusk, a tequila tasting might be followed by a shared fresh seafood-themed meal by a beach bonfire. This is not a party place, but one for connecting with family and friends. On-site nature-preserve tours, stand-up paddle boarding, kayaking and yoga classes by the shore can all be arranged. On display throughout the property is an impressive art collection focusing on emerging and established Latin American and international talents with large-scale sculptures, oil paintings, ceramics, mosaics and lithographs.

Jungle Vibes and Farm-to-Table Fare: Four Seasons Resort Tamarindo  

This luxury jungle-meets-beach resort, which opened in 2022, is adding a collection of Four Seasons Private Residences nestled within a secluded 3,000-acre nature reserve. Now in active sales, the portfolio includes 25 luxury villas and estates. Envisioned by three of Mexico’s most renowned contemporary architects, Victor Legorreta, Mauricio Rocha and Mario Schjetnan — in collaboration with Uribe Krayer and Estudio Esterlina for interior design — each understated, contemporary residence will offer soothing ocean views.

Owners receive access to the full amenities of Four Seasons Resort Tamarindo, including a full-service spa, fine dining from Michelin-starred chef Elena Reygadas, a private on-site farm, golf at the David Flemming-designed El Tamarindo Course, and a plethora of winding nature trails and hikes to explore the landscapes that are under the care of an on-site team of biologists and conservationists.   

OG Pioneer: Cuixmala

Once the private home of Sir James Goldsmith, this resort, which opened in the late 1990s, is still owned by the Goldsmith family.

With 43 lavishly decorated rooms, Cuixmala is situated on a 30,000-acre nature reserve that traverses landscapes of lush jungle, coconut palm groves, lagoons and sweeping grasslands. The property includes Casa Cuixmala, Goldsmith’s former residence, which is perched on a small hill overlooking a 2-mile private beach, lagoons and mountains. Guests staying in any of the Casa’s four suites or in the adjacent Bungalows enjoy access to three ocean-view palapas with outdoor dining and lounge areas, and a saltwater pool.

The majority of produce for meals comes from the property’s biodynamic gardens and organic ranch, or from sister property Hacienda de San Antonio. Yoga and sound healing are among the wellness offerings, and Cuixmala even has an animal sanctuary where you can see more than 40 zebras and other exotic animals roaming free across the plains.

One-of-a-Kind Architecture: Villas at Careyes

Careyes was inaugurated in the 1970s by visionary Italian developer Gianfranco Brignone, who differentiated the community from other destination resorts with a mix of brightly colored architecture, unique castle-like villas and exciting events.

The latter includes the Spring Agua Alta Polo Tournament at the Careyes Polo Club (created in 1990 by Brignone) with the two regulation Bermuda grass polo fields (the largest in Mexico); the tourney brings in global brands such as Land Rover Defender and Bulgari along with chic locals and travelers in the know.

Emmy-nominated producer Mekita Faiye decided to have a birthday party-meets-girls trip with six other friends at the resort recently. She had been looking for somewhere different with a twist and was intrigued by the backstory of the property and its founder. As a lover of the Amalfi Coast, Faiye tells THR she found a similar “Mediterranean elegance, mixed with Mexican vibrancy.” Faiye’s getaway in a butler-attended villa included turtle-release activities, a private boat trip to see whales and local caves, horse-back riding and an “unmatched sound healing experience,” she says.

“It was an excellent bonding experience, and we are now planning annual trips as a group,” says Faiye. Some of the guests didn’t know each other previously, but now, she says, “the magic of Careyes inspired us to stay connected forever.”

This story appears in The Hollywood Reporter’s 2026 Travel Issue. Click here to read more.

The anger phase of the Donald Trump–Tucker Carlson breakup continued in full swing Monday, as the longtime right-wing pundit and former Trump ally issued an apology for his role in misleading people and helping to get him elected.

Carlson, who first rebuked Trump following the president’s widely panned Easter morning social media post threatening the annihilation of Iran, escalated his criticism on Monday’s episode of The Tucker Carlson Show. Speaking with his younger brother, Buckley Carlson — a Republican operative and former Trump speechwriter — the host struck a tone of personal reckoning.

“You wrote speeches for him. I campaigned for him. I mean, we’re implicated in this, for sure,” Carlson said. “It’s not enough to say, ‘Well, I changed my mind,’ or, like, ‘Oh, this is bad, I’m out.’”

“In very small ways, but in real ways, you and me and millions of people like us are the reason this is happening right now,” he continued. “So I do think it’s a moment to wrestle with our own consciences. We’ll be tormented by it for a long time. I will be, and I want to say I’m sorry for misleading people — it was not intentional.”

The conversation, which at times resembles a postmortem on Trump’s political rise, revisits his early appeal. Buckley Carlson recalled being drawn to Trump in 2015 because “he never bent,” prompting him to connect with the campaign through mutual contacts and eventually write speeches for the outsider candidate.

From there, the brothers trace Trump’s ascent, lamenting what they describe as the erosion of traditional conservative values in favor of MAGA populism. Carlson was an early and influential supporter, helping legitimize Trump’s first presidential run and later campaigning for him during the 2024 election.

The discussion also revisits the 2020 election, which the Carlsons continue to characterize as stolen — a claim that has been widely debunked — while criticizing Trump’s response at the time.

“He just kept repeating silly talking points that weren’t that compelling and made him look crazy,” Buckley Carlson said. “But he failed to use the power at his hand, and then, of course, it was taken away from him.”

Carlson’s break with Trump has sharpened in recent months, particularly over foreign policy. He has criticized the president’s full-throated support for Israel’s actions against Iran and previously called Trump’s rhetoric on the country “vile.”

Trump fired back in a Truth Social post, blasting Carlson as “a low IQ person — always easy to beat, and highly overrated!!!” and extending his attacks to other right-wing figures, including Candace Owens, Megyn Kelly and Alex Jones.

Still, Carlson framed his criticism on Monday as both political and personal.

“Clearly, there were signs of low character. We knew that,” he said of Trump. “But there are tons of people of low character who outperform it. I’ve outperformed my character at times. I don’t have particularly high character — but you try your best.”

In March 2019, Apple CEO Tim Cook took the stage at the Steve Jobs Theater, located on the tech giant’s sprawling spaceship-like campus in Cupertino, California, and propelled Apple firmly into the entertainment business.

It was an approprioate venue. Jobs, after all, spent much of his career at the center of technology and entertainment, helping to launch Pixar and ultimately becoming its chairman and majority shareholder before selling it to Disney.

And Cook, Jobs’ protege, was ready to bring Apple into that world too.

“Great stories can move us and inspire us. They can surprise us and challenge our assumptions,” Cook told the crowd. “We feel we can contribute something important to our culture and to society through great storytelling, so we partnered with the most thoughtful, accomplished, and award-winning group of creative visionaries who have ever come together in one place to create a new service unlike anything that’s been done before.”

What followed, of course, was not only an entirely new streaming service, Apple TV+ (now just called Apple TV), but also a new studio, with Apple producing its own films and TV shows, quickly becoming a favorite of creators thanks to its aggressive bidding for high-profile projects, and the creative freedom that the platform gave them.

But Apple is getting a new CEO in September, hardware engineer John Ternus, and his view on entertainment remains opaque, leading to anxiety in the halls of agencies that have had success selling ambitious projects to Apple over the last few years.

That inaugural Apple TV event included a barrage of directors and actors, from Steven Spielberg, JJ Abrams and Sofia Coppola to Jennifer Aniston, Steve Carell and Sara Bareilles. And it closed with an appearance from Oprah Winfrey, who announced a content deal of her own with Apple.

“Because they are in a billion pockets, y’all, a billion pockets,” Winfrey said. “The whole world has got them in their hands, and that represents a major opportunity to make a genuine impact.”

“Thank you, Oprah. Thank you. I will never forget this,” Cook said as he returned to the stage.

In 2019, Apple’s services business, which included Apple TV, cloud storage and digital advertising had revenue of $46.3 billion. Last year it topped $109 billion, a testament to Cook and services chief Eddy Cue’s desire to expand its business beyond hardware and software.

When books are written about Cook’s tenure as CEO, services will be at the center of it, and Apple TV will be at its core.

Of course, it is not a secret in Hollywood that Apple TV as a service is still smaller than many of its competitors, though Apple frustratingly remains coy on just how many users it has. But the company been making moves to grow it, cutting partnerships with Amazon and Peacock in a bid to expand.

Cue told THR last month that Apple’s first F1 race had more viewers than ESPN’s coverage of the same race a year ago, though he declined to give more specificity.

Cue, of course, isn’t going anywhere, suggesting a degree of continuity at Apple TV, but Ternus simply has not had the opportunity to weigh in on that side of the business from his perch at hardware.

The big question in Hollywood: Will he maintain the status quo, with Apple willing to spend on the projects it wants (even as its theatrical ambitions remain in flux), or will he trim fat, focusing Apple’s efforts on more lucrative services products? That may depend on how valuable Apple TV is to the overall Apple One ecosystem that Cook and Cue created.

But while he may not come from a services background, Ternus is still a mentee of Cook, and the high-margins and fast-growing services business may be too enticing to ignore.

And multiple analysts noted that there are growth levers he can pull, if he chooses to, including advertising on Apple TV, something that the company has shied away from outside of live sports.

A source familiar says that Apple has no plans to introduce an ad tier of Apple TV+ in the short term, though executives at the company have not ruled out the possibility on a longer timeframe.

“Leadership changes can enable shifts in strategy, even for large and established industry mainstays,” Madison and Wall analyst Brian Wieser wrote Tuesday. “In Apple’s case, however, the company’s approach to advertising appears tied to its product philosophy and not just its CEO. Unless that philosophy changes, ad growth is likely to be steady rather than inflecting higher.”

But Ternus could just as easily decide to double down on entertainment.

Needham Research analyst Laura Martin also suggested that advertising could be much higher if Apple chooses to go down that path, but Ternus could also use Apple’s $67 billion or so in cash to other, more ambitious use-cases.

“We believe AAPL should partner with, or buy, Disney, in order to drive longer engagement lengths and give it differentiated assets (ie, films and TV series) that have pricing power and powerful moats,” Martin writes. “We believe AAPL should also be using M&A, partnerships, and industry leadership to accelerate value creation.”

It isn’t crazy. Former Apple COO Jeff Williams is now on Disney’s board, and former Disney CEO Bob Iger not only served on Apple’s board (he left once Apple launched Apple TV+) but was a friend of Steve Jobs.

“I believe that if Steve were still alive, we would have combined our companies, or at least discussed the possibility very seriously,” Iger wrote in his 2019 autobiography The Ride of a Lifetime.

Cook has avoided that temptation, but a new CEO could bring a new point of view. The only question for Hollywood is how far he plans to lean in.