Tag: Entertainment-HollywoodReporter

The Chinese entertainment industry has been out in force across Filmart this week, with major companies such as CMC Pictures and the various provincial governments including the sprawling metropolis of Shanghai looking to pitch their locations to the film world.

About two decades ago, French film editor Matthieu Laclau was going in the opposite direction. Laclau, fresh from film school in Paris and looking for work, was told by one veteran cinematographer that he had “no chance to work in the film industry” so he decided to expand his horizons and head east.

As luck would have it, the move to Beijing was quickly followed by a call, virtually out of the blue, to come work with auteur Jia Zhangke on what would become A Touch of Sin (2013), winner of Cannes’ best screenplay award. “He was a hero of mine so of course I said yes, instantly,” Laclau says.

In the years since, the prolific Laclau has worked with a veritable who’s who of the Chinese-language arthouse scene, including Zihan Geng, Wei Shujun, Kok Rui Lau, Shangjun Cai, Xue Bai, Yang Zhang and Midi Z. His work, as well as his position as one of the few foreigners to successfully integrate and enjoy a long successful career in the Chinese film industry, has given him a unique insight into how the market for these smaller productions has developed.

This past week saw the Taiwan-based filmmaker travel to Hong Kong for the Asian Film Awards where he gave a talk with fellow editor David Richardson (Drug War) about his work. On the eve of Filmart, The Hollywood Reporter spoke to Laclau about his life in China and the state of the industry in the world’s second biggest movie market.

You’re closing in on 20 years in Asia. What are some of the changes you’ve seen, especially in Chinese-language cinema?

It’s very fascinating when you go to China, you talk with these directors or producers and they keep saying, ‘Oh, it’s changing so fast. It’s changing so fast. Always changing.’ And it’s true the audience is changing, maybe the taste is changing. But for me, as an editor, honestly, making a film is still the same process. I think it’s still a bit the same process as it was 100 years ago, just that there is maybe more technology involved. But technology is just a tool. The process of telling the story, finding the film language of the film, caring about the characters, understanding the characters — when it comes to those things there is not a lot of change.

AI is a huge topic at this year’s Filmart. What’s your take on its rise?

Well I’m sure with filmmaking that AI will be very smart when it comes to understanding or telling you what’s missing, in providing basic information. It’s so convenient, of course. I’m sure it will be convenient for me because in five minutes I can get an answer. I don’t need to ask someone to come here and watch my work for two hours and then maybe this person has only one person’s point of view, or might miss something. So I’m sure that it can be a useful tool. But the danger is now you’re going to start to ask things like ‘When do you think that the audience is going to cry?’ or ‘When is in this film will the audience become emotional?’ And if filmmakers start changing things on that advice, then we start heading into dangerous territory.

How “global” has the making of movies become and are there opportunities in Asia, as there were when you first arrived?

I think the rise in co-productions is making some impact and that this is a good thing. In Europe, you know, it has always been like this for many, many years — you do a European co-production with Germany, with Belgium, with the Netherlands, with whatever countries. They combine the story together and everyone can find their own money and then they can reach their own market. So you can have a bigger budget to make the same film. I think this is happening a lot more in Asia now.  Some of the director’s I work with are following that path, and I think that’s good. In China we are seeing more of a mix of genres, and again that is good. Genre filmmaking has developed, films that are sometimes dark but include heartfelt humor, and maybe even the director’s view of the world. So there are definitely things to get excited about.

The first few months of 2025 didn’t give the new and upcoming soundstages in Los Angeles much in the way of hope for a rebound in production.

The average occupancy rate for major soundstages in the city was 62 percent during the first six months of 2025, down one percent from the anemic 63 percent recorded in 2024, according to new data from local film office FilmLA released on Wednesday. Contrast that with the period between 2016 and 2022, when soundstages participating in the annual report survey reported an average occupancy rate of 90 percent or higher.

The report also tallied shoot days and number of projects filmed in 2024 for the first time. It found that the total number of projects shot increased five percent between 2023 and 2024 (from 1,225 to 1,287), though it’s important to note that 2023 was the year of the dual WGA and SAG-AFTRA strikes, which threw a major wrench into the production pipeline.

The total number of shoot days dropped eight percent in this period as well, from 8,671 days to 7,940 days. FilmLA says this decline is in large part due to a dwindling in scripted television, whose shoot days decreased 23 percent between 2023 and 2024.

FilmLA’s report gathered data from 17 studios participants whose spaces represent around 75 percent of the soundstage square footage in L.A. Major studios like Walt Disney Studios and Warner Bros. Studios Burbank took part alongside significant independent soundstage operators like Quixote and East End Studios.

The findings are emblematic of a precipitous drop in production following the so-called “Great Netflix Correction” of 2022 and the strikes of 2023 as the industry contracted and rapidly cut costs, leaving L.A.-based crew members and vendors in the lurch. And it represents a potential challenge for recently opened soundstages in the L.A. area like Cinespace Studios in Woodland Hills and East End Studios in the Arts District. More spaces are on their way, including the mammoth Echelon Studios development rising from a lot in Hollywood and Stocker Street Creative in Baldwin Hills.

California’s expansion last year of its film and television tax credit program and recent initiatives from L.A. Mayor Karen Bass and Councilmember Adrin Nazarian offer some hope that the bleeding can be staunched. But, still, the city has a lot of space to fill. With 8.3 million square feet of sound stages, the report calls L.A. the “world leader” in availability to film, compared with the U.K.’s 7.7 million square feet and Ontario’s 3.7 million square feet.

In other words, L.A. has all the infrastructure and is getting even more. Will the productions follow?

PCCW Media has locked down a June 2026 launch for The Season, its glossy Hong Kong-set limited series co-produced with SK Global, the studio behind Crazy Rich Asians.

The rollout, announced at Hong Kong’s Filmart content market, will see the buzzy, rich-people-behaving-badly series stream on Hulu — and Hulu on Disney+ — in the U.S., while regional streamer Viu airs the title across markets in Asia, the Middle East and South Africa, and Now TV launches it in Hong Kong.

Fremantle is leading international sales for the title in other territories with support from De Maio Entertainment. The companies are giving buyers a first look at the series during Filmart this week.

The series has a buzzy, White Lotus-like premise set amidst Hong Kong high society. The official logline reads: “Set against the opulence and striking contrasts of Hong Kong, The Season follows a privileged group of friends gathering for a summer of sun-drenched luxury as boating season begins. What starts as a glamorous escape soon spirals into a web of deception, power struggles, and life-altering consequences.”

A champagne-fueled revenge drama, The Season unfolds during Hong Kong’s high-society summer, “where connections are everything and nothing is quite as it seems.” At the center is the Hext family, an old-money Hong Kong institution, who rule the city’s elite through yacht parties, horse races, and charity galas – while secrets and scandal simmer beneath the surface. The plot ignites when Cola, a newcomer with a hidden agenda, arrives and begins upsetting the high-society ecosystem, sending rivalries flaring and alliances tilting toward something darker.

Jessie Mei Li (Shadow and Bone) stars as Cola, with Toby Stephens (Percy Jackson and the Olympians) and three-time Golden Horse winner Karena Lam leading as the family’s patriarch Christopher Hext and matriarch Fiona Hext. The ensemble also includes Chris Pang (Crazy Rich Asians), Celina Jade (Wolf Warrior 2), Justin Chien (The Brothers Sun), Yvonne Chapman (Avatar: The Last Airbender), Japanese performer Kōki and Lee Jae-yoon (Physical 100 Season 2).

The series is created and executive produced by Yalun Tu (NCIS: Hawai‘i), with Marialy Rivas (The Jetty, Perry Mason) directing and executive producing. Janice Lee and Agatha Lo executive produce for PCCW Media, while SK Global’s Chloe Dan executive produces alongside Matt Aragachi and Dylan Tarason.

Janice Lee, CEO of PCCW Media Group & Viu, said in a statement: “Set against the pulsating energy of Hong Kong and its spectacular cityscape, we believe The Season, at its core, is a story of redemption with characters who will resonate with audiences globally. We are thrilled to partner with SK Global and our platform partners to share it with viewers everywhere. Returning to Filmart one year after our initial announcement, and with the series now complete, we are excited to share a first glimpse of the work realised by an amazing creative team and cast.”

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Whether you’re eager to catch Wicked: For Good‘s streaming release (March 20 on Peacock), tune into weekly episodes of SNL (plus reruns) or follow the 2025-26 NBA season, there are little-known ways to save big on Peacock — or even get it for free.

Best Peacock Deals 2026: Get Peacock Free With DirecTV

Starting strong with the standout promotion, customers who sign up for one of DirecTV’s signature packages — Entertainment, Choice, Ultimate or Premier — can get two months of the Movies Extra Pack + Peacock at no cost (a $19.98 value). Plus, DirecTV offers a five-day free trial for any plan, meaning new members can stream Peacock (and everything else the packages have to offer) at no cost during the trial period.

Here’s exactly how to claim the offer: Simply select your preferred signature package, then opt to add “Movies Extra Pack + Peacock Premium” where it instructs you to pick your add-ons. As indicated, you’ll automatically get two months of the Movies Extra Pack + Peacock included in your subscription (click here to see everything the add-on offers on top of Peacock). After two months, unless cancelled at any time, DirecTV’s Movies Extra Pack + Peacock will renew monthly at the then-prevailing rate, presently $9.99 per month plus tax.

Best Peacock Deals 2026: Get Peacock Free With Instacart+, Walmart+

Streamers can also get free Peacock access through partner subscriptions, including Instacart+ and Walmart+, which both include Peacock Premium in their membership. Plus, since both Instacart+ and Walmart+ offer free trials — 14 days for Instacart+ and 30 days for Walmart+ — members can stream Peacock at no cost during the trial period. Claim the offers directly below, and scroll down for a further dive into what Instacart+ and Walmart+ have to offer.

Best Peacock Deals 2026: Peacock Student Discount, Young Adult Discount (Age 18-24)

Moving along to younger audiences, the NBCUniversal streamer not only offers a year-long student discount, but it also extends the same 45 percent price drop to users ages 18 to 24, officially called the Peacock Young Adult Discount. After 12 months, the plan auto-renews at the then-current annual rate.

Best Peacock Deals 2026: Apple TV and Peacock Bundle

On Oct. 20, 2025, the Apple TV and Peacock Bundle launched, meaning customers can now bundle the two services and save. Bundle options include Apple TV and Peacock Premium ($14.99 per month), and Apple TV and Peacock Premium Plus ($19.99 per month). Since Apple TV is currently $12.99 per month on its own, these bundles represent a discount of over 30 percent.

This bundle is a smart choice for Formula 1 fans as the 2026 season marks the start of F1 and Apple TV’s five-year streaming deal, where Apple TV is the exclusive U.S. home for every practice, qualifying, sprint and race.

Best Peacock Deals 2026: Mastercard

Right now, eligible World or World Elite Mastercard holders can get a statement credit of $3 per month if they pay for Peacock Premium or Premium Plus with their card. The offer expires Dec. 2027.

Best Peacock Deals 2026: Annual Subscription vs. Monthly

At the back half of 2025, Peacock added a lower-priced Select tier for $7.99 per month, which includes current seasons of NBC and Bravo shows and select shows from the broader NBCUniversal library. This is in addition to the more popular ad-supported Premium tier for $10.99 monthly, and the ad-free Peacock Premium Plus package for $16.99 per month. For the best bang for your buck, opt for the annual plans ($79.99 to $169.99), which offer 12 months for the price of 10. See below for more on each plan.

Peacock Plans: Premium vs. Premium Plus

Both Peacock Premium and Premium Plus packages include access to over 80,000 hours of movies and TV show episodes, including brand-new and Oscar-winning films; next-day access to NBC and Bravo series such as Love Island, Vanderpump Rules and the entire Real Housewives franchise; and both new and past seasons of Peacock original series.

Peacock Premium also has over 50 channels and live sports, including MLB Sunday Leadoff, Premier League, Sunday Night Football and WWE. It was also the streaming home of the Women’s World Cup and the U.S. Gymnastics Championship.

Peacock’s Premium Plus tier includes all of the above, plus your local NBC channel live, no ads (except on select live TV shows) and the ability to download select titles to watch offline later.

Additional Details on Instacart+

Instacart+ users get free access to Peacock’s ad-supported Premium plan for as long as their membership is in effect and the offer is available. The deal doesn’t apply to existing Peacock accounts, and you cannot use the offer to upgrade to Peacock’s Premium Plus, which has fewer ads.

Additional Details on Walmart+

Related: Paramount+ Runs Limited-Time Promo Aligned With March Madness, The Madison and More

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Timed with March Madness, Taylor Sheridan’s The Madison and Yellowstone spinoff Marshals, to name a few highlights, Paramount+ has announced a limited-time promotion for both new and former subscribers: any monthly plan for $2.99 per month for the first two months (reg. $8.99+ per month). This is on top of two little-known ways to get Paramount+ for free through partner subscriptions: DirecTV and Walmart+. More on each offer below.

How to Get Paramount+ Free Trial

Starting off strong with DirecTV, customers who sign up for one of the streaming service’s signature packages — Entertainment, Choice or Ultimate — will get the first three months of HBO Max, Paramount+ Premium (formerly Paramount+ with Showtime), STARZ, MGM+ and Cinemax included (see here for more details on these premium add-ons). Plus, DirecTV offers a five-day free trial for any plan, meaning new members can stream Paramount+ (and everything else the packages have to offer) at no cost during the trial period.

Moving along to the second option, deal-savvy streamers can also enjoy free Paramount+ access through a Walmart+ membership, which includes the choice of Paramount+ Essential or Peacock Premium in its subscription. And since Walmart+ offers a 30-day free trial, members can stream Paramount+ at no cost during that period. Learn more about Walmart+ streaming offers and pricing here.

Best Paramount+ Deals

Through March 31, Paramount+ is offering two months of any monthly plan (either Paramount+ Premium or Paramount+ Essential) for $2.99 per month. This deal equates to a savings between 67 and 79 percent for the first two months. Following the trial period (unless cancelled at any time), the plan auto-renews at the then-current full price of the selected plan, presently $8.99 per month for the ad-supported Essential and $13.99 per month for the ad-free Premium. (Scroll down for a comparison of the two plans.)

Paramount+ Student Discount

Verify your student status for 50 percent off any Paramount+ plan for the first 12 months. Learn more and get the deal here.

Paramount+ Plans Compared: Paramount+ Premium vs. Paramount+ Essential

Paramount+ Essential is the streamer’s ad-supported base package, regularly $8.99 per month or $89.99 annually. It includes 40,000+ episodes and movies, NFL on CBS and UEFA Champions League live, access to select Showtime series and the ability to stream on three devices at once.

Paramount+ Premium (formerly known as Paramount+ with Showtime) is regularly $13.99 per month or $139.99 per year and offers everything in the essential plan without ads (except for live TV), plus access to all of Showtime, the ability to stream CBS live with more sports and events, the option to download movies and shows and the ability to watch in 4K Ultra HD, Dolby Vision or HDR10.