Friday, January 31, 2025

A look at the entertainment industry’s biggest ongoing lawsuits - from Jay Z to Justin Baldoni


University of Auckland senior law lecturer Nikki Chamberlain said there were likely multiple explanations for the recent explosion of US-based entertainment industry lawsuit cases, compared with here at home.

They included differences in civil procedure and funding mechanisms, the role of government agencies, social media and cultural movements, and even something as simple as how deep people's pockets are.

"In the USA, each party is responsible for their own legal costs, even if they are unsuccessful at trial. In New Zealand, the loser pays both parties' costs, usually on a scaled basis. This creates greater cost risks for a plaintiff commencing litigation in New Zealand," she said.

Most US cases are also usually heard by jury trials, whereas in New Zealand, the cases are normally heard by a judge-alone trial. Defamation cases are an exception, as people can elect to have a jury trial.

"Juries tend to award higher damages awards. Further, New Zealand judges are very conservative in awarding exemplary damages, whereas in the USA we see higher exemplary damages awards," Chamberlain said.

Exemplary damages are where courts award to a plaintiff an amount intended solely to punish the defendant for outrageous conduct.

Chamberlain said the highest exemplary damages award in Aotearoa to date was $89,000, compared to million-dollar figures in the US.

"Defendants in the entertainment industry in the US are likely to have deeper pockets meaning there is impetus to sue because you are more likely to get financial recovery," she said.

"In contrast, in NZ, defendants in the entertainment industry may not have as much wealth – given the size and the scale of the economy – meaning there may be less inclination for someone to commence litigation".

Kendrick Lamar's explosive diss track Not Like Us (2024) has proved somewhat of a catalyst for an intricate web of defamation claims and bad blood between himself and fellow rapper Drake.

Lamar's lyrics accuse Drake (real name Aubrey Drake Graham) and his entourage of being "certified paedophiles" who should "be registered and placed on neighbourhood watch", leading to heated legal action from the star in reply.

At this point, Drake has gone as far as to sue Universal Music Group (UMG) through federal court for defamation and harassment.

The suit claimed UMG had used its resources to "elevate a dangerous and inflammatory message that was designed to assassinate Drake's character".

In a now-withdrawn claim, a company owned by Drake first took legal action against Universal Music Group and Spotify, claiming in a petition the two music corporations artificially inflated the success of Not Like Us.

In a statement at the time, Universal told the BBC: "The suggestion that [the company] would do anything to undermine any of its artists is offensive and untrue."

According to NBC News, Drake and Lamar are signed to UMG but under different divisions — Drake under Republic Records and Lamar under Interscope.

But despite the ongoing public feud between the rappers, Drake's lawyers said in court documents that the most recent lawsuit is not about targeting Lamar.

"It is, instead, entirely about UMG, the music company that decided to publish, promote, exploit, and monetise allegations that it understood were not only false but dangerous," they said.

Chamberlain told the Herald a rise in social media exposure and content avenues have opened up more doors for potential lawsuit cases.

"I would say that the increase in technology means that there is more opportunity to breach privacy, IP laws or defame someone, which has also led to an increase in litigation."

In a series of lawsuits and countersuits against each other, Lively and Justin Baldoni claim they were harassed and manipulated on the set of It Ends With Us, the film adaptation of a successful Colleen Hoover novel they co-star in.

Forty-one-year-old actor-and-director Baldoni is currently suing Gossip Girl actor Lively, 37, for extortion and defamation.

This comes as a response to her original lawsuit in December 2024, which accused Baldoni and his production company of sexual harassment and trying to destroy her reputation.

Baldoni has filed for US$400 million ($706m) in damages after claiming the actor orchestrated a smear campaign against him.

Lively's original complaint stated that she was pushed to having an "all hands" meeting with Baldoni, film producer Jamey Heath, and others, about their alleged "repeated sexual harassment and other disturbing behaviour" after Wayfarer Studios "rebuffed" her concerns, which she claimed she had raised months before the filming started.

The complaint went on to say the parties reviewed a list of 30 demands by Lively, including to stop showing images or videos of nude women to Lively and her employees, describing their genitalia to Lively, and Baldoni and Heath mentioning their alleged previous "pornography addiction" to Lively.

In response, Baldoni has launched multiple countersuits against Lively and news organisations for what he alleged was a targeted media assault on his reputation.

The legal war intensified recently after a video released by Baldoni's team showed him and Lively during a scene on the It Ends With Us set.

Lively's team claims the video corroborates her allegations of harassment, detailing moments where Baldoni allegedly touched her without consent during an unscripted scene.

Lawyers for Baldoni dismissed these claims, maintaining his innocence and releasing the footage as evidence of professionalism on set.

Baldoni also claimed he was "held" in a basement at the premiere of It Ends With Us, and he and his family were barred from joining the festivities.

A trial for the pair has been pencilled in for March 9, 2026.

Settling a billion-dollar payout could be in the Walt Disney Company's foreseeable future should animator Buck Woodall be successful in his claims they stole his movie idea.

Woodall is seeking damages through the California court system of at least US$10b ($17.9b) claiming the media titan allegedly stole elements of a screenplay he wrote in the early 2000s.

Titled Bucky, Woodall's script allegedly includes details similar to Disney's Moana franchise, including a plot about a teenager who defies her parents and embarks on a voyage across Polynesian waters to save their island.

The lawsuit also cited alleged similarities in plot and story devices between Bucky and Moana 2, including a "perilous whirlpool-like oceanic portal" scene that Woodall claims, "could not possibly have been developed by chance or without malicious intentions".

Woodall, in his lawsuit, said he produced a screenplay and trailer for Bucky and shared details of the project with Jenny Marchick, former Mandeville Films director of development, as early as 2003.

Marchick is currently DreamWorks Animation's head of development for features, and had a first-look deal with Disney through Mandeville.

After she asked Woodall for production material, he claims Marchick assured him Bucky would be well on the way to being green-lit.

"Disney's Moana was produced in the wake of Woodall's delivery to the defendants of virtually all constituent parts necessary for its development and production after more than 17 years of inspiration and work on his animated film project," the lawsuit claimed.

In response to the lawsuit, the company said it would gladly provide originality of the Moana movies.

As reported by Decider, Moana director Ron Clements said in a court declaration that the film was "not inspired by or based in any way on [Woodall] or his Bucky project, which I learned of for the first time after this lawsuit was filed".

Currently incarcerated pending trial for racketeering, sex trafficking by force, and transportation for purposes of prostitution, P Diddy (Sean Combs) is one of the most recognised media faces caught up in the courts of late.

But amid his criminal trial, he's also facing multiple lawsuits for his alleged behaviour involving assault, revenge porn and physical assault.

According to Vulture, in the rapper faces a deluge of allegations in the civil court from victims as young as 10 and incidents as recent as 2022.

Chicago record producer Rodney "Lil Rod" Jones jnr filed a federal complaint in 2024 against Combs, accusing him and the people who work with him of being part of an illegal racketeering enterprise.

Comb's lawyers, in a media statement, said Jones jnr was a "con man, shamelessly looking for an easy and wholly undeserved payday".

Another 2023 lawsuit filed by Casandra "Cassie" Ventura alleged Combs of engaging in sexual assault, battery, and requiring her to engage in forced sexual acts when she was 19.

Video was also obtained by CNN showing Combs allegedly drag Ventura across the floor of a hotel in 2016.

A mutual agreement was settled soon after.

Other suits filed include an anonymous male claiming he was the victim of an aggravated sexual assault that allegedly took place in a Macy's department store in 2008, as well as allegations from various complainants of drink spiking and assault at parties hosted by the rapper.

In 2023, Combs released a media statement saying the claims were "sickening" and that he would "fight for my name, my family and for the truth".

His criminal trial is scheduled for May 5, 2025.

A bombshell claim in 2024 revealed that Empire State of Mind rapper Jay Z (real name Shawn Corey Carter) had been accused of drugging and raping a 13-year-old girl alongside Combs in 2000.

First reported by NBC News in December 2024, a civil lawsuit from an unnamed complainant — referred to as Jane Doe — claimed she was sexually assaulted after being driven to an MTV VMAs afterparty

Carter, husband of pop superstar Beyonce, was the first celebrity to be accused of sexual assault in connection to Combs.

In a statement to CNN responding to the allegations, Carter said the alleged victim's descriptions were "so heinous" that he implored her and her team to file a criminal complaint as opposed to a civil suit.

"Whomever would commit such a crime against a minor should be locked away, would you not agree?" he said.

In her suit, the girl alleged she began to feel "woozy" and "lightheaded" after having a drink at the party and made her way into a nearby bedroom.

She then alleged Carter raped her first, followed by Combs, whom she hit before grabbing her clothes and leaving.

Through his lawyer Alex Spiro, Carter argued the girl's lawyer Tony Buzbee has continued pushing a case that was "riddled with inconsistencies".

Reporting on the Bossip website claimed the girl's father denied the event, with the man telling NBC: "I feel like I would remember that, and I don't."

Earlier this month, Carter filed for dismissal of the sexual assault lawsuit, and it remains to be seen what the results will be.

"I suspect that there has always been grounds for the sexual assault suits within the entertainment industry but we may be seeing more of them because of the #MeToo movement," Chamberlain told the Herald.

Chamberlain said there were procedural differences when filing a lawsuit in the US and in New Zealand.

"In both cases, you determine the appropriate court to file the prescribed documents for your claim. However, in the US, there is the federal and state court split which means there is more work to do in determining the appropriate forum to file," she said.

"In New Zealand, any claim seeking damages more than $350,000 should be commenced in the High Court –normally by filing a notice of proceeding and statement of claim."

When looking at the types of lawsuits filed, she said New Zealand doesn't see many civil personal injury cases or civil sexual assault cases filed because of the litigation bar provided in the Accident Compensation Act 2001.

"We do have some defamation, IP and privacy claims. However, given how expensive litigation is, and the tendency of New Zealand courts to award lower damages awards, we do not see as many as in the US."

She also said that in certain areas such as privacy law, New Zealand's common law and statutory protections are "lagging behind" many other jurisdictions such as the US, which also "stifles litigation".

And how long could we see some of these huge US cases last?

Chamberlain said the average timespan of a suit varies depending on the nature of the case (number of claimants, number of claims, number of interlocutory applications, otherwise known in the US as pre-trial motions, etc), but it was common for civil cases to be protracted for years.

"Often, there will be a settlement entered into before the judgment stage is reached," she said.

Where to get help:

If it's an emergency and you feel that you or someone else is at risk, call 111.

If you've ever experienced sexual assault or abuse and need to talk to someone, contact Safe to Talk confidentially, any time 24/7:

• Call 0800 044 334

• Text 4334

• Email support@safetotalk.nz

• For more info or to web chat visit safetotalk.nz

Alternatively contact your local police station - click here for a list.

If you have been sexually assaulted, remember it's not your fault.

Mitchell Hageman joined the Herald's entertainment and lifestyle team in 2024. He previously worked as a multimedia journalist for Hawke's Bay Today.

Celebrity Crisis Expert Shares Advocacy Trends in Hollywood


Image Credit: Emily Reynolds Bergh

In Hollywood, celebrities frequently find themselves in the spotlight for reasons beyond their work. With the phenomenal rise of social media and career-threatening public controversies making headlines nearly every day, the demand for expert crisis management has grown significantly. Emily Reynolds Bergh, founder of R Public Relations, offers insights into advocacy trends shaping the Hollywood scene. Having navigated numerous crises for notable figures, she has seen advocacy evolve from a basic branding tactic to a key part of celebrity culture.

The Shift from Brand Endorsements to Authentic Advocacy

Gone are the days when celebrities endorsed brands or causes solely for visibility and profit. Today, there's a shift toward authentic advocacy, wherein stars support causes that align with their values. Emily notes that this change is driven by fans' growing demand for transparency. "Audiences are now savvy enough to distinguish between genuine passion and mere PR tactics," she says. "People want to feel a genuine connection with the celebrities they admire and follow, and meaningful advocacy—where the audience believes what the celebrity is standing for—is an effective route to that." 

In an age dominated by social media, celebrities face more scrutiny than ever and are expected to use their influence responsibly—whether it's for social justice, environmental issues, or mental health. As a result, aligning with causes they relate to or truly believe in has become crucial, with authenticity resonating greatly with today's socially conscious fans.

The Role of Crisis Management in Advocacy

Advocacy can be a powerful tool for building a positive image, but it also carries risks. Celebrities taking strong stances on controversial issues will almost certainly face backlash from at least some quarters, making crisis management essential. Emily doesn't advise staying away from societal engagement with causes someone is passionate about just because of the risk involved, but "a solid crisis communication plan is a necessity in such situations," she cautions.

Emily's agency, R Public Relations, helps celebrities and brands navigate public image challenges, especially when they're facing difficult circumstances. She emphasizes the top three things she concentrates on when a narrative starts spinning out of control: (1) the need for timely responses to stay on top of the news; (2) strategic messaging to minimize potential damage; and (3) staying proactive, rather than reactive, in public communications to turn a possible harmful situation into an opportunity for growth, learning, and deeper connection.

The Future of Celebrity Advocacy

As Hollywood continues to morph with the changing times, the role of celebrities in advocacy is set to expand even further. Emily predicts that more stars will use their platforms not just for personal gain, but to drive awareness and social change. She envisions a future in which public figures will continue to become torchbearers for global causes, leveraging their influence to create purposeful impact. 

However, Emily also warns that with great power comes great responsibility. Celebrities must be mindful of the causes they choose to support—doing their research and due diligence before publicly backing a product or organization—and the potential repercussions of their advocacy. "I applaud public figures who are willing to take a stance and let their audiences see below the veneer of Hollywood's allure. You just have to be very thoughtful about both your words and your actions in a world that's never been more connected or more divided." 

About Emily Reynolds Bergh

Emily Reynolds Bergh is the founder of R Public Relations, a boutique lifestyle agency known for its personalized approach to PR and impressive client outcomes. With over 15 years of experience in the industry, Emily has built a reputation for delivering top-notch PR services to clients in such industries as hospitality, wellness, retail, business, and technology. A New York native, Emily's career journey began as a freelance writer and evolved through pivotal PR roles across major cities like San Antonio, Austin, and San Diego.

Launched in 2016, her agency has grown to operate in five national hubs, offering a blend of storytelling and strategic branding that empowers clients to make impactful connections. Emily is also a recognized thought leader, serving on platforms like the Forbes Business Council and the Entrepreneur Leadership Network. When she's not crafting compelling narratives, Emily enjoys traveling with her husband and their five children, exploring cultural adventures in places both near and far.

How Podcasts Are Becoming Hollywood’s New Development Pipeline


Audio storytelling is emerging as a powerful tool for testing and developing film and television content, as evidenced by a growing number of podcast adaptations. Latino-focused podcast network Sonoro has taken note and is leading the charge.

Hollywood's Billion-Dollar Bet On Adaptations

"The Lord of the Rings: The Fellowship of the Ring." Pictured is Best Supporting Actor nominee Ian ... [+] McKellen (L) as Gandalf with Elijah Wood as Frodo. (Photo by New Line/WireImage)

WireImage

The entertainment industry has long mined various media for adaptation opportunities, from novels to comic books. The strategy has paid off handsomely: according to Box Office Mojo, The Lord of the Rings trilogy grossed $2.9 billion worldwide, while Statista reports that the Marvel Cinematic Universe has generated over $31 billion globally, making it the highest-grossing film franchise to date.

Now, podcasting is positioning itself as Hollywood's latest testing ground for fresh content. "Audio is exciting from a testing standpoint. You can see what resonates with listeners, which characters they love, and what moments drive engagement," says Camila Victoriano, chief content officer at Sonoro.

Camila Victoriano (Sonoro Co-Founder & Chief Content Officer)

Skandia Shafer Sonoro's Latino-First Approach

Since its 2020 launch, Sonoro has focused on creating premium, Latino-focused content that speaks to multicultural audiences often underrepresented in traditional media. The company's U.S. audience primarily falls between ages 25 to 34, with 96% engaging with streaming TV—suggesting significant potential for platforms like Amazon, Apple and Netflix.

"Latinos are not a monolith, so we've made a deliberate effort to bring nuance to our storytelling," Victoriano says. The company maintains partnerships with more than 300 Latino writers, hosts and producers from 14 countries, ensuring authentic representation of the global Latino community.

How Podcast Adaptations Are Becoming Hollywood's Next Gold Mine

Princess of South Beach podcast

Image Courtesy of Sonoro Media

One of Sonoro's standout projects, Zone of Silence, demonstrates the company's innovative approach. This sci-fi podcast, developed with Mario Lopez and Eric Winter, draws inspiration from Mexico's version of the Bermuda Triangle. It serves as a prequel to an upcoming procedural drama—one of nearly a dozen Sonoro projects in active TV and film development. Netflix is also developing a show based on the Sonoro podcast Princess of South Beach.

The podcast-to-screen pipeline has already proven successful in the past. Amazon's Homecoming and Apple's The Shrink Next D oor, starring Will Ferrell and Paul Rudd, showcased how podcasts can attract A-list talent and translate into compelling television. True-crime podcast adaptations have been particularly successful: Wondery's Dr. Death accumulated more than 50 million downloads before becoming a Peacock series starring Alec Baldwin and Christian Slater, while Dirty John's TV adaptation on Bravo drew 2.9 million viewers for its premiere episode.

Data-Driven And Opening Doors For New Voices

What sets podcasting apart is its data-driven approach to storytelling. "When we see episodes that spike in listenership or specific characters that fans love, that informs how we develop the story for the screen," Victoriano explains. This iterative process helps minimize risk and maximize creative potential.

Love and Noraebang podcast by Sonoro Media

Image Courtesy of Sonoro Media

Consider Sonoro's Lavender You, a K-drama-style romantic comedy featuring Randall Park and Justin Min. The podcast topped charts in Mexico, the U.S. and Korea, demonstrating the global appeal of such narratives. "When listeners comment on social media about their favorite moments or characters, we pay attention. This feedback is gold when refining stories for other mediums," says Victoriano.

The medium's accessibility and relatively low production costs make it ideal for testing bold ideas without significant financial strain. For creators from underrepresented backgrounds, podcasting can serve as a powerful portfolio piece. "We're proving these stories can come from writers who have historically been ignored or underestimated," Victoriano notes.

Podcast Listeners Are Reshaping Hollywood's Future

The potential for growth appears substantial. Pew Research reports that as of 2023 approximately 42% of Americans over 12 listened to a podcast during the past month, with numbers expected to rise. As the entertainment industry continues its search for fresh, engaging content, the role of podcast adaptations in the development pipeline seems poised to expand.

"Audio is just the start," Victoriano says. "The real magic happens when these stories come to life across mediums, reaching audiences in ways we never thought possible."

Celebrity kids who’ve found love with other nepo babies


Meet Hollywood's nepo baby couples — and exes. WireImage

Hollywood's next generation is finding love — with each other.

Kaia Gerber, Miley Cyrus and more celeb offspring have made headlines for dating fellow nepo babies over the years.

The former, who stepped out with Lewis Pullman in January 2025, previously spoke to Elle about the role nepotism played in her modeling career.

Many A-list offspring have found love together. Daniele Venturelli/Getty Images Some have even made it down the aisle. Tonyhawk/Instagram

"No artist is going to sacrifice their vision for someone's kid. That just isn't how art is made, and what I'm interested in is art," Cindy Crawford's daughter said while acknowledging that nepotism "is prevalent."

However, she claimed, "I think if it actually was what people make it out to be, we'd see even more of it."

Keep scrolling to meet Gerber's beau and more A-list kids who have coupled up — and find out which ones made it down the aisle.

Kaia Gerber and Lewis Pullman Kaia Gerber and Lewis Pullman went public with their romance in January 2025. TheImageDirect.com The outing came on the heels of the model's breakup from Austin Butler. Kevin Mazur/Getty Images for W Magzine Want more celebrity and pop culture news?

Start your day with Page Six Daily.

Thanks for signing up!

Weeks after news broke about her split from Austin Butler, Gerber was photographed cozying up to actor Lewis Pullman on a Los Angeles date night.

The "Lessons in Chemistry" star is the son of Bill Pullman, an actor best known for "Spaceballs" and "Independence Day."

"They've been spending time together the last few weeks," People reported in January 2025, with a source calling the "cute couple … very low-key."

Rainey Qualley and Lewis Pullman The actress previously dated Rainey Qualley. FilmMagic The duo got together in 2020 and were broken up by 2023. Getty Images for Bulleit Frontier Whiskey

Before his romance with Gerber, Lewis was linked to Andie MacDowell's daughter Rainey Qualley.

The duo started dating in September 2020, making their red carpet debut at the "Top Gun: Maverick" premiere nearly two years later.

While it is unclear when the pair split, Qualley stepped out with musician Kane Ritchotte in August 2023.

Brooklyn Beckham and Nicola Peltz Brooklyn Beckham and Nicola Peltz are married. AFP via Getty Images Their relationship began in 2019. Instagram/@nicolaannepeltzbeckham

David Beckham and Victoria Beckham's eldest son, Brooklyn Beckham, started dating Nicola Peltz in 2019.

The actress is the daughter of billionaire businessman Nelson Peltz and former model Claudia Heffner Peltz.

Brookyln proposed to Nicola in the summer of 2020, and the couple wed in Florida nearly two years later.

Frances Bean Cobain and Riley Hawk Tony Hawk's son married Kurt Cobain's daughter in 2023. thespacewitch/Instagram Riley Hawk and Frances Bean Cobain share a son. Tonyhawk/Instagram

In February 2022, Kurt Cobain and Courtney Love's daughter, Frances Bean Cobain, confirmed her relationship with Tony Hawk's son Riley Hawk.

The professional skateboarder was present at the couple's October 2023 wedding.

They welcomed a baby boy named Ronin in September of the following year.

Jasmin Lawrence and Eric Murphy Eddie Murphy's son and Martin Lawrence's daughter are engaged. Jasmin Lawrence/Instagram Eric Murphy proposed to Jasmin Lawrence in 2024. Getty Images

Martin Lawrence's oldest daughter, Jasmin Lawrence, and Eddie Murphy's eldest son, Eric Murphy, announced their engagement in December 2024 after three years together.

"God truly blessed us with a love that feels like destiny," the pair captioned a joint Instagram reveal. "We couldn't be more excited for this next chapter. Special thank you to everyone who made this moment so beautiful!!"

Before Eric's proposal, Martin joked on "Jimmy Kimmel Live!" about "try[ing]" to get Eddie to pay for the nuptials — but later confirmed to "Sherri" viewers that he would foot the bill himself.

Grace Gummer and Mark Ronson Grace Gummer and Mark Ronson have started a family together. Getty Images for The Recording Academy They have been engaged since 2021. WireImage

Meryl Streep's daughter Grace Gummer began dating Mark Ronson in 2020, getting engaged the following year.

Ronson, notably, is the stepson of Foreigner guitarist Mick Jones.

The couple became parents in 2023, and news broke in December 2024 that Gummer is pregnant with their second child.

Iris Apatow and Ryder Robinson Ryder Robinson and Iris Apatow dated in 2022. Instagram/@risapatow Kate Hudson's son and Leslie Mann's daughter did not publicize their breakup. Instagram

Kate Hudson's eldest son, Ryder Robinson, confirmed with a since-deleted — and PDA-packed —Instagram post in February 2022 that he was dating "Euphoria" star Iris Apatow.

Her parents are actress Leslie Mann and director Judd Apatow.

It is unclear when the then-teens ended their romance.

Lily Collins and Charlie McDowell Lily Collins wed Charlie McDowell in 2021. lilyjcollins/Instagram The actor proposed the previous year. Corbis via Getty Images

Lily Collins, who is singer Phil Collins' daughter, began dating Charlie McDowell in the summer of 2019.

McDowell's parents are actor Malcolm McDowell and actress Mary Steenburgen.

The couple got engaged in September 2020, tying the knot the following year in Colorado.

Trevor Lukather and Madison Cain Toto's Steve Lukather and Journey's Jonathan Cain's children found love. Instagram/@trevlukather Trevor Lukather and Madison Cain tied the knot in 2022. Instagram/@trevlukather

Toto's Steve Lukather and Journey's Jonathan Cain's respective children Trevor Lukather and Madison Cain got married in December 2022.

The pair told People at the time that their romance began four years prior when Madison sent Trevor a direct message via Instagram.

Their friends and family members were present when Trevor proposed in October 2020.

Miley Cyrus and Patrick Schwarzenegger Miley Cyrus dated Patrick Schwarzenegger in 2014. WireImage The pair called it quits the following year. Getty Images

Miley Cyrus began dating Patrick Schwarzenegger in the fall of 2014.

They were broken up by April of the following year, with a source explaining to People that the duo "were at two different places" in life.

The former Disney Channel star's dad is Billy Ray Cyrus, while her then-boyfriend's parents are actor Arnold Schwarzenegger and Kennedy family member Maria Shriver.

Phoebe Gates and Arthur Alistair Donald Bill Gates' youngest daughter is dating Paul McCartney's grandson. FilmMagic Phoebe Gates debuted her romance with Arthur Alistair Donald in 2024. FilmMagic

When Bill Gates' daughter Phoebe Gates graduated from Stanford University in June 2024, she documented the experience for Nylon — and confirmed her romance with Arthur Alistair Donald.

Her boyfriend is one of Paul McCartney's grandsons.

The couple sparked dating speculation in October of the previous year when she posted a cuddly snap via Instagram.

Riley Keough and Alex Pettyfer Alex Pettyfer proposed to Riley Keough in 2012. DC The duo were an item from 2011 to 2013. Brooks/INFphoto.com

Elvis Presley's granddaughter Riley Keough dated — and was briefly engaged to — Alex Pettyfer from 2011 to 2013.

The "I Am Number Four" star's dad, Richard Pettyfer, is a fellow actor.

Alex and Keough reflected on the romance in a 2018 Radio Andy interview, with the former saying he experienced "love at first sight."

Emma Roberts and Alex Pettyfer The actor previously dated Emma Roberts. ©BIG PICTURES/BAUER-GRIFFIN.COM The co-stars met on the "Wild Child" set. WireImage

Before his relationship with Keough, Alex dated actor Eric Roberts' daughter — and "Pretty Woman" star Julia Roberts' niece — Emma Roberts.

The couple met while filming "Wild Child" in 2008.

Two years later, Alex seemingly admitted to having Emma's name tattooed on his finger, which he didn't "regret" despite their split.

Nat Wolff and Margaret Qualley Nat Wolff and Margaret Qualley began dating in 2013. WireImage By August 2017, they were no longer an item. WireImage

MacDowell's youngest daughter, Margaret Qualley, began dating Nat Wolff in 2013 after they met filming "Palo Alto."

Wolff is the son of actress Polly Draper.

Margaret's split from the Naked Brothers Band member became clear in August 2017 when a British Vogue profile referred to the actor as her ex.

Nat Wolff and Grace Van Patten Wolff moved on with Grace Van Patten. Kristina Bumphrey/StarPix The couple ended their romance in 2021. Getty Images for Amazon Studios

Wolff went on to date director and producer Timothy Van Patten's daughter Grace Van Patten.

While it remains unclear exactly how many years the couple were together, they called it quits in 2021.

Van Patten has since moved on with her "Tell Me Lies" co-star Jackson White.

Romeo Beckham and Gray Sorrenti Romeo Beckham and Gray Sorrenti made their romance public in the fall of 2024. BACKGRID Their dads, respectively, are athlete David Beckham and photographer Mario Sorrenti. Getty

In October 2024, Victoria and David's son Romeo Beckham confirmed his romance with Gray Sorrenti by showing PDA in New York City.

Sorrenti's father is famed photographer Mario Sorrenti.

The pair sparked romance rumors a month prior with a Paris Fashion Week appearance and flirty Instagram activity.

Music Industry Moves: Sony’s 19 Entertainment Hires Joey Arbagey as Head of Music


Joey Arbagey has joined 19 Entertainment, the Sony Pictures Television company led by Eli Holzman and Aaron Saidman, as executive vice president of music.

Joining 19 Entertainment from Epic Records, where he spent a decade and most recently served as executive VP of A&R, Arbagey will oversee the music business connected to "American Idol." Arbagey will support the music division, overseeing 19 Recordings, 19 Publishing, and 19 Management, as well as related partnerships, including with distribution partner BMG. He will report to Holzman and Rachel Dax, SPT Nonfiction's president and executive VP of production, respectively.

In a joint statement, Holzman and Dax said, "We are so glad to bring Joey aboard as we work to evolve our music division to address the needs of artists in the music industry of today. He is an outstanding executive with a strong track record across both the business and creative sides of the industry. His input will be invaluable as we continue to build the legacy of one of the most iconic institutions in music."

Arbagey said, "I couldn't be more excited to join Eli, Aaron, and Rachel, and the rest of the 19 Entertainment team, particularly at this moment. They've built a music division with a roster that speaks for itself, and I look forward to working with them and our partners as we aim for even greater heights with our next chapter."

As executive VP of A&R for Epic Records, Arbagey oversaw the creative campaigns for artists including Camila Cabello, Mariah Carey, John K and Eddie Benjamin.

+ In partnership with Mom+Pop Music, Thaddeus Rudd and Michael Goldstone have launched the creative and digital agency Pipes Music. Pipes is working with artists on Mom+Pop and other independent artists, both signed and unsigned, to provide content creation and social media campaign strategies.

Goldstone said, "Pipes is constructed differently than most agencies in the music space. By bringing in all of the creative elements together, Pipes will streamline a sometimes daunting and arduous process for the artists. Our vision is that artists will value the expertise and support, helping them lean in artistically in order to maintain their unique aesthetic and musical point of view across platforms."

Rudd added, "As an independent label, we need to constantly have the flexibility to support artistry where it lives now. It's no longer a world of "when's the single and tour coming. Supporting artistry is what our purpose is, so we are always looking at ways to be current, vibrant, and dynamic on our artist's behalf." 

Sullivan Brock is set to lead Pipes' creative department; Emily Ferrell, formerly of Creed Agency, oversees UGC campaigns and leads Pipes' digital marketing wing; Ella Parent and Shae Hicks are also part of the Pipes team and will work with Ferrell on UGC campaigns. 

+ Warner Music Hong Kong has appointed Robin Ch'i as managing director, effective immediately. He will report to Simon Robson, who oversees Warner Music Group's recorded business in the APAC region until a permanent appointee is chosen.

Gordon Lee, an industry veteran who has served as managing director since 2003, will be retiring after two decades in the role. Ch'i steps into the role after a 15-year career on the label side at Warner Music Group (WMG), starting as an A&R Manager and most recently serving as director, A&R, brand and business. Prior to that, he worked for four years as a creative executive at Warner Chappell Music, the music publishing arm of WMG, where he developed a strong eye for emerging artists.

Lee said, "Music has always been a source of magic for me; it's not just my career, but a passion that enriches my life. I'm grateful to everyone at Warner Music Group, especially my dedicated team, whose support has been invaluable. I also want to thank our artists for their trust, allowing us to help them realize their dreams. I have personally chosen Robin as my successor; he has been closely involved in the development of many artists and the business alongside me, and I am confident he will excel in this role."

Wednesday, Jan. 22

Sony Music Publishing has launched its new flagship office in Thailand with Tatchara Longprasert joining as general manager, effective immediately. Based in Bangkok, Longprasert reports to Carol Ng, president, Asia, Sony Music Publishing.

SMP Thailand is the first international publisher to have a dedicated local team providing full publishing services in Thailand. Longprasert comes to SMP after serving as A&R director at Sonray Music, a Thai record label and entertainment agency. Prior to that, he held roles at Warner Music Thailand and BEC World PLC (Thai Television Channel 3) and began his career at S.M. Entertainment on the international business team.

"Thailand has a rich tapestry of sounds and stories," said Ng. "With the fast-paced growth of Thai repertoire, more and more artists are looking for a dedicated music publishing company, with high value global networks and expertise, to look after the publishing side of their work. We look forward to welcoming many talented and creative songwriters to SMP Thailand and enabling their work to be heard globally."

Added Longprasert, "I am very excited to be a part of this new journey in Thailand, which will allow us to support local talent whilst expanding their global network. We're dedicated to advancing the integrity of music publishing, ensuring fair and transparent practices, and providing the best support to songwriters and composers in Thailand. This is a significant step, and we are proud to contribute to the ongoing growth of the Thai creative community."

+ Manager Justin McIntosh has launched his own JTMC Entertainment, bringing on Kristin Chenoweth as a client. McIntosh will also continue to manage with Reba McEntire, whom he's represented since 2023.

"2025 marks my 20-year anniversary of working in this business, and I am thrilled to start the next chapter of my career with an artist like Kristin Chenoweth," said McIntosh. "Much like Reba, she reaches far beyond just one medium of entertainment, and I am so excited to continue expanding upon the incredible legacy she is building."

Chenoweth is widely known for her iconic original role as Glinda the Good Witch in Broadway's "Wicked," recently making a cameo in the 2024 blockbuster film starring Ariana Grande and Cynthia Erivo. She also starred in the 2024 Netflix holiday film, "Our Little Secret," alongside Lindsay Lohan and Ian Harding.

Chenoweth is poised to make her Broadway return with "The Queen of Versailles," reuniting with "Wicked" composer and lyricist Stephen Schwartz. The production is inspired by the true story of Jackie Siegel, a wealthy socialite who set out to build a home modeled after the Palace of Versailles.

Prior to Starstruck, McIntosh worked at Big Machine Label Group, where he worked across digital and marketing campaigns for the label's roster.

+ Publicist Collin Citron has rejoined his former colleagues Bobbie Gale and Luke Burland at 2b Entertainment in Los Angeles.

"While not quite on a par with the seismic Led Zeppelin reunion of 2007 or the Moai Statues being reunited with Easter Island," says Gale, "Collin reuniting with Luke and me is nevertheless a red letter day."

Most recently, Citron was a senior director of publicity at Elektra Records, a role he had held since 2018. There, he worked closely with such artists as Bailey Zimmerman, Panic! at the Disco, All Time Low, Fitz and the Tantrums and others. He began his career in 2014 at BB Gun Press, which merged with MixedMediaWorks in 2023 to form 2b Entertainment.

+ Prescription Songs has added Nico Stadi to its roster via a joint venture with fellow Rx producer Vaughn Oliver. Stadi was brought to the company by Prescription Songs A&Rs Andrea Doman and Rhea Pasricha.

Stadi, a Los Angeled-based producer, has collaborated with numerous pop artists including Justin Bieber, Jason Derulo, Khalid, and Ne-Yo, among others. Among his notable credits, Nico co-wrote and produced Khalid's "Softest Touch," in addition to co-writing and producing "Children" and "Get Used To It" on Bieber's "Purpose." Elsewhere, he co-wrote, produced, and mixed "Real Groove" and "Miss A Thing" on Kylie Minogue's "Disco."

Dorman added, "We're so excited to start this next chapter with Grammy-nominated producer and songwriter Nico Stadi, our first signing in partnership with our multi-platinum and Grammy-nominated producer, Vaughn Oliver. Nico brings such a rich base of musical knowledge to his work, and we're looking forward to building on those efforts and creating even more success with him as a team moving forward."

+ The Country Music Association (CMA) has invested $600,000 in six music industry-affiliated organizations operating in the mental health space: Amber Health, Backline, ECCHO Live (formerly Touring Career Workshop), Music Health Alliance, MusiCares, and Porter's Call will each receive $100,000 to strengthen critical infrastructure needs as they work to meet the growing demand for mental health resources.

"We strongly believe in supporting the heart of our industry—our people," said Sarah Trahern, CMA chief executive officer. "This investment demonstrates CMA's commitment to addressing the growing demand for mental health resources within our business, whether that means counseling, healthcare advocacy, financial guidance, substance abuse care, disaster relief, or even basic living needs. We've seen firsthand the devastation and emotional impact caused by the recent Los Angeles wildfires and the catastrophic flooding brought on by hurricanes in parts of North Carolina, Tennessee and Florida a few months ago. The organizations we've partnered with are on the front lines of all aspects of mental health, and by partnering with each of them, we're doing our part to support the vital work they do every day."

CMA has launched an online mental health hub to serve as a comprehensive portal for industry members and offering information on accessing mental health and wellness support through the six partner organizations. .

+ Cuban singer-songwriter and producer WhiteStar has signed a label deal with Pitbull's Mr. 305 Records.

White Star is known as a reggaeton, guaracha, dembow and EDM artist and producer with credits on Farruko's "Pepas," Sech's "Relación (Remix)" (with Daddy Yankee and Rosalía) and "Helicóptero," by El Alfa, among others. He also contributed to Anitta's Grammy-nominated "Funk Generation" album and J Balvin's "Rayo."

"Joining Mr. 305 Records is a blessing and a dream come true," WhiteStar shared. "I always knew I had the potential to be a star and this is the right time to focus on my solo career. I'm excited to work alongside a label that I've always admired and that has been a pillar in my development as a composer."

+ Soundstripe, the Nashville-based music licensing company, has acquired The Rights, a technology startup founded in 2021. The Rights helps to streamline the sync licensing process — also providing tools for rights holders to set pricing and secure approvals in a single transaction — for music labels, publishers and supervisors. With this acquisition, Soundstripe aims to accelerate its click-to-license platform, slated to launch in the first half of 2025.

"The Rights and Soundstripe share a deep commitment to empowering creatives and rights holders with solutions that make music licensing faster, easier, and more accessible," said Soundstripe co-founder Travis Terrell. "This acquisition represents a significant step forward in our shared mission to simplify and scale the licensing process for everyone involved."

"We are thrilled to bring our innovative technology platform to Soundstripe and its large user base of creators, agencies, and brands," said Tres Williams, founder and CEO of The Rights, who will join Soundstripe in an advisory role. "Combining forces will accelerate our mutual goal of unlocking music licensing at scale, allowing artists and rights holders to benefit from the increasing demand for sync licensing in online media, advertising, podcasts, and other creative productions."

+ SX Works Global Publisher Services, a SoundExchange company, has signed a new deal to support Fender Play, the complete online learning app for guitar, bass and ukulele, with its global licensing and administration needs.

This partnership will support Fender Play's administrative and licensing efforts, ensuring Music Publishers, Collective Management Organization (CMO)'s, Performing Rights Organizations (PRO)'s and their respective music publishers and songwriters receive accurate compensation for the use of their works.

Tuesday, Jan. 21

Karol G and her Con Cora Foundation are hosting a benefit charity gala, "Con Cora Land," set to take place on Feb. 22 in Miami.

The fundraising event will support the foundation's Casa Con Cora initiative, which provides a range of tools — from financial aid to psychological and legal support — to empower women to follow their passions.

"I am so excited for 'Con Cora Land,' the first annual gala for my foundation," said Karol G in a statement. "When we started Con Cora, my goal was to empower women and girls to transform their dreams into reality, regardless of their background. 'Con Cora Land' will be a special space where we can recognize our accomplishments, raise awareness of the impact we've made, and look ahead to the incredible journey ahead."

The inaugural event will include live performances on "specially curated" stages, according a press release issued Tuesday. There will be an online and live auction, where fans can support the initiative during the gala and up until March 12. Those interested in participating in the auction can pre-register to ensure a spot.

Fans can also enter to win a ticket to the event in Miami by donating to the Con Cora Foundation's "Every Dollar Counts" initiative. For every dollar donated, participants will receive entries into a raffle for a chance to win a double ticket to attend "Con Cora Land." Winners will be selected through the Con Cora Foundation's Instagram account (@concorafoundation) and be notified via email.

"'Con Cora Land' is a powerful reflection of our mission to empower women and girls to pursue their dreams," said Valentina Bueno, executive director of the Con Cora Foundation. "We're incredibly excited to bring this event to life—it's been a long time coming. It's a reflection of Latin culture and family, while also creating opportunities for women to thrive in fields like technology, arts, and leadership. We can't wait to unite our supporters and raise awareness for the incredible work ahead."

+ Concord has promoted Megan Hall to the position of senior VP of business and legal affairs for Concord Music Publishing.

Based in Concord's London office, Hall will continue to report to the executive VP of business and legal affairs, Duff Berschback, and lead the UK-based legal team responsible for Concord's catalog of commercial music. She will oversee the global sub-publishing network for that repertoire, and manage Concord's relationship with Concord's multi-territory digital licensing agent, ICE.

Hall joined Imagem Music in 2013 and continued with Concord after its acquisition of Imagem in 2017. She began her career at the law firm DMH Stallard working with the firm's commercial team. She also spent time as in-house counsel at Ministry of Sound, and on the business and legal affairs team at Sony Music Publishing.

"Megan has accrued such a deep knowledge of the global music publishing environment and has consistently proven herself an asset to Concord's legal and executive teams. I am thrilled for her to take on this new challenge," said Berschback.

+ Verve Records and Impulse! Records have announced the launch of the Verve Record Club (VRC), a premium vinyl subscription service.

Set for February, the Club will offer members exclusive access to rare and reissued recordings crafted from analog sources and pressed on 180-gram vinyl at RTI, packaged in numbered, tip-on jackets. The first release is from the John Coltrane Quartette's 1962 album, "Coltrane."

Additional perks include an annual member-exclusive release, early access to upcoming titles, and unique merchandise.

"This is more than a subscription service; it's an entryway into the heart of jazz history," said John Pinder, VP of revenue and consumer acquisition for Verve Label Group. "With the Verve Record Club, we're inviting fans to rediscover these extraordinary recordings in a way that honors their artistry and legacy, with the highest quality sound and presentation."

"Jazz vinyl collecting has never been more vibrant", added Ken Druker, senior VP jazz development of Verve Label Group. "We're thrilled to bring these classics—and some hidden gems—back to life with an exhaustive attention to detail. It's an exciting time for jazz fans everywhere."

+ Reservoir Media has acquired the publishing catalog of Lastrada Entertainment, who represents over 5,600 compositions, across all genres dating back to the 1960s through to contemporary songs: such hits as Captain and Tenille's "Love Will Keep Us Together," Jim Croce's "Bad, Bad Leroy Brown" and "Time In A Bottle," among others.

Lastrada was founded by Herb Moelis in 1987, and is spearheaded today by his sons Stephen Moelis and Larry Moelis. The catalog also features songs performed by the likes of Neil Sedaka, Dolly Parton, Glen Campbell, the Carpenters, Pitbull, Eminem, Notorious B.I.G., Leon Bridges and H.E.R.

Reese’s Thinks Candy Can Crush Celebrity Super Bowl Commercials


Super Bowl commercials and popular celebrities go together like peanut butter and chocolate. So how come there's no famous face putting a spotlight on Reese's candy during the Big Game?

A new Super Bowl ad for the Hershey's-backed treat will show fans taking extreme measures at the site of an active volcano to taste lava, clearly confused after the introduction of a new version of Reese's that has chocolate lava. There is a 94-year-old woman among the crowd who gets into an interesting mix-up, but there are no movie stars, no sports figures, no politicians.

"I don't think we want to share the stage with someone else, you know?" says Ryan Riess, vice president of brand strategy and creative development, The Hershey Company, during a recent interview. "I think there are definitely times to use celebrities, but the Super Bowl is one where our goal is to have Reese's be the star."

Reese's will rely on a strategy that is embraced with less frequency each year. The current norms for Super Bowl advertising make the use of celebrities almost de rigueur. Thanks to exploding costs for commercial time — Fox has sought from over $7 million to more than $8 million for a 30-second slot — advertisers need assurances that their promotional messages will get noticed. Celebrities tend to help.

Indeed, the use of popular actors, musicians and other notables has increased notably since 2020, according to research done by Kim Whitler, an associate professor of business administration at the University of Virginia's Darden School of Business, who leads a research team that has analyzed more than 500 Super Bowl commercials from between 2015 and 2024. In addition to enlisting stars, advertisers are trying to pair them in interesting ways, resulting in a 150% increase in so-called "generational mash-ups" that group celebrities from multiple age demographics

Still, all the famous faces seem to blur together on the night of the event. In 2024, for example, Super Bowl viewers saw Danny DeVito join Arnold Schwarzenegger for State Farm; Pete Davidson work with Kate McKinnon for Hellmann's; Heidi Gardner and Dan Levy pair up for Homes.com; and Chris Pratt pitch Pringles. Christopher Walken, Jeff Goldblum, Aubrey Plaza and Ice Spice were also on hand, as were cast members of "Saturday Night Live," such as Heidi Gardner for Homes.com. There have already been revelations for this year's crop of commercials, including Willem Dafoe and Catherine O'Hara for Michelob Ultra and, in what will likely generate some attention, Billy Crystal and Meg Ryan reprising their roles from the popular 1989 film "When Harry Met Sally."

Focusing on something funny or zany instead might seem counterintuitive, says Hershey's Riess, but it also just might stand out. "It's like there's a bunch of black umbrellas, but then there's the red one, right?"

Other members of the 2025 ad roster will embrace the tactic. Hims & Hers, the telehealth upstart, will focus on the problems of obesity in the U.S., using a minute-long spot that features a collage of different images focused on the dangers of being overweight. "We are not trying to make you laugh or just make you remember the celebrity," says Dan Kenger, the company's chief design officer. "Our hope is that it will cut through the noise and that it will resonate with people in a bit of an authentic way."

Reese's has grown accustomed to running in the Super Bowl on its own steam. Last year, it relied on an assortment of regular-looking people screaming in delight or agony upon hearing about Reese's Caramel Big Cup. Some threw themselves out windows or on top of tables. In 2020,  Reese's used the Super Bowl to spotlight the Reese's Take5 candy bar, which combines chocolate, peanuts, caramel, peanut butter, and pretzels. Erich & Kallman, an independent agency based in San Francisco and Austin, has worked on all Super Bowl efforts this year and last, while Dentsu was behind Take5.

Reese's has a little extra sugar that other marketers may not. Reese's is the company's top-selling brand, says Riess, and has 50% penetration among consumers and is available at all kinds of stores, so anyone who sees the commercial can find the candy quickly. "It's not tough to sell to people," he adds.

Because Reese's is easily recognized by consumers, the executive says, its commercials can spend more time entertaining them than trying to catch their attention. In the new Super Bowl ad, "every single beat matters, and we keep the energy," Riess says. "I want you to have fun all 30 seconds, you know?" The company is betting that chocolate, peanut butter and a group of kooky characters will be enough to carry the day.

Hollywood's new formula: Fewer TV shows


  • Scripted TV production is off 25% from its peak, per industry data firm Ampere Analysis.
  • Ampere expects spending on entertainment content from the major players to be flat in 2025.
  • Streamers are shifting some spending to sports content.
  • Hollywood's production slowdown may be the new normal.

    Many entertainment insiders started 2024 hopeful that production levels would recover following the twin labor strikes of 2023 and the broad industry correction in 2022.

    Now, the first full year since the strikes has ended. So, where is the industry? New data from the UK-based industry tracker Ampere Analysis shows first-run scripted TV series orders in 2024 were down about 25% from 2022, when 3,108 shows were ordered industrywide at the height of Peak TV. Ampere said the decline was roughly consistent across geographic regions and company types.

    What's more, Ampere expects the entertainment content outlay by the industry's top spenders to be essentially flat moving forward. Ampere estimated that total entertainment content spending, excluding sports, by the six big media companies — Netflix, Amazon, Disney, Apple, Paramount, and Warner Bros. Discovery — would be flat at $98 billion in 2025, with growth largely coming from Netflix and Amazon. Netflix, for one, revealed that it would increase its content bill to $18 billion in 2025, up from $17 billion last year.

    "The industry realized they could survive on 75% of peak," said Guy Bisson, Ampere's executive director. "In 2024, everyone has leveled out to the strike-year level."

    Production tracking firm ProdPro similarly found that TV production declined about 20% in 2024 versus the non-strike year 2022. ProdPro said film production was down 4% over the same period. The company tracks global production by major US-based companies.

    ProdPro CEO Alexander LoVerde said 2024 showed a solid improvement from 2023 but was still down from Peak TV's high. He added that 2024 signaled a new baseline as networks and streamers adapt to tighter budgets.

    The six major streamers are also spending more on sports, which can attract big audiences and ad dollars. Ampere estimated that spending on live sports by those streamers would reach $28 billion in 2025, a jump of 28% from 2022.

    WBD called Ampere's data inaccurate without sharing specifics. "Content spend at Warner Bros. Discovery continues to be robust across film, television, news, sports, and streaming, with the company spending more this year than last and that trend projected to continue in the coming years," a spokesperson emailed.

    Ampere also expects Netflix, Amazon, and Disney to rely more on licensed content over time compared with originals. Around half of Netflix's viewing comes from licensed content, the company said in its first "Engagement Report," which was released in January 2024. Disney also saw a big uptick in licensed content spending in 2024, after it fully acquired Hulu in late 2023.

    Crime and drama are the most popular genres

    In TV, Ampere found that crime was the most popular genre, accounting for 25% of scripted commissions by the six major streamers last year. It was followed by drama (19%) and romance (17%). Comedy and action orders increased the most — each was up about 60% year over year — while children's series fell the most at about 45%.

    The shift toward overseas commissioning continued in 2024. Ampere said that for the second year in a row, the six major streamers ordered more first-run series in Western Europe than in North America. Asia showed its growing importance, overtaking North America in orders in 2024.

    LA has also been losing some ground as the epicenter of TV and film production. FilmLA, which issues permits for Los Angeles, reported that shoot days declined 5.6% year over year in 2024, reaching the lowest level it had recorded outside 2020 when the pandemic halted production.

    Hopes for a huge rebound have fizzled

    ProdPro said that signs of sluggishness in 2024 started to appear mid-year. It was an especially tough year for reality TV and celebrity-fronted production companies that raised money at big valuations.

    In the industry, a widespread belief was that productions were being stalled in anticipation of a possible third strike — this time by crews — which was ultimately avoided. Many in Hollywood clung to the mantra "survive till '25," hoping production would bounce back this year.

    Ampere doesn't think this will be the case, characterizing the current production level as the new normal.

    LoVerde of ProdPro sounded a more optimistic note.

    "With healthier financial foundations, we expect streaming platforms to reinvest in content, laying the groundwork for steady growth in 2025 and beyond," LoVerde said.

    Bill Burr admits he was actually pissed about Billy Corgan ambush, calls Howie Mandel a 'Hollywood whore'


    Bill Burr still has some anger to work through... and it's all directed at Howie Mandel.

    While appearing on a recent episode of Howie Mandel Does Stuff podcast, Burr was treated to an unwanted therapy session when the host brought out Billy Corgan, the Smashing Pumpkins guitarist who months ago revealed that the duo might be related. 

    "Howie did what he did because he is a Hollywood whore and he doesn't care what happens," Burr told Rich Eisen on Monday, while reflecting on the ambush. "He could've said something and he just brings up all that weirdness."

    The origins of the incident dates back to Mandel's November conversation with Corgan, where the musician revealed that his stepmother once said to him: "Do you know who Bill Burr is? Bill Burr might be one of the children that your father sired in his days being a traveling musician." So when Burr visited the studio for his own episode, Mandel had the idea to call in Corgan for a surprise "family reunion."

    Asked if he was genuinely "pissed" at Mandel, Burr pointed out that he doesn't usually talk about such personal aspects of his life.

    Bill Burr.

    Dia Dipasupil/Getty 

    "Billy's fine. That's the first time I ever met him and it was fine or whatever, but I did not appreciate what Howie did," he continued. "Not at all."

    Despite the lasting tension, there might still be hope for Burr's relationship with Mandel.

    "He's Howie, so he's sorta hard to hate," Burr admitted. "How do you hate a germaphobe? He's like, not threatening. He just walks with his arms in so he doesn't rub against curtains that he owns... He's a strange man."

    Sign up for Entertainment Weekly's free daily newsletter to get breaking TV news, exclusive first looks, recaps, reviews, interviews with your favorite stars, and more.

    Burr extended no such grace in the moment though. During the podcast recording, he made it abundantly and immediately clear that he was not happy about being blindsided. As soon as Corgan entered the room, Burr called Mandel an "a--hole."

    "He told me you were cool with me coming," Corgan insisted, to which Burr was unsurprised, replying, "That's what he does."

    Before long, the duo fully turned against Mandel. Burr tore into him for setting up the encounter in the name of "ratings," quipping, "What was supposed to happen? Are we going to go play catch? We're both in our 50s." 

    Corgan piled on, commenting, "This is some Dr. Phil s--- you got going on."

    As for the brotherly bonding, Burr told Mandel, "I think we're kind of on the same page in thinking you're kind of a d--- right now."

    Bill Burr & Billy Corgan on 'Howie Mandel Does Stuff'.

    Howie Mandel/YouTube

    Mandel eventually admitted, "This is just uncomfortable." He added that he was hoping for a "warm interaction."

    "It's not that I don't want to," Burr said of finally meeting Corgan. "It's just… I don't think this was the situation. But I am happy that I've evolved enough as a person that I'm able to f---ing handle this."

    He continued berating Mandel, adding, "You're not the guy to do this. This is outside your skillset. Because the first thing you needed to do was to actually give a f---, and you don't because everything is funny to you."

    Mandel eventually left the room to give the men some privacy — with the camera still rolling, of course — and they did touch upon the subject of their "relationship with dad," comparing the different details they knew of his life.

    "At some point, it did become funny to me that he did have multiple families. There was something wild about that," Burr noted at one point, then said, "I'm kind of forgetting that we're on a  podcast."

    But even the heart-to-heart led the duo back to making fun of Mandel.

    At least we broke the cycle," Burr said towards the episode's end. "At least we're not on some awful network show judging plate spinners, or whatever the f--- Howie's career has become," he quipped, mocking the host's America's Got Talent gig.

    Watch Burr discuss the ambush on The Rich Eisen Show below.

    Thursday, January 30, 2025

    Anthony Mackie Says ‘Chill the F— Out’ Over Comparing Red Hulk to Donald Trump, Responds to Fan Who Called Him the ‘Rudest Celebrity’


    Anthony Mackie told Esquire magazine in a new cover story that playing Captain America "is my Oscar because I've been overlooked so many times in my career." The actor says there are least four performances of his that deserved award nominations ("Brother to Brother," "Half Nelson, "The Banker" and "The Hurt Locker"), and yet he was snubbed every time. So he's making "Captain America: Brave New World" his Oscars moment, as he's finally leading a Marvel tentpole after 11 years in the franchise.

    "The expectations of what comes along with this role is something that nobody talks about," Mackie told the magazine about becoming Captain America. "Nobody really acknowledges the mental jousting that takes place. When I walk out of this hotel, I don't walk out of this hotel as Anthony Mackie. I walk out of this hotel as Captain America."

    Mackie said "Brave New World" is "literally the best movie it can be," adding: "It stays in the lines of Marvel. It stays in the lines of Captain America, and it's fun and it's big." But one thing the actor is not looking forward to is the politicization of the Marvel tentpole. After all, "Brave New World" stars Harrison Ford as the U.S. president who transforms into the volatile Red Hulk. Comparisons to Donald Trump were likely inevitable and have already become a regular thing online prior to the movie's theatrical release.

    "I hope, as a country, we're tired of all the political jousting," Mackie said when asked if fans making inevitable comparisons between Red Hulk and Trump, especially now that the latter is back in the White House. "Let's just go to the movies and chill the fuck out. We could've made this motherfucker yellow and it would've been a problem."

    Esquire also asked Mackie about another online discourse that emerged in recent months, one that claims Mackie is the "rudest celebrity" some fans have met in real life. One story that went viral on social media was told by a young woman who claimed that Mackie once pulled up in a "huge fucking truck" next to her at a gas station, started smoking a cigar and then rejected her when she tried to engage with him as a fan.

    Per Esquire: "Mackie recalls the interaction differently. He was already having a bad week — someone had recently found his phone number. One hundred twenty missed calls. AI death threats. He pulled into the gas station and this woman 'jumps out of the car and I simply looked at her and said, "No,"' he recalls. Plus, he adds, another hole in the story: What idiot smokes next to a gas pump?"

    Head over to Esquire's website to read Mackie's cover story in its entirety.

    The Oscars are Hollywood’s infomercial. But the awards and movies are getting more niche


    At its core, the Oscars telecast is supposed to serve as a three-hour infomercial for the movie business. But celebrating the year in film is a challenging task at a time when the motion picture industry is hardly in a celebratory mood.

    It's not just the devastating Los Angeles wildfires, which destroyed the homes of many who work in movies and TV, both above and below the line, and which have cast a grim shadow over Hollywood's awards season economy. This at a time when a sluggish box office and a lack of employment in onscreen entertainment has already given the business a sickly Nosferatu-like pallor.

    It doesn't help that, by general consensus of those who've spoken with The Wide Shot, that the group of 10 best picture nominees for the 97th Academy Awards is a bit underwhelming.

    With no billion-dollar blockbusters in the mix, this definitely isn't a "Barbenheimer" year. At the time of Thursday morning's nominations announcement, this year's crop had grossed $1.7 billion worldwide, down 37% from the prior year's $2.7-billion global haul, my colleague Josh Rottenberg reported. The lion's share of this year's box office tally comes from Universal's "Wicked" and Warner Bros.' "Dune: Part Two," which each grossed more than $700 million.

    The rest of the pack is a mixed bag, commercially speaking. Searchlight's "A Complete Unknown," Mubi's "The Substance� � and Focus Features' "Conclave" were successful for their budget levels. But there's no denying that most of the pack — Neon's "Anora," Amazon MGM Studios' "Nickel Boys," Sony Pictures Classics' "I'm Still Here" and A24's "The Brutalist," included — remains little seen by mainstream audiences, certainly in theaters.

    "Emilia Pérez," a de facto front-runner with a leading 13 nominations, is a Netflix movie, so its official box office count is zero in the U.S. (it grossed $11.5 million from international territories where it played in theaters).

    The now long-ago expansion of the race to 10 best picture nominees from five, along with the increasingly international makeup of the awards voting body, have allowed more obscure pictures to get in, whether or not they really have a chance to win. It definitely helps explain the inclusion of the Brazilian drama "I'm Still Here," as well as the dominance of Netflix's divisive Fren ch-produced and Mexico-set trans-themed narco musical.

    In some ways, the nominations reflect the current dynamics of the movie industry. The indie film sector is vital to the industry's health and produces great art, but the festival picks that typically garner Oscar voters' attention have suffered from declining cultural relevance. With the rise of streaming TV, video games and social media video, film is no longer at center stage.

    Last year's Oscars telecast on ABC drew 19.5 million viewers, up 4% from 2023 thanks in part to the popularity of the movies being honored. But that's far down from the peak of more than 55 million viewers who watched the year of the "Titanic" sweep in 1998, a TV phenomenon that it's safe to say will never be replicated.

    According to David A. Gross's FranchiseRe movie business newsletter, the TV ratings for the two years after the COVID-19 pandemic (2022 and 2023) were down 28% from the three years before the pandemic, roughly matching the decline in box office attendance over the same period of time.

    The studio rankings can tell us about the companies' priorities too. Universal Pictures and its specialty division Focus Features (with 13 and 12 nods, respectively) are still major players, while Disney shows little interest in the race beyond its Searchlight subsidiary and the animated categories. A24 and Neon are firmly established in the indie space, but there's still room for out-of-left field upstarts like Mubi, which beat Warner Bros. in the nominations count.

    Netflix is still thirsting for its first best picture win after missing with "Roma," "The Irishman" and a few others. The streamer, which has faced voter resistance because it avoids traditional theatrical releases, led all distributors with 16 nominations (not counting shorts). If i t wins this time, it'll be taken as a sign that Netflix's anti-theater strategy is not as much of a liability as it once was, which makes sense considering how powerful the company has become.

    But victory is far from assured. "Emilia Pérez" has taken heat from LGBTQ+ critics for its treatment of transgender issues and from Latino critics for creating an inauthentic and insensitive portrayal of Mexico as a drug war-torn hellhole.

    One redeeming aspect of the Oscar race is that it remains wide open, with no clear favorite, unlike last time with the "Oppenheimer" bulldozer. "A Complete Unknown," "The Brutalist," "Conclave," "Wicked" and "Anora" can all claim some plausible path to victory, thanks to the motion picture academy's preferential ballot system that tends to favor broad consensus picks.

    Last year was a bad one for movies overall. The U.S. box office fell 3% to $8.75 billion, which was down 23% from the pre-pandemic year of 2019. Global box office totaled about $30 billion, down 12% from 2023, a shortfall that was widely blamed on the writers' and actors' strikes that thinned out Hollywood's release calendar.

    The film slate in 2025 is supposed to be better, though the first quarter still looks weak, with only "Captain America: Brave New World," Disney's "Snow White" remake and maybe Bong Joon-ho's "Mickey 17" expected to bring big business to theaters, Roth analyst Eric Handler wrote in a Monday note to clients. Things should pick up with the release of summer movies such as "Jurassic World Rebirth" and "The Fantastic Four: First Steps."

    Like fans of a beleaguered sports franchise , the movie business is always looking to "next year."

    Awards season still has the potential to bring attention to smaller movies that desperately need such accolades to boost business. But as the Oscars and movies in general become more of a niche product, the show's influence will continue to shrink.

    Newsletter

    You're reading the Wide Shot

    Ryan Faughnder delivers the latest news, analysis and insights on everything from streaming wars to production — and what it all means for the future.

    You may occasionally receive promotional content from the Los Angeles Times.

    Stuff we wrote

    Why Chinese AI company DeepSeek is spooking investors on U.S. tech. U.S. tech stocks, including Nvidia, Oracle and Google, fell after DeepSeek said it had created an artificial intelligence system that could compete against chatbots such as OpenAI's ChatGPT at much lower costs.

    In Trump's first week, FCC chair signals headaches ahead for media giants. The action by FCC Chairman Brendan Carr shines a spotlight on fears that President Trump will use his power to threaten media outlets that don't support him.

    Disney CEO Bob Iger's pay package for 2024 jumps to $41 million. Iger's pay rose from the $31 million he made in 2023. Iger has long ranked among the highest paid media CEOs.

    Hollywood production budgets were already strained. Fires could make matters worse. The L.A. wildfires are expected to increase costs for people and companies trying to make movies and television shows in Southern California.

    Fighting fires with AI, drones and sensors. How high tech could help battle future blazes. Researchers and startup founders are rushing to develop and deploy drones, sensors and satellite imagery analysis that they believe could have reduced the amount of damage from the L.A. fires.

    ICYMI:

    Universal's Pearlena Igbokwe to oversee NBC A celebrity doc spree at Sundance Trump inauguration ratings drop from 2021 and 2017 Sony Pictures names Keith Le Goy as TV chair

    Number of the week

    Netflix ended 2024 strong, adding a record 19 million paid subscribers in the fourth quarte r to bring its total count to nearly 302 million members globally, far exceeding analyst expectations. Revenue rose 16% from a year ago to $10.2 billion, while operating income surged more than 50% to $2.3 billion.

    In other words, Netflix is kicking butt, thanks in large part to hit shows ("Squid Game" Season 2), movies ("Carry-On") and live programming ("Jake Paul vs. Mike Tyson"). The password sharing crackdown and the ad-supported tier are working. So, of course, the company is raising subscription prices. Netflix is confident that you won't cancel. That's pricing power.

    This comes as legacy media companies such as Walt Disney Co. are just now getting their feet under them in streaming. "We're fortunate that we don't have distractions like managing declining linear networks and, with our focus and continued investment, we have good and improving product/market fit around the world," Netflix said in a somewhat brash aside in its quarterly letter to shareholders.

    Netflix's stock is worth more than $970 a share, up nearly 70% from a year ago. Whether analyst expectations are now set unrealistically high is a matter for debate, but the company has good reason to be bullish. Netflix accounts for less than 10% of TV viewing, meaning it has plenty of room to grow.

    Its biggest threat, as analyst Rich Greenfield recently discussed on the "Prof G Markets" podcast, is from YouTube and vertical video on TikTok and Instagram. These are all companies that think not in terms of box office receipts and overnight ratings but rather in how much of your attention they can capture a day.

    Film shoots

    The latest on-location production figures from Fil mLA.

    Finally ...

    Listen: The "I Saw the TV Glow" soundtrack.

    Watch: "Wallace and Gromit: Vengeance Most Fowl," "Hundreds of Beavers."