Hollywood

Many in Hollywood fear Warner Bros. Discovery’s sale will trigger steep job losses — at a time when the industry already has been ravaged by dramatic downsizing and the flight of productions from Los Angeles.

David Ellison‘s Paramount Skydance is seeking to allay some of those concerns by detailing its plans to save $6 billion, including job cuts, should Paramount succeed in its bid to buy the larger Warner Bros. Discovery.

Leaders of the combined company would search for savings by focusing on “duplicative operations across all aspects of the business — specifically back office, finance, corporate, legal, technology, infrastructure and real estate,” Paramount said in documents filed with the Securities & Exchange Commission.

Paramount is locked in an uphill battle to buy the storied studio behind Batman, Harry Potter, Scooby-Doo and “The Big Bang Theory.” The firm’s proposed $108.4-billion deal would include swallowing HBO, HBO Max, CNN, TBS, Food Network and other Warner cable channels.

Warner’s board prefers Netflix’s proposed $82.7-billion deal, and has repeatedly rebuffed the Ellison family’s proposals. That prompted Paramount to turn hostile last month and make its case directly to Warner investors on its website and in regulatory filings.

Shareholders may ultimately decide the winner.

Paramount previously disclosed that it would target $6 billion in synergies. And it has stressed the proposed merger would make Hollywood stronger — not weaker. The firm, however, recently acknowledged that it would shave about 10% from program spending should it succeed in combining Paramount and Warner Bros.

Paramount said the cuts would come from areas other than film and television studio operations.

A film enthusiast and longtime producer, David Ellison has long expressed a desire to grow the combined Paramount Pictures and Warner Bros. slate to more than 30 movies a year. His goal is to keep Paramount Pictures and Warner Bros. stand-alone studios.

This year, Warner Bros. plans to release 17 films. Paramount has said it wants to nearly double its output to 15 movies, which would bring the two-studio total to 32.

“We are very focused on maintaining the creative engines of the combined company,” Paramount said in its marketing materials for investors, which were submitted to the SEC on Monday.

“Our priority is to build a vibrant, healthy business and industry — one that supports Hollywood and creative, benefits consumers, encourages competition, and strengthens the overall job market,” Paramount said.

If the deal goes through, Paramount said that it would become Hollywood’s biggest spender — shelling out about $30 billion a year on programming.

In comparison, Walt Disney Co. has said it plans to spend $24 billion in the current fiscal year.

Paramount also added a dig at Warner management, saying: “We expect to make smarter decisions about licensing across linear networks and streaming.”

Some analysts have wondered whether Paramount would sell one of its most valuable assets — the historic Melrose Avenue movie lot — to raise money to pay down debt that a Warner acquisition would bring.

Paramount is the only major studio to be physically located in Hollywood and its studio lot is one of the company’s crown jewels. That’s where “Sunset Boulevard,” several “Star Trek” movies and parts of “Chinatown” were filmed.

A Paramount spokesperson declined to comment.

Sources close to the company said Paramount would scrutinize the numerous real estate leases in an effort to bring together far-flung teams into a more centralized space.

For example, CBS has much of its administrative offices on Gower in Hollywood, blocks away from the Paramount lot. And HBO maintains its operations in Culver City — miles from Warner’s Burbank lot.

Paramount pushed its deadline to Feb. 20 for Warner investors to tender their shares at $30 a piece.

The tender offer was set to expire last week, but Paramount extended the window after failing to solicit sufficient interest among Warner shareholders.

Some analysts believe Paramount may have to raise its bid to closer to $34 a share to turn heads. Paramount last raised its bid Dec. 4 — hours before the auction closed and Netflix was declared the winner.

Paramount also has filed proxy materials to ask Warner shareholders to reject the Netflix deal at an upcoming stockholder meeting.

Earlier this month, Netflix amended its bid, converting its $27.75-a-share offer to all-cash to defuse some of Paramount’s arguments that it had a stronger bid.

Should Paramount win Warner Bros., it would need to line up $94.65 billion in debt and equity.

Billionaire Larry Ellison has pledged to backstop $40.4 billion for the equity required. Paramount’s proposed financing relies on $24 billion from royal families in Saudi Arabia, Qatar and Abu Dhabi.

The deal would saddle Paramount with more than $60 billion of debt — which Warner board members have argued may be untenable.

“The extraordinary amount of debt financing as well as other terms of the PSKY offer heighten the risk of failure to close,” Warner board members said in a filing earlier this month.

Paramount would also have to absorb Warner’s debt load, which currently tops $30 billion.

Netflix is seeking to buy the Warner Bros. television and movie studios, HBO and HBO Max. It is not interested in Warner’s cable channels, including CNN. Warner wants to spin off its basic cable channels to facilitate the Netflix deal.

Analysts say both deals could face regulatory hurdles.

Well, they do say any attention is good attention.

Actor Sydney Sweeney was in the spotlight Monday after being captured on video recently scaling the H of the Hollywood sign under the cloak of darkness — to hang up some bras.

TMZ reported on the footage, which was part of a promotion for Sweeney’s upcoming lingerie line. But according to the Hollywood Chamber of Commerce, the alleged publicity stunt was not authorized.

The chamber owns the intellectual property rights to the sign, which is managed by the nonprofit Hollywood Sign Trust. Neither the chamber nor the trust knew about the apparent Sweeney stunt until they saw the video, officials told The Times.

“Anyone intending to use and/or access the Hollywood Sign for commercial purposes must obtain a license or permission from the Hollywood Chamber to do so,” the chamber’s chief, Steve Nissen, said in a statement. “The production involving Sydney Sweeney and the Hollywood Sign, as reported by TMZ, was not authorized by the Hollywood Chamber of Commerce nor did we have prior knowledge of it.”

Nissen also said that the organization “did not grant a license or permission of any kind to the production … nor did anyone seek a license or permission from the Chamber for that production.”

Footage obtained by TMZ shows Sweeney climbing up the Hollywood sign to help string up a clothesline of assorted bras across the familiar landmark. The “Christy” star is accompanied by a small crew that is filming her handiwork.

The team did obtain a general permit to film in the area from FilmLA.

But as is explained both on the Hollywood Chamber of Commerce and Hollywood sign websites, filming the sign itself requires additional clearance and payment of a licensing fee. The chamber says a portion of the proceeds goes to a trust that assists in maintaining the Hollywood sign. Access to the Hollywood sign is generally restricted.

So far, a police report that could trigger a trespass investigation and review by prosecutors has not been filed, according to L.A. Police Officer Tony Im, a department spokesperson.

Built in 1923, the Hollywood sign was donated to the city 21 years later. Climbing or altering the sign are not permitted — and have happened over the decades. Famously, the letters were changed to “Hollyweed” by a local college student on New Year’s Day 1976 when California downgraded the possession of a small amount of pot from a possible felony to a misdemeanor. That stunt was repeated in 2017. In that case, the suspect was arrested on suspicion of trespass. In 1987, Caltech students changed the sign overnight to read “Caltech.”

Last February, a man was arrested after he climbed onto the letter D as part of a social media promotion and was taken into custody.

As for Sweeney, this is not the first time the actor has been scrutinized for promotional activity involving clothing. The “Euphoria” star previously faced backlash for the slogan of an ad campaign involving jeans. (Sweeney later addressed the controversy, telling the Hollywood Reporter that she was “surprised by the reaction” and that she “[doesn’t] support the views some people chose to connect to the campaign. Many have assigned motives and labels to me that just aren’t true.”)

Representatives for Sweeney did not respond to The Times’ request for comment.

Don’t stop me if you’ve heard this one before, since I’m admittedly something of a broken record on the subject, but I very much prefer Marvel’s television series, which tend to be fleet, original and unpredictable, to its movies, which tend not to be. “Loki,” “Ms. Marvel,” “Moon Knight,” “Echo,” “WandaVision” and its spinoff “Agatha All Along” — all (among others) are worth watching, even the ones that are dumped after a season.

Developing longer stories with less money, the TV shows makers need to be inventive, creative with their resources, so they invest in characters and ideas rather than special effects and action. They focus on secondary or ensemble figures who would never be given a theatrical feature of their own to carry, are particular about culture and family and place, and are often less contingent on the Marvel Cinematic Universe, with its phases and stages, its crossovers and cross-promotions and long-range marketing plans. At once higher concept and more grounded than the movies, they’re interesting on their own, to the point where, when they finally hitch on to the Marvel multi-mega-serial train, I find them disappointing.

“Wonder Man,” whose eight episodes premiere all at once Tuesday on Disney+, is perhaps the most grounded of these series. Created by Destin Daniel Cretton (“Shang-Chi and the Legend of the Ten Rings”) and Andrew Guest (who has written for “Community” and “Brooklyn Nine-Nine”), the series is a (generally) sweet, disarming tale of actors in Hollywood, tricked up with picture-business details that you don’t need to be au fait with the MCU to appreciate. There are things it might be helpful to know, but you can work out everything that matters through context. (Locals will enjoy playing Spot the Locations.)

Yahya Abdul-Mateen II plays Simon Williams, who as a child became a fan of a B-movie superhero called Wonder Man — not a “real” superhero, in this reality, merely a fiction. Now in his 30s, he’s a struggling actor in Hollywood, good enough to land a small part in an “American Horror Story” episode, but not clever enough to keep from slowing down the production with questions and suggestions when all he needs to do is deliver a couple of lines before a monster bites his head off. He loses the part and a girlfriend directly afterward.

Taking in a revival house matinee of “Midnight Cowboy,” he meets Trevor Slattery (Ben Kingsley), who is back from having played the Mandarin — that is, he acted the part of a terrorist called the Mandarin, believing it was just a job — in “Iron Man 3” and providing appealing comedy relief in “Shang-Chi and the Legend of the Ten Rings.” The character here is more fleshed out, something of a mess (but 13 years sober, he likes to point out), serious but not a joke. Before it all went wrong, Trevor played King Lear (in Croydon), appeared in “Coronation Street” and in a movie with Glenda Jackson, was off-off-off Broadway in “The Skin Our Teeth” and briefly had the lead in a hospital show with Joe Pantoliano, who’s very funny playing himself.

Trevor Slattery (Ben Kingsley), left, and Simon Williams (Yahya Adbul-Mateen II) team up in “Wonder Man.”

(Suzanne Tenner / Marvel Television)

Slattery tells Simon that European art director Von Kovak (Zlatko Burić) is rebooting Wonder Man, a role Simon feels born to play. He makes an end run around his unconvinced agent, Janelle (X Mayo), and wheedles an audition — where he again meets Trevor, auditioning for Barnaby, Wonder Man’s pal, or sidekick or something. There are wheels behind wheels in this setup, some of which could use a little grease, but for most of the series they do their squeaking off to the side. It’s a love story, above all — “Midnight Cowboy,” not an accidental choice, is more of a touchstone than any Marvel movie.

Simon does have powers — things shake, break or explode around him when he’s upset, and his strength can become super in a tight spot — which puts him in the sights of the Department of Damage Control, embodied by Arian Moayed as P. Cleary, who would like to contain him. But he struggles to keep them secret, especially in light of something called the Doorman Clause — its history established in a sidebar episode, a cautionary Hollywood fable with Josh Gad as himself — which prohibits anyone with super powers from working in film or television, all Simon lives for.

There is little in the way of action, and you won’t miss it. The fate of the world is never in question, but a callback for a second audition means everything. The only costumed characters are actors playing costumed characters; the only villains, apart from the bureaucracy that seeks to bring him in, are Simon’s own self-doubt and temper. As things progress, Trevor will become a mentor to Simon. As is common in stories of love and friendship, a betrayal will be revealed, but if you have seen even a few such stories, you know how that’s going to go, and will be glad it does.

Whether discussing acting techniques or the traffic they’re stuck in on Hollywood Boulevard (Trevor: “Probably the Hollywood Bowl.” Simon: “It’s too late for the Bowl.” Trevor: “It’s usually the Bowl. I remember seeing Cher there once — breathtaking. Chaka Khan, now there’s a woman”), Abdul-Mateen and Kingsley work well together; their energies are complementary, laid back and loose versus worked up and tight and, of course, each will have something to teach one another about who they are and who they could be. I was genuinely anxious for them, as friends, more so than just wondering how such and such a superhero (or team) might defeat such and such a supervillain (or team).

“Our ideas about heroes and gods, they only get in the way,” says Von Kovak, putting a room of hopeful actors through their paces, and essentially speaking for the series he’s in. “Too difficult to comprehend them. Let’s find the human underneath.”

When “The Great British Baking Show” returns for another season later this year, the tent will welcome a new judge alongside the freshest batch of competitors.

British cookbook author and TV personality Nigella Lawson will join the beloved baking competition as a judge, succeeding Prue Leith, who announced her departure from the series last week. “The Great British Baking Show” (alternatively titled “The Great British Bake-Off” in the United Kingdom) unveiled Lawson’s appointment Monday on Instagram. She will co-judge alongside longtime “Bake Show” fixture and bread expert Paul Hollywood.

“I’m uncharacteristically rather lost for words right now!” Lawson said in a joint Instagram post. “Of course it’s daunting to be following in the footsteps of Prue Leith and Mary Berry before her, great dames both, but I’m also bubbling with excitement.”

“The Great British Baking Show” first aired on the BBC in 2010, with Hollywood judging competitors’ bakes alongside Mary Berry. Berry departed the series when it moved from the BBC to commercial broadcaster Channel 4 and Leith began her tenure in 2017.

During her “Baking Show” days, Leith became known among fans and competitors for her affinity for boozy bakes and colorful fashion and accessories. Notably, she and Hollywood co-judged the series in its 11th season, which was filmed and aired amid the COVID-19 pandemic.

Leith, announcing her exit, said “Bake Off has been a fabulous part of my life for the last nine years” and looked forward to a new chapter in her life.

“But now feels like the right time to step back (I’m 86 for goodness sake!), there’s so much I’d like to do, not least spend summers enjoying my garden,” she wrote, adding later in her caption that she believes her successor will “love [the show] as much as I have.”

Lawson, a former journalist and Margaret Thatcher cabinet member Nigel Lawson’s daughter, comes to “Baking Show” with some history with Channel 4. The broadcast aired her series “Nigella Bites” in the late 1990s and early aughts in tandem with the release of her book of the same name.

Her television credits also include hosting her series “Nigella Feasts,” “Nigella Express,” “Nigella Kitchen” and “Nigellissima” and judging on shows “Iron Chef America,” “The Taste” alongside Anthony Bourdain and “MasterChef Australia,” among others.

She has penned more than a dozen books, most recently 2020’s “Cook, Eat, Repeat.”

“The Great British Bake Off is more than a television programme, it’s a National Treasure – and it’s a huge honour to be entrusted with it,” she said on Monday. “I’m just thrilled to be joining the team and all the new bakers to come. I wish the marvellous Prue all the best, and am giddily grateful for the opportunity!”

HAMNET, the new Shakespearean film starring Jessie Buckley and Paul Mescal is thrusting this lesser-known UK county into the spotlight.

Herefordshire stood in for Stratford-upon-Avon in the new film and it’s predicted that people will soon be visiting its pretty villages over that of its popular neighbour.

The Independent called Herefordshire the ‘quiet corner of England’ and explained that the county hoping for more tourists with what they’re calling the ‘Hamnet effect’.

In 2024, cast and crew descended on a small Herefordshire village to transform it into looking like Shakespeare’s Stratford.

The hope is that the county will become popular like its neighbour – the Cotswolds which is just 25 miles down the road.

As we all know the Cotswolds is known for its charming villages with cottages built from limestone brick that sit along cobbled streets around winding rivers.

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Well, you can still get such charm in Herefordshire, and it sees much fewer visitors – around six million each year compared to the Cotswolds’ 25million.

One of Herefordshire’s villages that appeared heavily in Hamnet was Weobley, which is nicknamed a ‘black and white’ village thanks to its many half-timbered houses.

The Hollywood production transformed the village into one from the 1500s, which was done fairly easily thanks to its old buildings.

While you won’t find many shops in Weobley, there are a few places to have a bite to eat like The Green Beach Cafe, or the local Indian restaurant, Lal Bagh which has a Tripadvisor Travellers‘ Choice Award and 375 five-star reviews.

Weobley also has two pubs, Ye Old Salutation Inn and The New Unicorn Inn.

But fans of Hamnet should head into The Wobbly Badger cafe which took centre stage for the exterior of Shakespeare’s family home in the film.

There are lots of other villages that are part of Herefordshire’s ‘black and white villages’ – and there’s even a dedicated tour route to see them.

One of the other villages in the trail is Pembridge, or Eardisland, which sits on the banks of the River Arrow – and looks similar to Bourton-on-the-Water.

Even smaller villages include Eardisley, Dilswyn, Leominster and Kingsland.

It’s not just Hamnet that was filmed in Herefordshire, as one very famous Netflix series also made its home there.

Sex Education starring Asa Butterfield and Gillian Anderson was filmed in Symonds Yat East, which sits in the counties of Herefordshire.

The recognisable red and white chalet where Otis and Jean live sits high above the River Wye.

It’s the UK’s fifth longest river and has an incredible backdrop of rolling green hills – and getting onto the water is one of the best ways to see it.

There are plenty of companies offering kayaking, canoeing or stand up paddleboard sessions for around £60 per person along the river.

Herefordshire is also well regarded for its cider production thanks to its acres of orchards that cover the countryside – it’s been made there since the 17th century.

Scattered around the county are orchards and breweries that you’re welcome to pop into.

VisitHerefordshire even has ‘Cider Circuits’ with dedicated cycling loops to see as many as possible.

If you head to Westons Cider Mill in Ledbury, you can sample the latest flavours – tours of the cider mill cost just £15 for adults.

If you go there with the family, there’s an outdoor play park with slides and tyre trails to entertain the kids.

If you need a place to stay, Gwatkin even has its own campsite with pitches from £9pppn.

Just outside Lyonshall village is the White Heron Estate where they make their own signature blackberry liqueur – British Cassis and British Framboise.

Taking a walking tour and tasting is £25pp (for groups of 10+).

For more on British villages, check out this destination with toy-town cottages, car-free roads and cosy pubs.

And for another Cotswolds alternative, this one is under one hour from London and is set to be a world-famous destination.