Amid the bustle and glitz of last week’s CinemaCon in Las Vegas, one question loomed over the annual trade convention — how will the proposed Paramount Skydance-Warner Bros. Discovery deal affect the movie theater business?
That anxiety showed up in a state of the industry speech from Cinema United trade group President Michael O’Leary, who reiterated his organization’s opposition to further industry consolidation.
It showed up in a trailer for Amazon MGM Studios’ upcoming film “Spaceballs: The New One,” when a voiceover poked fun at Hollywood studios “merging willy-nilly” as images of the Paramount sign and Warner Bros. water tower flashed across the screen.
And the subject again took center stage — literally — when Paramount Chief Executive David Ellison himself gave a speech during his studio’s presentation at Caesars Palace. He sought to reassure the assembled movie theater operators and exhibition executives that the combined company would indeed release a minimum of 30 films a year.
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“I wanted to look every single one of you in the eye and give you my word,” he said during an onstage speech, in which he also committed to a 45-day theatrical window and 90-day period before films go to streaming services. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”
It’s true that Paramount has nearly doubled its theatrical releases since Ellison took over. As he noted in his speech, the storied studio is now planning 15 films this year, up from eight in 2025.
But as I’ve written previously, theater owners and other studio executives question how releasing 30 movies a year across the combined Paramount-Warner Bros. would work — not only in terms of giving each film the proper marketing campaign to succeed in theaters but also because of the massive cost cuts that will inevitably occur once the merger is final.
Still, Ellison’s commitment to 30 films a year got a round of enthusiastic applause — and at least one high-profile boost.
A day earlier, AMC Entertainment Holdings Inc. Chief Executive Adam Aron told me in an interview that he backed Ellison’s takeover of Warner, saying he and AMC believed in the tech scion’s talent as a filmmaker and a movie executive, as well as his pledge to release those 30 films a year.
“We’re enthusiastic that David will fulfill his promises,” Aron said. “And that in the end, this will prove to be a good thing for our company and our industry.”
Not everyone shares that enthusiasm.
More than 4,000 people have now signed an open letter opposing the Paramount-Warner deal, arguing that consolidating two studios will lessen consumer choice and job opportunities for creatives, particularly at a time when Hollywood is already struggling. (Notable signatories include “Dune” director Denis Villeneuve, actors Glenn Close and Emma Thompson, as well as director and producer JJ Abrams.)
O’Leary of Cinema United similarly wasn’t convinced.
“While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns,” he said in a statement released hours after Ellison’s speech. “We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”
Elsewhere at CinemaCon, the mood was upbeat.
Warner Bros. film chiefs Mike De Luca and Pam Abdy struck a triumphant tone after an award-winning year for the studio, capped off by the best picture win for “One Battle After Another.”
They unveiled footage from new films like the upcoming “Digger” from director Alejandro G. Iñárritu and brought out lead actor Tom Cruise to a sustained standing ovation from the audience. And both De Luca and Abdy espoused optimism for the future of the theatrical business. The studio plans to release 14 films this year and as many as 18 for 2027.
“The film business has always required smart betting, and we have 4 billion reasons from last year to think we’re holding the right cards,” De Luca said during the presentation, referring to the studio’s worldwide box office revenue last year.
“We all know they’re not all going to work. That comes with taking swings,” Abdy said of the studios’ films. “There’s no version of this business that’s risk-free. But our job is to step up, make our bets and own it when it doesn’t work.”
But the end of the presentation felt more somber, with the executives asking the heads of Warner Bros.’ labels to come to the stage and be recognized. Shortly after, they asked Warner Bros. employees in the audience to stand for applause. It was hard to escape the feeling that this may be the end of an era.
As my colleague Meg James reported, the cuts hit Disney’s television and movie studios, sports giant ESPN, its product and technology unit, corporate functions and marketing. Even Marvel Studios’ visual development team was affected.
The layoffs are one of the first major moves under new Disney Chief Executive Josh D’Amaro, who took the reins of the company last month. In a message to employees, he said the company needed to “constantly assess how to foster a more agile and technologically-enabled workforce to meet tomorrow’s needs.”
What I’m watching
Some friends and I watched “Fukushima: A Nuclear Nightmare” this past weekend, a truly eye-opening documentary that explains what happened during the March 11, 2011, nuclear accident and whether the world has learned anything from it.
After she comes across an escaped convict called Sam (Fra Fee), he offers her a taste of life outside the religious cult, while her husband Adam (Asa Butterfield) continues to chastise her.
The thriller opens with Rosie, Adam and their daughter Grace (Olivia Pickering) enjoying a party outside with the other members of their extended cult family.
A storm suddenly closes in on them, forcing them all inside, and Grace looks particularly concerned as she calls it “the Rapture” – but what does this mean?
What does the Rapture mean in Unchosen?
At the start of the series, viewers learn that the Christian cult is part of the church of The Fellowship of the Divine.
Their beliefs quickly become apparent when Mrs Phillips (Siobhan Finneran) curses Grace for reading a children’s magazine – a forbidden item.
During their street party, a storm appears overhead and Grace looks particularly terrified, believing the black clouds and thunder are the signs of the Rapture.
In Christianity, the Rapture is the concept of an event when all dead Christian believers will be resurrected and reunited with Christians who are still alive.
Together, they will will rise “in the clouds, to meet the Lord in the air”.
The storm clouds in the series represent the concept, which suggests live Christians will leave the earth to meet Jesus Christ.
Grace may have been scared at the thought of being ‘taken’ in order to meet Jesus Christ at the Second Coming.
The actual term ‘Rapture’ is not mentioned anywhere in the Bible, it is instead a concept that has developed over time.
In his First Letter to the Thessalonians, Paul – one of the Apostles – wrote that Jesus would return one day, and “we who are alive, who are left, will be caught up”.
Some believe the Rapture is when Christ’s followers will be taken up to Heaven, while those who do not follow him will be left behind on Earth.
Reed Hastings, who helped launched Netflix from a fledgling DVD mail-order business into a global streaming juggernaut, plans to exit the company after nearly three decades.
Hastings will leave the company he co-founded to focus on philanthropy and other efforts, the streaming company announced said Thursday.
Hastings, who serves as chairman of the Los Gatos company’s board, told Netflix he will not stand for reelection when his term expires in June, Netflix said in a letter to shareholders timed to its fiscal first-quarter earnings.
He said the commitment of Netflix Co-Chief Executives Ted Sarandos and Greg Peters was “so strong that I can now focus on new things.”
Peters described Hastings, 65, as the company’s “biggest champion,” and that he “is a part of our DNA.”
Sarandos called Hastings a “true history maker,” saying in a statement that Hastings’ “selfless, disciplined leadership style” will continue to shape Netflix’s path ahead.
Hastings’ exit was not unexpected as his role in the company diminished after he stepped aside as co-chief executive of Netflix in 2023.
During his tenure, Hastings oversaw the substantial growth of the streaming colossus. Today, Netflix has a market cap of about $455 billion, more than double that of the Walt Disney Co.
“My real contribution at Netflix wasn’t a single decision; it was a focus on member joy, building a culture that others could inherit and improve, and building a company that could be both beloved by members and wildly successful for generations to come,” Hastings said in a statement.
For the first quarter of 2026, Netflix reported nearly $12.3 billion of revenue, up 16% compared to the same time period a year ago. Operating income grew 18% to $3.9 billion for the three-month period ending March 31.
Both figures were ahead of the company’s guidance, a feat the streamer attributed to slightly higher than expected subscription revenue.
The company reported net income of $5.3 billion, up more than 80% compared to the $2.9 billion it recorded during the same period last year. Earnings per share was $1.23, up from 66 cents last year.
Netflix said it continues to expect 2026 revenue ranging from $50.7 billion to $51.7 billion, with an operating margin of 31.5%.
The earnings release and the Hastings announcement came after markets closed.
Netflix shares closed at $107.79, virtually unchanged. After hours, the shares dropped more than 8% to $98.26. They have climbed about 18% this year.
The Los Gatos-based company had previously secured an $82.7-billion deal to buy Warner Bros. studios and streaming services in December but it withdrew from the bidding war in late February after Paramount Skydance offered $31 a share. As part of the switch, Netflix was paid a $2.8-billion termination fee.
“Warner Bros. would have been a nice accelerant for our strategy, but only at the right price,” Netflix said in its investor letter. “We have multiple ways to achieve our goals (including producing, licensing, and partnering) and we’re constantly seeking to allocate our resources to the most attractive opportunities to maximize the value we are delivering to our members.”
Before Reed Hastings revolutionized the global entertainment business, he sold Rainbow vacuum cleaners door-to-door during his gap year between high school and Bowdoin College, where he earned his bachelor’s degree in mathematics.
During his sales pitch, Reed would first clean a homeowner’s carpet with their vacuum and then demonstrate how to clean using a Rainbow. The job helped hone his ability to understand customers, a core foundation of Netflix’s user-driven, candor-obsessed culture.
After Bowdoin and before he earned his master’s degree in computer science at Stanford, Hastings served in the Peace Corps (he also did a stint in the Marines) teaching high school math in Swaziland (now Eswatini).
“Once you have hitchhiked across Africa with ten bucks in your pocket, starting a business doesn’t seem too intimidating,” he told Time magazine.
While those experiences helped shape Hasting’s business sense, it was a late fee for a video that became the catalyst for launching Netflix, upending the way viewers consumed content and disrupting how Hollywood does business.
As the story goes, Hastings had misplaced a VHS tape of “Apollo 13” racking up a hefty $40 charge.
It was 1997 and his company Pure Software had just been acquired. It dawned on him that a gym membership offered a better business model, than the average video store — where you paid a set fee for the month and you could work out as much or as little as you liked. He thought, why not apply that to the movie rental business?
Netflix, began in Scotts Valley, Calif., as a mail-order business. Customers paid a tiered monthly fee to rent DVDs online which were delivered by mail.
The business exploded racking up millions of customers as it jettisoned the post office to an internet-based business. As the business accelerated across the world it also expanded, creating original content such as award-winning blockbusters such as “Stranger Things” and “House of Cards.”
The company’s innovation extended internally too. Hastings became known for implementing a unique and controversial culture of radical transparency, where employee evaluations are brutally candid and average performances can be grounds for termination.
Louis Tomlinson’s sisters have unfollowed Zayn Malik online after he punched Louis in the face during a vicious rowCredit: InstagramThe clash came as the former friends filmed a three-part road trip for NetflixCredit: Getty
Now, his sisters Phoebe and Lottie have unfollowed Zayn online – but still follow the other One Direction boys Harry Styles and Niall Horan.
In an interview with Livelaughlukepod hosted by@lukehamnett, Phoebe and her twin sister Daisy didn’t hold back on who their favourite One Direction member was.
They twins revealed: “Niall was always the loveliest. And even when we were little, he was just very nice and caring and always cute with us.
“Liam’s not with us anymore, but he was always that for me. Yeah, so calm. He was so sweet.
A source said: “Louis was stunned and in shock. Zayn was wearing rings so it cut his head. It happened outside in front of so many people.”
Sources told The Sun their astonishing on-set row was triggered by Zayn’s remark about Louis’ mum Johannah Deakin, who died of leukaemia in 2016.
A source revealed: “The lads were filming on location. Zayn started acting up and was mouthing off.
“It spiralled into a row then Zayn made a remark about Louis’ mum Johannah.
“Louis was stunned and in shock. As he went to move, Zayn then attacked him.
“Zayn punched him straight in the face.
“Because he was wearing rings it cut Louis’ head.
“He was pulled away and Louis was taken for medical treatment. He was left with a concussion. This happened outside in front of so many people. It was shocking.”
One Direction sold more than 70million records worldwide at the height of their fame.
Zayn Malik punched Louis in the face during a vicious rowCredit: Getty – ContributorPhoebe revealed her favourite One Direction member was NiallCredit: InstagramLouis and Zayn were spotted filming a “spontaneous adventure” road trip documentary for Netflix at a dive bar in TennesseeCredit: InstagramOne Direction sold more than 70million records worldwide at the height of their fameCredit: PANeither Louis nor Zayn have ever spoken about the documentary or why it endedCredit: Getty
The company’s stock plunged about 8 percent on the news of Hastings’s departure.
Published On 16 Apr 202616 Apr 2026
Netflix Chairman Reed Hastings is leaving the streaming service he cofounded 29 years ago as the company regains its footing after it lost its $72bn deal for Warner Bros Discovery to Paramount Skydance.
In a letter to investors released on Thursday, Netflix said Hastings will not stand for re-election at its annual meeting in June and plans to focus on philanthropy and other pursuits.
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The company’s stock plunged about 8 percent on the news of Hastings’s departure. The cofounder is credited with helping to revolutionise how movies and television shows are delivered in homes, upending Hollywood’s business model.
“Netflix is growing revenues double-digits, expanding margins in 2026 and gushing free cash flow,” said LightShed Partners media analyst Richard Greenfield. “While the Q1 was uneventful financially, the departure of Reed Hastings has spooked investors.”
Netflix reaffirmed in a 14-page shareholder letter that its mission remains “ambitious and unchanged” – to entertain the world, providing movies and series for many tastes, cultures and languages. The company’s full-year outlook remained unchanged.
The company did not say how it plans to spend the $2.8bn termination fee it received after losing the Warner Bros movie studio and HBO, and lifted its earnings per share to $1.23 in the first quarter compared with 66 cents per share in the same quarter last year.
Revenue rose to $12.25bn, an increase of 16 percent from the year-ago period, modestly exceeding analyst forecasts of $12.18bn.
Netflix, which long told investors that a Warner Bros acquisition was a “nice to have, not need to have” proposition, highlighted areas of future growth.
The company said its investment in expanding its entertainment offerings, with video podcasts and live entertainment – such as the World Baseball Classic in Japan – is driving engagement.
It plans to use technology to improve the user experience and improve monetisation, as advertising revenue remains on track to reach $3bn in 2026 – a twofold increase from a year ago.
Brian Williams, the veteran former anchor for NBC News and MSNBC, is joining Netflix where he will host a weekly podcast.
Netflix announced Thursday that “We’re Back! With Brian Williams” will debut later this year. The format will feature Williams in extended interviews with pop culture figures and newsmakers in a casual setting.
“With scientists predicting that every American will have a podcast by 2030, I thought it was time to get in the game,” Williams said in a statement.
Williams – long a stalwart of traditional TV news – will be the biggest name from that arena to join a major video streaming platform.
Williams has been off TV since he departed MSNBC (now MS NOW) in 2021. He the anchor of the nightly program “The 11th Hour” and handled major breaking news coverage for the network.
Before joining MSNBC in 2015, Williams spent 10 years as anchor of “NBC Nightly News.” He left the broadcast after being suspended for making false statements about his experiences covering the Iraq war.
Williams tested the streaming waters when he anchored extended coverage of the presidential election in 2024 on Amazon Prime Video. While Amazon was said to be pleased with the program, which earned an Emmy, but the company has made no further commitment to live news programming.
“We’re Back!” will likely emphasize the playful side of Williams, who once hosted “Saturday Night Live” during his NBC years. He occasionally told colleagues he harbored a desire to become a late night talk show host or a forum where he could work in a more conversational style.
“After 40 years in the news business whee an in-depth interview gets four minutes of airtime at best, I just want to have interesting conversations with creative, funny, smart, talented and consequential people – like the shows we all grew up watching and listening to,” he said. “Netflix is the perfect home.”
jonathan Wald, a veteran TV news executive who worked with Williams at NBC and MSNBC, will be the executive producer for “We’re Back!”
Netflix has moved aggressively into the podcast business. Sports columnist Bill Simmons, who helped popularize the format, recently moved his podcasts to the platform in January as part of a deal with Spotify. Currently Netflix is carrying 51 video podcasts.
Netflix fans have been raving about a lesser-known comedy crime show starring, as they beg for a second series of the ‘cosy’ White House murder mystery to be made
Alice Sjoberg Social News Reporter
14:41, 16 Apr 2026
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With an enormous number of TV programmes and films accessible on streaming platforms, it can be overwhelming to settle on what to watch. As a result, many people frequently turn to recommendations from friends, family, or even strangers online to determine their next viewing choice. This was precisely the situation for one Reddit user, who headed to the Netflix forum seeking a suggestion for their next watch, but stipulated it had to be a bingeable programme with only one series.
“Best Series on Netflix (Only One Season) Like a Must Watch Binging Series,” they wrote in the headline of the post.
They continued: “Please drop the best one season series down below. I mean like I’d want to watch it all in one sitting because of how good it is. Like suspenseful, action, cliff-hangers. Maybe a really sad part where I get very attached to the characters! Anything!!”
Fellow Netflix enthusiasts promptly descended on the comments section to share their top picks across a variety of genres. However, one programme stood out from the crowd, as fans lauded its characters and overall storyline.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.
This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.
“Really liked the comedy The Residence,” one person shared. To this, someone else added: “So pi**ed they aren’t doing more. It was gold!
“Such a fun show,” another person said, while another wrote: “I freaking LOVED this one. So much. Great rec.”
The Residence is an American mystery comedy drama TV series exclusive to Netflix. The debut and only series launched in 2025, and centres on an eccentric detective named Cordelia Cupp as she attempts to solve a murder that took place in the White House during a state dinner for the Australian Prime Minister.
As the investigation unfolds, interpersonal tensions amongst the residence’s staff come to light, with both personnel and dinner guests emerging as potential suspects.
The programme has earned an impressive 84% score on Rotten Tomatoes, alongside a rating of 7.7 out of 10 on IMDb. Viewers frequently rave about the endearing central character and the captivating storyline.
“A fantastic “cosy”-style mystery: light, wickedly clever, and keeps you guessing to the very hand,” one viewer wrote in their IMDb review.
They went on to say: “Uzo Aduba as Cordelia Cup is a great lead. The supporting cast has additional strong characters as well, though some of these portrayals are less even. As much as I enjoyed the first season and wish for more, I find it hard to imagine how a second season could live-up to the first: further developing the Cup character (so that she is not just a repetition of the Cup we already know) will be hard.”
Another viewer remarked: “For those who find this series too long consider this, the plot, the mystery and all the plot twists are not nearly as important as the comedy and the wonderful performances in this fun story. It was smart without being pedantic, funny without being crude or silly, and engaging without pandering.”
The acclaimed crime drama starring David Tennant and Olivia Colman won three BAFTAs and has a 94% approval rating on Rotten Tomatoes, with viewers comparing it to ‘Shakespeare writes a detective story’
BAFTA-winning crime drama now streaming on Netflix(Image: IMDB)
One of Britain’s most beloved drama series of all time has just landed on Netflix. This gripping crime show scooped three Baftas and has been celebrated as one of the finest productions ever to grace our television screens. The iconic 2013 series Broadchurch has finally made its way to the streaming giant.
The show is a police drama which opens with the murder of 11 year old Danny Latimer, whose body is discovered at the foot of the cliffs.
The tragedy tears apart the tight-knit Dorset community, forcing DS Ellie Miller ( Olivia Colman ) to join forces with newcomer Alec Hardy ( David Tennant ) – despite him having stolen the DI role that was rightfully hers – as they attempt to crack the heartbreaking case.
What follows is a twisting tale of betrayal, suspicion and the dark underbelly of a small coastal town. Unlike conventional cop dramas, this isn’t about high-speed car chases and gun-wielding heroes sprinting through tower blocks.
Rather, it delves into the profound flaws we all harbour, the quiet moments of anguish that accompany unimaginable grief, and the perils of public opinion.
It features one of the most stunning plot twists I’ve ever encountered – and I watch an enormous amount of television. The series is truly an extraordinary experience, with performances that are nothing short of outstanding, reports the Express.
There isn’t a single weak link in the entire cast, and despite being over a decade old, it remains as compelling as ever.
And I’m far from alone in my admiration. Broadchurch boasts a remarkable 94% Rotten Tomatoes approval rating alongside an 8.3 out of 10 on IMDB.
One viewer posted on IMDB: “This is ‘Shakespeare writes a detective story’. It was beautifully done. In no way has he [writer Chris Chibnall] broken the cardinal rule of show, don’t tell.
“Nor has he made the horrible mistake of creating any perfect character. All of them, from youngest to oldest, are wonderfully imperfect human beings.”
A second remarked: “The locations are gorgeous and so atmospheric, and the series is beautifully photographed, fluid and brooding. The music is both haunting and tragic.”
A third added: “Standing out also is the writing. It’s rare to find on television recently to have a series so intelligently written and be so layered and meaty.
“While the pacing is deliberate in places, a lot happens to keep one gripped and ensure that the tension and mystery never slips.”
It has been just one day at CinemaCon in Las Vegas, and there’s already a palpable sense of relief in the air.
Attendance at this year’s show is up about 5% from last year, according to Cinema United, the trade group that organizes the four-day convocation of thousands of movie theater owners, studio executives and industry folks at Caesars Palace.
Groups of people wearing orange-colored lanyards are everywhere throughout the hotel and casino, with many filling the Colosseum on Monday afternoon for a presentation from specialty film companies Angel Studios, Sony Pictures Classics and StudioCanal.
“The energy in every room reflected a sector that believes deeply in its own future,” said Stephanie Silverman, owner of the Belcourt Theatre in Nashville who serves on Cinema United’s strategic planning committee. “For independents, that sense of collective purpose is powerful — we’re not just holding on, we’re building toward something real and lasting.”
Amid such upbeat sentiment, CinemaCon allows theater owners and their business partners to see what’s coming from each studio and get a snapshot of the year ahead.
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On Monday, Provo, Utah-based Angel Studios showed footage from their upcoming film “Young Washington,” about the early life of the first U.S. president, as well as a trailer from an animated retelling of George Orwell’s “Animal Farm.”
“Theatrical isn’t fragile,” Shelley Schulz, vice president of domestic theatrical sales and exhibitor strategy at Angel Studios, said during the presentation. “It’s not fading. It’s evolving.”
European indie film studio StudioCanal also unveiled some of its upcoming films, including scenes from a new animated “Shaun the Sheep” movie that got laughs from the audience, before bringing out director Danny Boyle to applause and cheers to speak about his new film “Ink,” about the beginnings of the British tabloid “The Sun.”
Later this week, Warner Bros., Universal, Amazon MGM, Paramount and Disney will unveil footage from their upcoming releases and likely bring their major stars on-stage to build excitement about this year’s slate.
As I reported Monday, a string of recent hits like Amazon MGM Studios’ “Project Hail Mary” and Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” have pushed year-to-date domestic box office revenue about 23% higher than the same time last year.
The upswing signals that the exhibition business is embarking on its long-awaited recovery from the devastating downturn that occurred in the aftermath of the pandemic.
Studio executives and theater operators chalk up the improved prospects in part to a better and more plentiful crop of bankable movies that are bringing people back to the multiplex.
Exhibitors feel better about the lineup this year — it’s full of major franchises like “Star Wars” and Marvel superheroes as well as well-known animated titles such as “Toy Story 5” and “Minions & Monsters.” Also coming are anticipated films from acclaimed directors Christopher Nolan and Steven Spielberg.
“We’re getting into that cadence we needed in terms of having good movies, different types of movies being released every weekend,” Cinépolis USA Chief Executive Luis Olloqui told me ahead of CinemaCon. “This year in general, we’re feeling more confident, more optimistic.”
It’s quite the turnaround from the anxiety I heard last year leading into CinemaCon, when theater owners grappled with the box office downturn and the general shakiness of the industry.
Not to say that this year is all roses.
As I wrote, there are still major question marks facing the industry, including how Paramount Skydance’s proposed acquisition of Warner Bros. Discovery will affect the business. Paramount Chief Executive David Ellison has said the combined company will release 30 films a year, but exhibitors fear that cost cuts from the deal could impede that goal, which many believe is unrealistic.
And Hollywood is still going through a painful retrenchment.
Just last week, Sony Pictures Entertainment said it would cut hundreds of jobs across its film, TV and corporate divisions. Then came the news about upcoming layoffs at Disney, which could number as many as 1,000.
It hasn’t been much better in the exhibition space, either. In February, Dallas-based Look Dine-In Cinemas abruptly closed three Southern California locations; then, in March, the iPic chain filed for Chapter 11 bankruptcy protection and said it planned to pursue a sale of its assets.
A better box office this year wouldn’t solve all of these problems, but it would inject more hope into an industry that has been in turmoil since the pandemic.
That amount “represents one of the highest golden parachute estimates ever observed,” investor advisory firm Institutional Shareholder Services wrote in a recent report. The firm said support for the proposal “is not warranted.”
Warner shareholders will vote April 23 on the proposed takeover.
What I’m watching
For years, one of the shows on my weekly must-watch list is “Ghosts,” the delightful comedy about a couple who moves into a historic mansion haunted by its previous inhabitants. After a long week, the antics of Viking ghost Thorfinn always make me laugh.
Reacher star Alan Ritchson will be headlining a new reality series for Netflix from the producer of Survivor and The Apprentice
Reacher star Alan Ritchson to host intense Netflix show from Survivor producer(Image: PRIME VIDEO)
Alan Ritchson, the star of Reacher, is set to host a new, intense reality survival series for Netflix.
The acclaimed actor, known for playing the iconic action hero on Prime Video and for the Netflix film War Machine, will challenge a group of high-profile contestants — from influencers to “headline-makers” — in a series of outdoor challenges designed to test their “resilience and grit.”
The currently untitled series will strip away modern luxuries, forcing players to rely on their instincts and determination. “Do they have what it truly takes to endure? Will they risk losing their carefully curated personas in the process? And who will break first under the pressure?” a synopsis from Netflix Tudum teases.
Ritchson, an experienced outdoorsman himself, will guide the contestants, “pushing them beyond their limits and into the unknown.”
The show is executive produced by Jay Bienstock, known for launching major reality hits like Survivor and The Apprentice, guaranteeing addictive viewing.
He is also executive producing, along with Julie Pizzi, Rupert Dobson, Gayani Wanigaratne, and co-executive producer John Faratzis.
The upcoming series will be joining Netflix’s already huge catalogue of popular reality shows, which is only set to grow over the coming years.
Fans have devoured the likes of Squid Game: The Challenge, Million Dollar Secret, and Is It Cake? so far.
Netflix is also in production on The Golden Ticket, inspired by Charlie and the Chocolate Factory, and Win the Mall, a thrilling retail rivalry competition hosted by Haley Baylee, both set to be released this year.
A synopsis for the former reads: “To achieve sweet success in this high-stakes social experiment, players will have to adapt and strategize, as a golden ticket only gets you so far. Wonka’s guests must withstand games, tests, and temptations designed to prove their instincts, resilience, and ability to thrive in the chaos of a retro-futuristic dreamscape.”
Get Netflix free with Sky for Bridgerton Season 4
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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.
And Win the Mall will follow “10 teams of expert shoppers competing to gain control of storefronts, increase their spending power, and outmanoeuvre rivals in the ultimate retail experience.”
Keep your eyes peeled for more updates on Netflix’s must-watch TV tournaments.
A constellation of stars are lining up against Paramount’s proposed takeover of Warner Bros. Discovery, expressing fears the blockbuster merger would devastate the industry and shrink production jobs.
The letter was signed by nearly 1,000 artists and movie creators, including such big names as Ben Stiller, Bryan Cranston, Noah Wyle, Joaquin Phoenix, Kristen Stewart and Jane Fonda, whose group the Committee for the First Amendment, helped organize the campaign.
“This transaction would further consolidate an already concentrated media landscape, reducing competition at a moment when our industries—and the audiences we serve—can least afford it,” according to the letter. “The result will be fewer opportunities for creators, fewer jobs across the production ecosystem, higher costs, and less choice for audiences in the United States and around the world.”
The Hollywood workforce has shrunk by more than 42,000 jobs between 2022 and 2024, according to a recent study. The economy has not bounced back following shutdowns due to the COVID-19 pandemic, followed by the twin labor strikes three years ago.
The strikes prompted studio executives to reset their output after previously spending big to build streaming services to compete with Netflix.
Two other consolidations led to widespread cutbacks: Walt Disney Co.’s acquisition of Fox entertainment assets in 2019, and Discovery’s takeover of AT&T’s WarnerMedia four years ago.
The resulting entity — Warner Bros. Discovery, led by David Zaslav — instituted deep cost cuts and thousands of layoffs to cut expenses because the firm was nearly drowning in deal debt — $43 billion — from the day Zaslav took the helm.
Paramount’s proposed takeover of Warner Bros. would result in a significantly higher debt load, $79 billion in debt, prompting concerns from the group and others about further cuts.
Tech scion David Ellison, son of billionaire Oracle co-founder Larry Ellison, is leading the effort to buy Warner Bros. Discovery to prop up Paramount, which the family acquired in August. Ellison’s Paramount Skydance prevailed in a nearly six month bidding war in late February after Netflix bowed out when the elder Ellison agreed to financially back his son’s $111-billion deal.
Ellison is pushing to wrap the deal up this summer.
“We are deeply concerned by indications of support for this merger that prioritize the interests of a small group of powerful stakeholders over the broader public good,” the letter said. “The integrity, independence, and diversity of our industry would be grievously compromised. Competition is essential for a healthy economy and a healthy democracy. So is thoughtful regulation and enforcement.”
The group urged California Atty. Gen. Rob Bonta and his fellow state attorneys general to sue to block the transaction.
Bonta has told The Times that his office is reviewing the transaction to see if it violates anti-trust rules. Two historic movie studios, several streaming services and dozens of cable channels would be brought under one roof.
“Media consolidation has already weakened one of America’s most vital global industries,” the group said, “one that has long shaped culture and connected people around the world.”
Bonta’s office is leading the charge against another merger, TV station giant Nexstar Media Group’s $6.2-billion takeover Virginia-based Tegna. Eight state attorneys general, including Bonta, have sued to block that deal. A judge is expected to rule on whether to issue a preliminary injunction later this week.
Alice Oseman’s fictional world, where LGBTQ+ teenagers freely explore love, friendship and identity, expanded first to graphic novels before being turned into a hugely popular Netflix series.
The rom-com, which debuted in 2021, is part of a growing portfolio of young adult book adaptations that have flooded streaming platforms in recent years. Hulu’s college drama “Tell Me Lies” and HBO Max’s hockey romance “Heated Rivalry” have become pop culture sensations, joining hits like Amazon Prime Video’s “The Summer I Turned Pretty” and the “To All the Boys” trilogy on Netflix.
“We really thought it was going to be quite a niche show that was seen by a specific group of people,” Oseman said of “Heartstopper.” “It kind of blasted up beyond our expectations.”
After three seasons on the streaming giant, the British coming-of-age series will conclude with a film later this year.
Corinna Brown and Kizzy Edgell starred in Alice Oseman’s queer romance “Heartstopper.”
(Teddy Cavendish / Netflix)
These adaptations often tell tales as old as time of young love and emotional turmoil, but it’s the diverse representation that draws audiences in, said Yalda T. Uhls, founder and chief executive of UCLA’s Center for Scholars & Storytellers.
Audiences gravitate toward authenticity, Uhls added. Young people increasingly want to see stories that reflect their lives, according to a survey administered by Uhls’ nonprofit last year.
“It has to resonate and feel authentic to the time,” Uhls said. “This generation really sees stereotypes pretty quickly … they’ll see inappropriate behavior quickly, and they will call it out.”
Viewers are hungry for diverse casting and storylines across Hollywood. Last year, audiences showed up to the theater at higher rates for movies that had people of color in the cast, according to the annual UCLA Hollywood Diversity Report, released in March.
Netflix’s focus on YA adaptations has paid off, driving more than 1.2 billion total views worldwide in 2025. Audiences are drawn to the platform’s fresh and inclusive interpretations of the genre, said Jinny Howe, Netflix’s head of scripted series for the U.S. and Canada.
“It is still harder to get marginalized stories sort of made and seen by people, but ‘Heartstopper’ is part of that journey,” said Oseman, who also serves as series creator and executive producer.
Lovie Simone plays track star Keisha Clark in “Forever,” a reimagining of Judy Blume’s 1975 novel.
(Elizabeth Morris / Netflix)
“Forever,” a reimagining of Judy Blume’s 1975 book that debuted on Netflix last year, follows two young Black protagonists who fall in love in Los Angeles. The audience had “such a fervent passion for that story, I think, because of the specificity of those perspectives,” Howe said. “Los Angeles was really seen through these eyes.” The show’s second season will reportedly start filming in May.
Young adult adaptations are at the core of the platform’s broader efforts to champion diversity in storytelling, said Peter Friedlander, Prime Video’s head of global TV.
“We’re always looking for shows that give a reflection or a window into other people’s stories,” said Friedlander, also former head of U.S. and Canadian scripted series at Netflix. “This business has been building for a long time, and it’s exciting to see what’s coming out of it.”
Representation in these shows, however, is still far from perfect, said Nicholas Rickards, a doctoral candidate at Brock University in Ontario, Canada, whose research focuses on YA adaptations. Many shows that center a woman of color often still feature white male love interests, he said.
“Studios aren’t totally prepared to tell that story yet,” he said.
Filling a YA void
Streaming platforms’ focus on YA adaptations came as cable TV, which previously dominated the genre, tapered off.
Then the entertainment landscape changed. Social media and streaming became preferred modes of content consumption for young audiences, paving the way for platforms like Netflix, Prime Video, Hulu, Disney+ and HBO Max. Diverse storylines, coupled with the global reach of streaming platforms, have reignited an explosion of YA adaptations, and it’s a race that isn’t slowing down.
Younger generations are often difficult to attract, and YA reimaginings are just one way platforms are trying to break into the teenage demographic, said Jennifer Hessler, an assistant professor of cinema and media studies at the University of Southern California.
Lola Tung’s Belly is in a love triangle with Gavin Casalegno’s Jeremiah and Christopher Briney’s Conrad in “The Summer I Turned Pretty.”
(Erika Doss / Prime Video)
Netflix’s initial breakout success in the genre came with the release of “To All the Boys I’ve Loved Before,” a movie trilogy adapted from books written by Jenny Han, who’s also behind “The Summer I Turned Pretty.” The movies became massive hits and continue to drive viewership, drawing more than 55 million views globally last year, nearly eight years after the first film’s release, according to Netflix.
Younger generations are the target demographic of YA series at Prime Video, but the shows attract audiences of all ages, Friedlander said. Identifying and helping cultivate fresh storylines driven by relatable characters are integral to that success.
“If you really make the best version of a story, it can ripple out among different fandoms,” Friedlander said. “I do think that’s the ability of what streaming platforms can achieve as well, because you can really introduce the narrative to wider audiences.”
Made for streaming
Netflix doesn’t have a formula for a breakout success, Howe said, but strong voices that feel universal must be at the show’s core.
Jeff Norton, whose work focuses on book-to-screen adaptations, said he looks for characters he can fall in love with when choosing books to pitch for development.
“That’s the most important thing — to find a main character or a set of characters that I think the audience will resonate with,” said Norton, who is an executive producer of Netflix’s “Geek Girl,” which was greenlit for a second season.
The structures of young adult novels “lend themselves really nicely” to short TV series, Howe said, because it allows fans “to have more time as they’re living inside of these worlds and these experiences — it’s just that much more enriching.”
Streaming platforms usually release shorter seasons, often with six to 10 episodes — about half the episode order of a typical cable TV series.
Balancing the expectations of a book’s existing fandom while trying to attract a new audience is a major component of Friedlander’s role, he said, adding that “the television medium will often demand that you do change some of the journey along the way so it fits the rhythm.”
Norton, the showrunner of Netflix’s “Finding Her Edge,” said much of that show’s plot diverges from Jennifer Iacopelli’s novel. However, he focused on maintaining the book’s tone and found “the readership is actually very forgiving if you keep the characters whole and intact, but give them more to do.”
Oseman’s shift from novelist to TV writer — and now screenwriter — came with a steep learning curve. The growing pains were worth it, she said, because her story reached audiences who might never have picked up her books. Visual media has been crucial in bridging that gap.
“I want young queer people to be able to see themselves in the stories that they’re consuming,” she said. “I really hope that the existence of ‘Heartstopper’ will encourage people who are commissioning TV and movies … to take a chance.”
Netflix has announced three new faces for the cast of hit regency romp Bridgerton for its fifth season, which will focus on Francesca and Michaela’s ‘groundbreaking’ slow burn
Netflix has shared an update on Love on the Spectrum’s fifth season
The heart-warming Netflix show has just released its fourth season (Image: Netflix )
The future of Netflix’s Love on the Spectrum has been confirmed, but there’s good and bad news.
Fans have been following the dating show for six seasons overall, including two instalments of Love on the Spectrum: Australia. It centres around adults on the autism spectrum as they tackle the uncertain world of romance.
But what does the future hold for Love on the Spectrum?
Will Love on the Spectrum return for season 5?
Yes, Netflix has confirmed that the dating show will come back for a fifth series.
The streaming giant has also teased what’s in store. “In Season 5, Love on the Spectrum will follow a group of neurodivergent daters as they navigate the confusing world of relationships,” they shared.
“By learning the inexplicable rules of dating (rule No. 1: don’t say “I love you” on the first date) and embracing the many intricacies of communication styles and sensory sensitivities, the romantic hopefuls offer an unfiltered look at life and love on the spectrum.”
The news comes as fan favourite Connor Tomlinson shared his own major update.
Get Netflix free with Sky for Bridgerton Season 4
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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.
Is Connor returning for Love on the Spectrum season 5?
Connor has confirmed that he will not return to the show for series five. He told Variety that three seasons were “enough to tell his story”.
“It is with humility and a heavy heart that I share I will not be partaking in season five,” he told the publication. Connor went on to joke: “I’ve chosen to pass the torch to the next person who can make it as big as me.”
But it probably won’t be the last time fans see the Netflix star as he is venturing into acting.
He explained: “Don’t worry about me — I’m still going to be in the acting business, especially voice work. I’ve always been a huge fan of animation and would love to be involved with a TV show.”
Finding a new TV show can be a chore in itself but luckily people have recently suggested a series which is the “funniest ever” that’ll make you “spit up laughing”
Christine Younan Deputy Editor Social Newsdesk
05:07, 05 Apr 2026
The series is available to watch on Netflix(Image: Peacock)
Recently, people went wild for a gripping series which is similar to Breaking Bad and Dexter. Now if you want something comical and we’re talking laugh out loud funny, then viewers are singing the praises of one show which is available on Netflix. It comes as one TV fan revealed they were on the search for something that “hooks you early” and stays good all the way through.
Posting on Reddit, the person visited the r/tvsuggestions forum for inspiration as many recommended Resident Alien.
They asked: “It feels like everything is overhyped lately and I keep getting disappointed after something people swear is amazing.
“Don’t get me wrong, I don’t mind popular shows, I just want something that actually lives up to it and doesn’t fall off after a few episodes.
“Ideally something that hooks you early and stays consistently good all the way through. Open to any genre at this point, I just want a show that delivers.”
In the comments section, people recommended Resident Alien which is “one of the funniest shows ever made”.
Someone commented: “For real! I absolutely adore it. Such a good storyline. Hard to watch it and eat or drink though. The sudden hilarious moments make me spit laugh.”
What is Resident Alien about?
The American science fiction comedy-drama TV series, which was created by Chris Sheridan, is about an extraterrestrial sent to wipe out humanity who kills a vacationing physician and takes on his identity.
After a crash landing on Earth in a small town in Colorado, the extraterrestrial, named Harry, is asked to do an autopsy on the town’s doctor, who died in unknown circumstances, and eventually takes over for the doctor at the town’s clinic.
With the moral dilemma of his secret mission, he also deals with the mayor’s young son who can see his true alien appearance. He also develops compassion for humanity and ends up defending them from other extraterrestrial threats.
The series ran for four seasons from January 2021 to August 2025 on Syfy, but now it’s available to watch on Netflix.
Rated a 15, the comedy has an 8 out of 10 rating on IMDB. Reviewers say ‘Resident Alien’ is lauded for its clever humour and engaging storylines.
As he gained notoriety after the animal cruelty act, Magnotta’s crimes culminated in the murder of a student from China.
From the snippets of his crimes that Magnotta posted online, people in a Facebook group built a case against him to find out who he is.
Magnotta was convicted of murder in 2012 and is currently serving a life sentence.
The synopsis for the Netflix true crime docuseries reads: “A twisted criminal’s gruesome videos drive a group of amateur online sleuths to launch a risky manhunt that pulls them into a dark underworld.”
The harrowing series sparked a huge reaction from viewers, with many continuing to recommend it as one of Netflix’s most disturbing true crime programmes.
One person called it a “brilliant watch, it gets more horrendous as you watch too,” while another recommended it, saying, “100% yes, but I found it disturbing, ngl.” Someone else replied: “Same. That’s the one documentary I can’t watch again. So disturbing.”
“To this day, it’s one of the best I’ve seen,” another viewer echoed, as someone else said, “This documentary is horrific. It’s stayed with me ever since I watched it.” One person left a review calling it “incredibly intense and horrific,” while another called it “unforgettable”.
Someone else said: “I was glued from beginning to end. Deanna and John did a wonderful job of describing their experience. There were many times I asked myself if this documentary was fiction cause it was so unbelievable at times. A must-watch! The ending will not disappoint. Again well done to the filmmakers!” Another praised: “Spellbinding and mesmerising and sickening but ultimately rewarding.”
After the series’ popularity, the creators behind Don’t F**k with Cats later discussed the struggle of balancing coverage of Magnotta and his crimes.
Producer Felicity Morris spoke at a Bafta session on the making of the documentary in 2020, saying: “A lot of the conversations that Mark [Lewis] and I had with them [the contributors] at the beginning were like, ‘What are we doing giving him a Netflix platform for his story?'”
After conversations with the two internet sleuths at the heart of the case, Deanna Thompson and John Green, producer Mark Lewis added, “We arrived at what we thought was a comfortable position, looking at the complicity with everyone who reads a crime story in the newspaper and who reads a crime novel.
“Crime and murder is something that we’re all fascinated in, and in a sense it was part of the story that we’re all – whether filmmakers or viewers – sort of complicit in this fascination with true crime and murder.”
Don’t F**k with Cats is available to watch on Netflix.
The once-bustling holiday resort – popular with the likes of Elizabeth Taylor – was abandoned in the 1970s but has since become a haven for one niche but growing tourist market
14:05, 04 Apr 2026Updated 14:21, 04 Apr 2026
The town is now ghostly and empty – but that’s why it’s becoming a tourist hotspot once again(Image: Getty Images)
Once a playground for Hollywood’s elite, this coastal resort has transformed into an unsettling ghost town. Yet this Cypriot location has found new purpose amongst travellers, emerging as a destination for ‘dark tourism’.
A short distance from well-known Cyprus holiday spots such as Paphos and Limassol lies Varosha. Varosha was formerly a glamorous getaway destination in its own right, attracting Elizabeth Taylor and other luminaries of the 1960s.
However, when Turkish forces invaded Cyprus’s northern territory on July 20, 1974, the seaside resort was altered forever. Five days earlier, there had been a coup attempt backed by the Greek junta. The 15,000 inhabitants of Varosha were compelled to evacuate en masse following the military incursion, leaving behind their homes, businesses and pristine beaches.
Consequently, the district became a ghost town with structures left predominantly vacant. Even now, the neighbourhood remains frozen in time under Northern Cyprus’s jurisdiction. Unsurprisingly, the area lost all attraction for holidaymakers, as vegetation began reclaiming the pavements and sea turtles made nests on Varosha’s formerly sunbather-packed beaches.
Yet in October 2020, a decision was taken by Turkish President Recep Tayyip Erdogan and the then prime minister of Northern Cyprus, Ersin Tatar, to reopen the district to visitors. Varosha has since begun drawing a markedly different type of tourist than it did during its 1960s golden era.
More than 1.8 million tourists have descended on the ghost town over the past four years, according to figures published in 2024. Visitors appear to be drawn in by the town’s chilling historical significance and its crumbling, derelict landscape.
Speaking to the Daily Express, Hubert Faustmann, a professor at the University of Nicosia, said: “The section found itself in the top tourist sites in terms of dark tourism, so they started to open up certain parts of Varosha, and it’s now a tourist destination with guided tours, with e-bikes, vehicles and coffee shops.”
Faustmann continues: “Varosha is being used as a tourist destination, as a tourist attraction, without a single inhabitant prior to 1974 returning. It’s changed in the sense that it’s open to the public, but it’s not open for return.”
In a bid to shed its decaying reputation, Varosha has undertaken clean-up efforts ahead of its reopening. The town now boasts a range of amenities catering to all types of visitors, from beach umbrellas to canteens.
PACE rapporteur for Varosha Piero Fassino, who had visited the ghost town in mid-May, presented his findings to the assembly during the gathering. The Italian senator expressed his hopes that Varosha could be transformed back into a “living town” following his visit.
That being said, dark tourism has been a longstanding element of the travel sector, achieving widespread attention through the Netflix programme, Dark Tourist. The series explores the bizarre, eerie and superstitious customs and folklore connected to numerous locations across the globe.
Speaking to The Mirror, dark tourism enthusiast Louise Joy explained: “Traditionally, dark tourism is visiting places associated with death and tragedy.” Joy is a blogger and founder of The Morbid Tourist and reveals she routinely seeks out “spooky” locations when travelling.
Joy suggests TikTok has also made a substantial impact on the dark tourism sector in recent years. “The individuality on TikTok [helps] people seeing stuff that is different and you don’t necessarily see that out there offline, like in books,” says Joy.
The Brazilian dystopian thriller has been hailed a ‘rare gem’ and ‘masterpiece’ by fans
Netflix series 3% should be on your radar if you love thrillers(Image: GETTY)
The concluding series of the universally loved dystopian thriller, The Handmaid’s Tale, has been over for some time, leaving devotees hunting for their next television fixation.
Fans of thrillers are similarly captivated by a relatively obscure dystopian series titled 3%, showcasing a young ensemble and situated within an intriguing offshore community.
This Netflix offering from 2020 has accumulated numerous glowing reviews since its debut, with audiences declaring it “Tremendously Underrated”.
One IMDb critique states: “I was really surprised by the fact that this show is really unknown. It is a great TV series that definitely deserves more recognition.”
Another subscriber commented: “Cinematically and visually stunning, a political, Hunger Games-esque storyline with believable acting, and I thought very interesting, lifelike characters. The script is intelligent, the characters are strong, and the interaction is elegant in its simplicity and natural air”, reports the Express.
The narrative of this Brazilian thriller revolves around merely 3% of the population inhabiting luxury on an island, while the remaining citizens endure poverty on the mainland. Upon turning 20, ordinary people are given a single opportunity to join the elite 3% through a brutal competition dubbed ‘the process’.
Deliberately ruthless and potentially lethal to contestants, the competition concludes with most candidates returning to deprived circumstances – sometimes too incapacitated to even carry on.
While the series hails from Portugal, numerous English-speaking audiences have been captivated by the programme, eagerly watching every episode through subtitles or dubbed versions.
One enthusiast even labelled the show a “rare gem”.
They remarked: “3% is one of those rare shows that only gets better and better as it goes. Season 3, so far, is shaping up to be the most enthralling season yet, which, let me tell you, is absolutely saying something!”
“The world continues to be fleshed out, and the already quite complex characters are only getting more interesting. Do yourself a favour; watch at least to episode three before you pass judgement. You won’t regret it!”
Another viewer commented: “This is truly an outstanding dystopian/post-apocalyptic series. The acting, the shots, the pace, the character development, the storyline… Everything is on point! Seasons 1, 2 and 4 were, for me, all riveting.”
Boasting a Brazilian ensemble, the performers in this production are relatively unfamiliar but deliver an “outstanding” showing, according to audiences.
João Miguel portrays Ezequiel in the series, the Process’s leader, alongside Bianca Comparato, who appears as Michele Santana, and Michel Gomes as Fernando Carvalho. Reflecting on the performances in 3%, one viewer commented: “I watched this out of boredom, but boy, was I glad that I did. It totally caught me off guard by how wonderful this show was. It is intelligent, futuristic, and well acted; all in all, absolutely amazing.”
Whether you’re eager to discover what all the fuss is about, or simply on the lookout for something to watch after completing The Handmaid’s Tale, 3% is currently available to stream on Netflix.
After his October 2015 overdose at a Nevada brothel, Lamar Odom says, he had “12 strokes and six heart attacks. All my doctors say, like, I’m a walking miracle.”
Now, more than a decade later, the Love Ranch brothel has been demolished, but Odom is still around.
The former Laker and onetime husband of Khloé Kardashian is telling his story for “The Death and Life of Lamar Odom,” the newest episode of Netflix’s documentary series “Untold,” along with Kardashian, former coach Phil Jackson and others who were around during his Oct. 13, 2015, health emergency. The episode premiered Tuesday.
“You know what’s funny?” the 46-year-old former player told Sports Illustrated in an interview published Monday. “I haven’t even watched it yet. You know why? Because I lived it.”
Odom, who just got out of another month of rehab in February, insists that the 2015 episode was not a mere overdose but a “hit,” an attempt on his life.
“Right when I signed the divorce papers, I was like, ‘I’m gonna get it in.’ The Bunny Ranch I used to always see on TV, but I don’t have any coke to take,” he says in the documentary. “ … It’s crazy when you think about [how] one decision, so big or so minor, could be so pivotal to you and to people that you really love.”
The late Dennis Hof, owner of the Bunny Ranch, where HBO’s “Cathouse: The Series” was shot, owned other Nevada brothels. Odom set off that October for Hof’s Love Ranch in Crystal, about 80 miles outside of Las Vegas.
“It was pretty rare that a celebrity — certainly anybody above the D-list — would be actively trying to come out to one of the brothels,” former Love Ranch manager Richard Hunter says in the “Untold” episode. “This was kind of a myth. This was something Dennis perpetuated.”
But, Hunter said, “Lamar Odom actually began contacting several of the girls from the Love Ranch on Instagram. … Being a professional athlete, there’s a lot of easier ways to do this than to drive an hour outside of the city into the desert, walk into a brothel, such as it was, and want to live there for a few days.
“As the days progressed, I remember that him or one of his handlers … actually contacted the brothel and wanted a car to pick him up. So it definitely became real when he gave us the address of where he was at.” The driver called the Love Ranch and let them know his passenger really was Odom. They put him in a house behind the brothel, Hunter said, where they put folks who were “spending enough money.”
Odom told USA Today in an interview published Monday that what transpired at the Love Ranch — which was demolished in November 2024, after Hof’s 2018 death — “was like a hit. Obviously they missed. I don’t know if they want to finish the job.”
Kardashian explains in the episode that her divorce from Odom came as a result of an ultimatum she was told to deliver during a planned intervention: a three-month rehab stint or a split. Odom surprised them, she said, when he said that all he wanted was his passport — and the divorce.
“I was like, looking around like, ‘Wait. Wait. I — I don’t want the divorce,’” she said. “‘You guys [who assembled for the intervention] told me I have to say this.’”
Odom and Kardashian had signed their papers before the OD, but a judge hadn’t yet signed off on the dissolution, which allowed her to keep him insured and, as his wife and next of kin, to make decisions regarding his health. Kobe Bryant, Odom’s Lakers teammate and Kardashian’s close friend, flew to Nevada to help her decide whether to proceed with surgery to fix Odom’s lung that had collapsed. She said yes, even though there was only “like a 10% chance” that it would work and that he would survive the procedure.
Odom made it through, recovering at Cedars-Sinai Medical Center. Bryant died in a helicopter crash less than five years later.
After the OD, Kardashian never left the hospital. She put their divorce — finalized in 2016 — on hold. When Odom awakened from his coma, he couldn’t control his bowels and needed six hours a day of dialysis, according to the documentary. “So you can understand the humility … I’ve won two championships. I’m Lamar Odom. I can’t walk, can’t talk. And they come in to check my diaper.”
He was 35 at the time. The next summer, he was removed from a flight at LAX before takeoff while drunk and vomiting, having been seen earlier slamming beer and whiskey in the Delta Airlines lounge.
So what would Odom tell his younger self, if he could, after suffering a dozen strokes and six heart attacks after that visit to the Love Ranch?
“Stay away from your weakness. And my weakness, obviously, was drugs because I’m a drug addict,” he told SI. “It could have been passed down to me from my father. But I’m not blaming anybody. Makes no sense to blame anybody. On or off the court, you have to work with what you’ve got. And I had an incredible stat line in terms of skills and how to play the game.
“And just work on being the best player that you can be. Anybody who offers you that s—, drugs, whether it be coke, pot, alcohol, they probably ain’t your friend. And to choose my friends wisely, because they could affect you on or off the court.”
Odom also wasn’t sure why Netflix had tapped him at this moment, but hopes that by telling his story he might help other people who are trying to get out of addiction.
“I was telling my girlfriend on the way here, it’s like swimming in a cesspool of trauma,” he told USA Today, mentioning a partner who has not been identified. “And I’m trying to get out of it, but the story reels me back into that pool every time. But I just know I’m bigger than the situation, and I hope to help a lot of people by giving my testimony. Not just with the story, but just in life, that we can all overcome addiction.”
That and, well, “Netflix had a good paycheck, bro,” he told SI with a laugh. “No, but it’s a time and place for everything. I don’t know what made me relevant now.”
The series, which arrived on Netflix on March 26, focuses on a troubled Oslo police detective (portrayed by Tobias Santelmann), who must grapple with both a horrific serial killer and his corrupt colleague.
“Created by one of the greatest storytellers in crime fiction, Jo Nesbø’s Detective Hole is a whodunnit serial killer mystery led by famed anti-hero Harry Hole,” the official synopsis teases.
“Underneath the surface, this series is a nuanced character drama about two police officers – and supposed colleagues – operating on opposite sides of the law. Throughout the season, Harry goes head-to-head with his long-time adversary and corrupt detective Tom Waaler,” reports the Express.
The description concludes: “Harry is a brilliant but tormented homicide detective who struggles with his demons. As the two navigate the blurred ethical lines of the criminal justice system, Harry must do all he can to catch a serial killer and bring Waaler to justice before it is too late.”
Joel Kinnaman portrays Tom, alongside Tobias Santelmann as Harry. Pia Tjelta, Peter Stormare, Anders Baasmo Christiansen, Ellen Helinder, Simon J. Berger, and Ingrid Bolsø Berdal also star.
Jo Nesbø has a devoted following, with his novels selling 60 million copies globally, including 5.6 million in Norway – exceeding the nation’s total population. It appears the series has proved to be just as successful as the books, with Detective Hole climbing the Netflix UK rankings just one week after arriving on the streaming service. It currently sits as the fifth most-watched TV programme, and presently maintains a 90% score on review aggregator Rotten Tomatoes.
Critics have lavished praise upon the series, with Collider stating: “A roundhouse-kick of a thrill ride that lives up to the promises baked into the thriller subgenre’s name, Jo Nesbø’s Detective Hole delivers virtually everywhere it should – which is nothing less than what a modern legend deserves.”
FandomWire contributed: “Stylish, gritty, and suspenseful, Jo Nesbø’s Detective Hole is a knockout and Nordic noir done right,” while The Times remarked: “So much plot, so much incident, plus heatwaves, tropical thunder and sweat. As rides go, it’s certainly rollicking.”
Fans have also expressed their enthusiasm, with many devouring all nine episodes in one go. One individual posted on IMDb: “Excellent adaptation of Jo Nesbø’s The Devil’s Star. As an avid reader of the books, I found this to be absolutely spot on with its recreation and casting of the Harry Hole universe. So atmospheric, capturing the style and tone of Jo Nesbø’s writing. Excellent acting and riveting storyline, this was an easy binge. I sincerely hope there will be more seasons as there is a wealth of material to tap into.”
Another chimed in: “A gripping Norwegian masterpiece that stays with you. Just finished bingeing the new Norwegian Netflix series Jo Nesbø’s Detective Hole (based on the Harry Hole novels), and wow – what an intense, atmospheric ride… By the finale, I was emotionally drained in the best way.”
They went on to say: “If you love smart, character-driven crime dramas with heart and moral weight (think The Killing or The Bridge but with Jo Nesbø’s signature edge), drop everything and watch Jo Nesbø’s Detective Hole. It’s binge-worthy perfection. 10/10 from this amateur reviewer – easily one of the best new international series I’ve seen in a while.”
A third viewer described the series as “absolute perfection,” while a fourth fan likewise commented: “Detective Hole is a gripping, unforgettable series that captures the raw brilliance and dark originality of Jo Nesbø. With its intense atmosphere and a deeply flawed yet magnetic protagonist, it pulls you straight into a world where crime, emotion, and truth collide.”
Jo Nesbø’s Detective Hole is available to stream on Netflix
Global streaming revenue surged to $150 billion last year, driven largely by an increase in prices by Netflix and other streamers, according to a new report.
In 2025, global streaming subscription revenue grew by 14%, reaching a total of over $157 billion, the report from Ampere Analysis found. In the last five years, revenue has tripled from the $50 billion seen in 2020.
Streamers continue to dominate the digital distribution market with rising monthly subscription fees , more consumers choosing subscriptions with ads, and platforms expanding their global reach.
“As the streaming market matures, the emphasis is no longer on pure subscriber growth but on extracting greater value from existing audiences,” said Lauren Liversedge, a senior analyst at Ampere Analysis. She noted that the growth is happening “particularly in the most competitive markets.”
Over the next five years, Ampere Analysis estimates subscription revenue will grow by another 29%, potentially reaching over $200 billion worldwide by 2030.
The U.S. is the largest driver of this revenue growth, as the country accounts for 50% of 2025’s global streaming subscription revenue, per Ampere Analysis. Netflix accounted for the largest revenue share in the U.S. at 14%. Last week, the company also announced a price hike, where its premium tier costs $27 a month. This marks the second time in a little over a year that the streaming service raised its fees.
“Our approach remains the same: We continue offering a range of prices and plans to meet a variety of needs, and as we deliver more value to our members we are updating our prices to enable us to reinvest in quality entertainment and improve their experience by updating our prices,” said a Netflix spokesperson in a statement.
It’s not the only streaming service to increase its prices, as Disney+, HBO Max and Apple TV made similar moves last year.
Recent data from Deloitte highlights some of the price sensitivity U.S. streaming audiences are experiencing. More than two-thirds of streaming subscribers are now opting for ads, marking a 20% increase from 2024.
That cost-conscious sentimentexpands beyond North America, reaching Western Europe, according to Ampere Analysis. The total revenue from ad tiers has risen rapidly across these markets over the past five years, up from less than 5% in 2020 to 28% in 2025.
But even as consumers demonstrate their willingness to pay less and watch ads, streaming platforms still benefit, making money from both subscription fees and advertising. When accounting for that ad revenue, streaming services generated closer to $177 billion in global revenue last year. Advertising is expected to become an even more important revenue stream for these companies, as ads alone could add $42 billion in annual revenue by 2030, per Ampere Analysis.
You might expect a screenwriter working in the horror genre to be relatively difficult to scare, but Haley Z. Boston, the creator and executive producer of Netflix’s harrowing new limited series “Something Very Bad Is Going to Happen,” insists that is not the case.
“I’m afraid of everything,” Boston, 31, said during a recent Zoom conversation. “I’m afraid of horror movies, but that’s why I love them so much, because they scare me. A lot of horror people are desensitized and looking for something to shake them. I am the opposite. I am easily afraid.”
The easily frightened — and the recently engaged — might be advised to approach Boston’s new series, which premiered Thursday, with caution. A haunting fusion of David Lynch surrealism and “Rosemary’s Baby” paranoia, “Something Very Bad Is Going to Happen” traces the peculiar and ominous events that unfold in the week leading up to the nuptials between wary Rachel (Camila Morrone) and trusting fiancé Nicky (Adam DiMarco), as overseen by Nicky’s mother Victoria (Jennifer Jason Leigh).
Faced with inexplicable truths about Nicky’s family and her own past, Rachel becomes convinced that saying “I do” has the potential to prove deadly, and she comes to fear what might take place when she walks down the aisle.
Camila Morrone as Rachel Harkin in Netflix’s “Something Very Bad Is Going to Happen.”
(Netflix)
“I’d seen people in their wedding, in their vows, say, ‘I never once had a doubt,’” Boston said. “I’m like, ‘How could you not constantly question everything?’ It felt very natural to me to explore that idea in a horror show where the doubt is the horror.”
Horror has long been a preoccupation for Boston. The Oregon native has a tattoo of the phrase “Carrie White burns in hell” to commemorate her favorite film, Brian DePalma’s landmark Stephen King adaptation, “Carrie.” She distinguished herself writing episodes of weird, atmospheric series including Netflix’s “Brand New Cherry Flavor,” a nightmarish exploration of witchcraft and filmmaking in 1990s L.A., and “Guillermo del Toro’s Cabinet of Curiosities,” also for Netflix.
Her installment in the Oscar-winning director’s anthology series, “The Outside,” was inspired by a comic titled “Some Other Animal’s Meat” and followed the unnerving transformation one woman undergoes after purchasing a beauty cream advertised on a late-night infomercial. “It’s all about being an outsider and feeling different, and I related to that,” Boston said.
Boston began writing at the age of 11, and after seeing Quentin Tarantino’s “Kill Bill” in her early teens, she became interested in filmmaking. “I was so taken by the way that the story is told, and I love a revenge story,” she said. “That’s when I started to think, ‘Is this something? Who wrote that? How does any of this work?’”
She had considered following her parents’ path and choosing a career in medicine, but during her first formal writing class at Northwestern University, she felt that she’d found her calling. “I was like, ‘No, this is it. This is what I want to do,’” Boston said.
“I’m like, ‘How could you not constantly question everything?’” Haley Z. Boston says about marriage. “It felt very natural to me to explore that idea in a horror show where the doubt is the horror.”
(Christina House / Los Angeles Times)
After graduation, she moved to L.A., taking a job in the William Morris Endeavor mailroom and writing scripts on her own time. A high school slasher movie she’d penned in college landed her an agent. Soon after, her pilot for a “sapphic murder story” inspired by “Killing Eve” netted her 22 pitch meetings — the first was with director Sam Raimi, whose early-career “Evil Dead” movies are beloved cult classics. “I was 24, and I did the scariest thing at the time possible,” Boston said. “Sometimes I think if you don’t think too much about how terrifying it is, and you’re just thrown into it, that’s better.”
With “Something Very Bad Is Going to Happen,” Boston found herself thrown into the position of showrunner without ever having spent any real time on a set. Yet Morrone says Boston was the picture of confident professionalism throughout the shoot. “There’s just a grace to her,” Morrone said. “Even if she was overwhelmed, you would just never see it. These are her words and her world, and she inherently knows the character and the story so well that she could really navigate any questions thrown at her because it lives in her.”
The series is something profoundly personal for Boston. Growing up with parents whose marriage seemed idyllic had left her struggling once she began dating, and she channeled many of her own anxieties into the show. “They’ve been together for 37 years or something,” Boston said of her parents. “I felt all this pressure knowing that that exists. It always felt like a curse. You have this great example of what a marriage is, and I always found myself weighing every little romantic tryst against this 30-year marriage — which was unhelpful.”
She hit upon the premise for the series right around her 27th birthday, a time when more and more of her friends began to get married, and developed the idea while working on other projects. By the time Boston sat down to write the pilot episode, she knew the narrative and the characters so well that it took her just two weeks to finish.
Pitching the series, she met with “Stranger Things” creators Matt and Ross Duffer, who were so impressed by her vision that they signed on to executive produce “Something Very Bad Is Going to Happen” through their Upside Down Pictures banner.
“From reading one page of her script, it became very clear that this is someone who has a very unique voice,” Ross said. “It was unlike anything we’d ever read before. Immediately, we were like, ‘We have to be involved with this. We have to help bring her vision to life.’”
Rachel (Camila Morrone) and Nicky (Adam DiMarco) experience peculiar and ominous events leading up to their wedding.
(Netflix)
Matt added, “Haley has such a specific sense of humor. It’s very dark, very dry, but it also feels incredibly real. Her characters talk very much in the same way that real people talk. I find that sadly rare in the scripts that you read.”
The series was filmed in Toronto in January 2025 with directors Weronika Tofilska (“Baby Reindeer”), Lisa Brühlmann (“Killing Eve”) and Axelle Carolyn (“American Horror Story”) behind the camera. Boston said she and her collaborators would often reference specific films — everything from “The Celebration” to “Uncut Gems” — as a shorthand for the tone they were hoping to strike in a given episode. “I really love a story that takes something normal and grounded and gives one twist on it that throws you into a different world and makes you see things in a different way,” Boston said.
With “Something Very Bad Is Going to Happen” poised to elevate Boston’s Hollywood profile, establishing her as one of the most exciting voices in horror, she’s already planning for her future, writing a film that she intends to direct. “I love the horror community, but it is still such a boy’s club, and I really want to infiltrate it,” Boston said.
“The genre has been so much about women, and in studying feminist theory in horror, especially back in the ’70s, the genre forced men to relate to women — you’re watching a woman survive, which is ultimately very powerful,” she added. “I find it interesting how many men are making horror movies about women. I talked about ‘Carrie.’ I love that movie, but it’s missing something. Same with ‘Rosemary’s Baby.’
“This show is such a great opportunity to begin my career in this genre — now, I want to continue my reign of terror.”
