Oliver

MOVE over Brad and Angelina – Hollywood has another bitter custody war on its hands, and this one is about to get even messier, with a 13-year-old boy preparing to give evidence against his own parents.

Oscar-winner Halle Berry and her ex-husband Olivier Martinez are locked in an explosive legal battle over their son Maceo after allegations of physical abuse plunged their already turbulent relationship into fresh crisis.

Today Maceo will appear in court to give evidence in a hearing over a restraining order sought by his dad, who has accused 60-year-old Halle of attacking the teenager during an argument at her home in September.

The judge has ruled that Maceo will testify, despite Halle’s objections, although his evidence is limited to the restraining order request and he will appear in a closed courtroom.

It marks a dramatic new chapter in a custody battle that has dragged on for years since the couple’s disastrous marriage collapsed in 2015 after just two years.

And while French actor Olivier insists his son deserves to have his voice heard, Halle claims the boy has been “coached and manipulated”.

The latest showdown erupted after Olivier, who is also 60, obtained a temporary domestic violence restraining order against Halle this month, accusing her of physically abusing Maceo on September 26 this year.

In the court filings, he alleged she jumped on their son, put her hands around his neck and choked him.

He claimed the row erupted after Halle called Maceo “stupid” over a game involving virtual reality glasses, and that afterwards a “traumatised” Maceo begged Olivier to pick him up.

Halle has vehemently denied the allegations, insisting the pair were “roughhousing”.

She says the incident arose as she tried to enforce boundaries, claiming Maceo had been ­physically aggressive towards her.

In a statement, she said: “I have never physically, emotionally, or otherwise abused Maceo. I am a victim of domestic violence, and I help ­victims of domestic violence . . . I am not a perpetrator of violence. I would never hurt our child.”

Halle has found a fierce ally in 18-year-old Nahla, her daughter by former partner Gabriel Aubry, who leapt to her mum’s defence in a sworn declaration.

She said: “I have never seen my mom hit, slap, choke, grab or physically abuse Maceo in any way.

“I have never seen my mom place her hands around Maceo’s neck, put him in a choke hold, restrict his breathing or engage in any conduct remotely resembling the allegations that have been made against her.”

Nahla described Halle as a “loving and devoted parent”.

It is a far cry from how it all began.

Halle and Olivier met in 2010 in South Africa on the set of the horror film Dark Tide, shortly after she had split from French-Canadian model Gabriel.

They got engaged in 2012 and married in France in July 2013, and Halle gave birth to Maceo that October.

For a time they appeared to have found happiness together, with Maceo’s arrival completing the family.

Now Halle’s lawyer Marina Beck has branded the court filing “entirely meritless and deliberately misleading”.

She claimed Olivier had repeatedly violated court orders, “misconduct for which Mr Martinez has already been legally sanctioned”, and alleged he has a ­history of “erratic, possessive and ­violent behaviour”.

Halle also accuses Olivier of ignoring evidence which she says contradicts his version of events, including statements from her now-fiancé Van Hunt, who was present, and what she describes as contemporaneous video evidence.

Her filing reads: “Van Hunt was physically present during the incident and is the only adult third-party eyewitness to the events at issue.”

She argued that Maceo has “a ­personal interest in minimising his own conduct”, claiming he has behaved similarly at school.

Halle told the court that making him testify would place him “directly in the middle of a highly contentious dispute between his parents” and risk harm to his wellbeing.

She added that he has spent the past two weeks mainly in Olivier’s care, discussing the allegations and the litigation.

But Olivier has launched a blistering counter-attack, insisting his son is the real victim.

His lawyer Patrick Baghdaserians said: “We vehemently deny such ­allegations. The child is the primary victim here. Victims of abuse should be able to testify regarding the abuse inflicted upon them.”

He added: “We are not surprised that the opposing party does not want the child Maceo to testify.

“The opposing party is seemingly scared of what the child will say.”

Olivier said Maceo “was concerned that no one will believe him over his mother” and “wants to speak with the court to provide his side of the story”.

He continued in his declaration: “Given that our son is 13 years old, I believe it would certainly be in his best interest for him to address the court.

“I believe that our son’s testimony will be the key to the Court learning the full truth about the events that occurred on September 26.

“I am the parent who wants the truth to come out. I am the parent who does not want to suppress Maceo’s voice.”

Mr Baghdaserians warned that if their son was stopped from speaking, Olivier “fears that [Maceo] would be dissuaded from reporting problems or potential abuse in the future”.

The team also expected Halle “will try to prevent Maceo from addressing the court directly”.

Los Angeles Superior Court Judge Shelley Kaufman ruled that “the minor child shall not be coached” and reminded both parents that existing orders remain in force, including not discussing custody issues or court papers with him.

But Olivier has hit back by asking the judge to block Nahla from testifying, claiming she is “unquestionably biased” and has “no significant bearing” on the case.

He said it was not appropriate for Halle to “insert her daughter into ­litigation that does not involve her”.

The hearing is set to be an ­agonising showdown for two exes who have been trading blows in court for years over how to raise Maceo.

The marriage was short-lived. The couple’s wedding took place in France on July 13, 2013, but cracks soon began to show.

In January 2015, showbiz news ­service TMZ reported that Olivier had appeared to push a worker at Los Angeles airport with a child car seat as photographers closed in.

He was named a suspect in a battery investigation but no charges followed.

By October 2015 the couple had confirmed their split, saying in a joint statement they were divorcing “with a heavy heart” and wished each other “nothing but happiness in life”.

Yet the bitter legal wrangling ­rumbled on for the best part of a decade, with their divorce not ­finalised until August 2023.

The settlement required Halle to pay £6,000 a month in child support, cover Maceo’s private school tuition and contribute more than £41,500 towards Olivier’s legal fees, with the pair sharing joint custody of Maceo.

But the courtroom clashes did not stop there. In 2024 the pair were back in front of a judge over co- parenting therapy, with Halle accusing Olivier of trying to delay it by taking “the summer off” to travel.

She then sought sole custody, claiming Maceo had “serious behaviour and learning problems” and that Olivier refused to get a tutor because it could interfere with their son’s football schedule.

Olivier disputed the claims. Halle also said she had spent more than £150,000 trying to “work with” her ex, and swiped at him over child support.

“As Olivier has advised this court, he lives off my child ­support,” she wrote.

Now Olivier has filed for sole custody and has been granted primary custody, along with a restraining order barring Halle from coming within 100 yards of him.

She has been given two days a week of court-ordered visitation and every other weekend with Maceo.

She has also completed a court-mandated parenting programme.

For now, the battle lines are firmly drawn, with Halle fighting to protect her reputation and relationship with her son, while Olivier insists Maceo’s account of events must be heard.

And with Maceo due to take the stand today, the latest chapter in one of Hollywood’s most vicious ­custody disputes is set to unfold in a courtroom far removed from the glitz and glamour of the world that the former couple once shared.

The Sun has approached representatives for both Halle and Olivier for comment.

On the set of CBS’ legacy soap opera “The Bold and the Beautiful” at the Sunset Las Palmas Studios in Hollywood, two actors were caught in a fiery exchange.

“Do you want to know where Jack was last night?” actor Skyla Lynne asked with a sly grin. “He was with me.”

From behind a monitor displaying a vertically oriented feed, the director interjected: “Could you pause a bit more in between those lines? We might want to do an episode break there.”

The scene wasn’t for an episode of the famous soap opera. It was part of the 40-episode second season of “Hollywood Starlet,” a new microdrama series from “The Bold and the Beautiful” head writer Bradley Bell and his son Oliver.

“I’ve been doing soap operas my whole life, and it felt like there’s been a buzz about microdramas, and it really felt like a natural extension to the stories that we do,” Bradley Bell said. “[On soap operas] we build two cliffhangers usually on Fridays to keep the viewers over the weekend. Here, you do it every couple of minutes. It’s like speeding up the dance routine, but it’s really right in our lane of soap operas.”

Microdramas are the scrollable, cliffhanger-heavy stories built for phone screens. They are giving audiences a new way into the kind of stories that once belonged to traditional soap operas and telenovelas. The so-called vertical format originated in China a few years ago and has drawn a growing global audience thanks to its short, addictive nature. Hollywood names, including Issa Rae and Kevin Hart, are joining in.

Now, Bell is moving into the space. The 16-time Emmy winner and his son Oliver recently launched a production company called Red Flair Entertainment to capitalize on the format.

“Hollywood Starlet,” their first production, premiered Sept. 3 on aTwist, a new vertical series app founded by industry veterans Jana Winograde, former president of Showtime; Susan Rovner, former president of Warner Bros. Television; and Lloyd Braun, former chairman of WME.

Oliver Bell, founder of Red Flair Entertainment, is producing the micro series, “Hollywood Starlet,” being filmed at Sunset Las Palmas Studios in Los Angeles.

(Genaro Molina/Los Angeles Times)

Bradley Bell says it was Oliver who hatched the idea.

“I saw this unique format and was fascinated by it,” Oliver Bell said. “I noticed some areas that we could quite easily improve on.”

Microdramas first came across Oliver’s social media feed around a year and a half ago when he was still in college. The 24-year-old said he quickly “fell down a rabbit hole” and became so obsessed with the format that he wrote his dissertation at the University of St Andrews in Scotland on soap operas and microdramas.

After he graduated in December, he and his father founded Red Flair Entertainment and started to develop “Hollywood Starlet,” with Oliver serving as an executive producer and his father as a producer.

The series — which costs about $175,000 to $220,000 a season to produce — is being financed by aTwist. Red Flair has a backend deal, allowing it to share in subscription revenue the show generates for the platform.

After filming two seasons of “Hollywood Starlet,” Red Flair plans several more vertical series across many different genres, like horror and romance, the Bells said.

Oliver grew up visiting sets and eavesdropping on writing meetings from under his father’s desk. The family’s storytelling line runs back to his grandparents, William Bell and Lee Phillip Bell, who created “The Young and the Restless” and “The Bold and the Beautiful.” Oliver says he’s carrying on that legacy in a very Gen Z way.

“In a way, microdramas are just the natural evolution of the soap opera,” Oliver Bell said. “You could kind of trace the legacy through that and the modernization of serialized TV.”

His father, who was working on episode 9,911 of “The Bold and the Beautiful” while speaking with The Times, said the short-form stories can reach younger viewers who might be daunted by the soap’s decades of history.

“It’s like cracking open a book, and it’s hard for people to get into it to learn the history,” he said. “So having smaller, bite-sized pieces is appealing to us.”

“The Bold and the Beautiful” has aired continuously for 39 years, but it’s now one of American TV’s last soap operas. Until the 1980s, 10 to 12 soaps typically aired at once, said Elana Levine, a media professor at the University of Wisconsin-Milwaukee who studies the genre. Today, five remain: four on broadcast TV and one, “Days of Our Lives,” is on streaming only.

“It makes sense to take this storytelling form that has been super popular and enduring in the U.S. and find a way to translate that into the mobile devices that we carry around us all of the time,” Levine said.

While soap operas historically targeted a mostly female audience, microdramas reach a much broader audience, said Michael Berry, director of UCLA’s Center for Chinese Studies, who has studied the rise of vertical series.

“It gives us essentially the main beats that we would get from a soap opera format, but it’s happening in a much more compact and addictive way,” he added.

Cameramen prepare for a scene on the set of the micro series, “Hollywood Starlet,” being filmed at Sunset Las Palmas Studios in Los Angeles.

(Genaro Molina/Los Angeles Times)

Lou Trabbie, the soap’s production designer, had never heard of a microdrama before working on “Hollywood Starlet.”

“It’s all going in a different direction. You just adapt and move forward, and that’s what we see here,” Trabbie, who’s worked in the industry for 38 years, explained. “It’s really great to see how these are done with smaller crews. I feel like this is where the business is going.”

“Hollywood Starlet” shoots on the same Sunset Las Palmas soundstage as “The Bold and the Beautiful,” filming during the soap’s monthly dark week.

The first season, 45 short episodes, was shot in six days at the start of summer with a non-union cast and crew of 45. Less than a week after its release, much of the same crew was back to start working on season two.

Oliver Bell said the series used non-union crew due to “budgetary restrictions.”

At a time when major film and TV shoots are leaving the state, microdramas are one of the few areas of production that are growing locally.

Excluding China, vertical video is expected to generate $150 billion globally in revenue this year, according to consulting firm Owl & Co. Most of that comes from TikTok, YouTube Shorts and Instagram Reels.

Sunset Las Palmas Studios, where “La La Land” and the first two seasons of “I Love Lucy” were filmed, dedicated an entire sound stage in June to standing sets for vertical series. The sets include a courtroom, a bar/restaurant, an apartment, an office and a hospital.

Paxton Fuller, left, executive producer of “Hollywood Starlet,” walks with Sean Griffin, Vice President of Sales and Business Development, for Las Palmas Studios, through a courtroom set on the stage meant specifically for microdramas.

(Genaro Molina/Los Angeles Times)

Still, the Bells don’t think microdramas will replace soap operas. The two formats, they argue, can “coexist.”

“Coming into someone’s living room or bedroom, soap operas were almost like an extension of their family that they can count on for years and decades with the same actors. The same families that have watched since day one,” Bradley Bell said. “It’s a different type of viewer for microdramas.”

Oliver Bell added: “We’re trying to grab the scroller’s attention, not necessarily ‘The Bold and the Beautiful’ viewer … Microdramas are unavoidable through social media. [It’s] conditioning our brains and how we process media.”