show biz

Back in the early 2010s, the music industry was at a low point.

Piracy was rampant. Compact disc sales were on a steady decline. And the then-new audio streaming services, like Spotify, were taking hits from creators for paying low royalty rates.

Today, Spotify has grown into the world’s most popular audio streaming subscription service and the highest-paying retailer globally — paying the music industry over $11 billion last year. The Swedish company said in a recent post that the payouts aren’t strictly going to ultra-popular artists, but that “roughly half of royalties were generated by independent artists and labels.”

“A decade ago, a lot of the questions were really fair. Spotify had to be able to prove out if it could scale as an economic engine. People didn’t know if streaming would scale as a model,” said Sam Duboff, Spotify’s global head of marketing and policy of music business.

Duboff said Spotify’s payouts aren’t “plateauing — we’re still growing that royalty pool on Spotify more than 10% per year.” He credits the streaming platform’s growth to “incentivizing people to be willing to pay for music again” by providing personalized experiences and global accessibility.

The company, founded in 2006, serves more than 751 million users, including 290 million subscribers, in 184 markets.

“The average Spotify premium subscriber listens to 200 artists every month, and nearly half of those artists are discovered for the first time,” Duboff said. “When you build an experience where people can explore and fall in love with music, it inspires them to upgrade to premium and keep paying.”

The platform offers a wide variety of playlists, curated by editors like the up-and-comer-driven Fresh Finds or rap’s latest, RapCaviar. There are also personal playlists generated for users, such as the weekly round-up Discover Weekly and the daily mix of tunes called the “daylist.”

The streamer considers itself the first step toward “an enduring career” for today’s indie artists. Last year, more than a third of artists making $10,000 on the platform in royalties started by self-releasing their music through independent distributors.

“Streaming, fundamentally, is about opportunity and access. It’s artists from all over the world releasing music the way they want to and reaching a global audience from Day One,” Duboff said. He adds that when fans have a choice, they will discover new genres and music cultures that may have otherwise languished in obscurity.

In 2025, nearly 14,000 artists earned $100,000 from Spotify alone. The streamer’s data also show that last year the 100,000th highest-earning artist made $7,300 in Spotify royalties, whereas in 2015, an artist in that same spot earned around $350.

The company, with a large presence in L.A.’s Arts District, emphasizes that the roster of artists on its platform who earn significantly more money — well into the millions — is no longer limited to the few. A decade ago, Spotify’s top artist made around $10 million in royalties. Today, the platform’s top 80 artists generate over $10 million annually. Some of 2025’s top artists globally were Bad Bunny, Taylor Swift and the Weeknd.

Spotify claims those who aren’t household names can earn six figures, with more than 1,500 artists earning $1 million last year.

For some musicians, the outlook is not as clear

Damon Krukowski, a musician and the legislative director for United Musicians & Allied Workers, argues that Spotify’s money isn’t necessarily going to artists — it’s going to their labels.

Those without labels usually upload music through distributors such as DistroKid and CD Baby. These platforms charge a small fee or commission. For example, DistroKid’s lowest-level subscription is $24.99 a year, and the site states users “keep 100% of all your earnings.”

”There are zero payments going directly to recording artists from Spotify,” Krukowski asserts. “Recording artists deserve direct payment from the streaming platforms for use of our work.”

The advocacy group, which has mobilized more than 70,000 musicians and music workers, recently helped draft the Living Wage for Musicians Act to address the streaming industry. The bill, introduced to the U.S. House of Representatives last fall, calls for a new streaming royalty that would directly pay artists a minimum of one penny per stream.

In the Q&A section of Spotify’s Loud and Clear website, the streamer confirms that it “doesn’t pay artists or songwriters directly. We pay rights holders selected by the artist or songwriter, whether that’s a record label, publisher, independent distributor, performance rights organization, or collecting society.”

Instead of following a penny-per-stream model, Spotify pays based on the artist’s share of total streams, called a “streamshare.”

“Streaming doesn’t work like buying songs. Fans pay for unlimited access, not per track they listen to,” wrote the company online. “So a ‘per stream’ rate isn’t actually how anyone gets paid — not on Spotify, or on any major streaming service.”

All episodes have found a new home on the streaming platform

What some consider as the ‘best series ever made’ that is based on an award-winning novel is now streaming on Netflix.

In the latest significant update for the streamer’s library, all episodes of The Man In The High Castle have been added to the service. While it was originally a Prime Video exclusive released back in 2015, running for four season until 2019.

It is an alternate history period drama, loosely based on the novel of the same name written by Phillip K. Dick. The author was one of the most celebrated sci-fi writers, with many of his works adapted for the screen including into films such as Blade Runner, Minority Report and Total Recall.

The story takes a look at what the world might look like had the outcome of World War II turned out differently. In this dystopian scenario, the Axis powers won the war, leading to the United States being divided into three parts, an area controlled by the Japanese, a Nazi-controlled section, and a buffer zone between the two.

Despite the oppression, a new hope emerges when films turn up that seem to show a different world. A woman believes the films contain the key to freedom and is determined to find their mysterious guardian as she begins to build a network of resistance.

The series was created for television by Frank Spotnitz who previously worked as a writer for The X Files. Alien director Ridley Scott served as an executive producer.

It boasts an 84% rating on website Rotten Tomatoes. One reviewer claimed: “a superb, frightening experience filled with unexpected twists and (some sci-fi) turns.”

A different critic penned: “unlike anything else on television, impeccably acted and packed with vivid, multi-layered characters, gut-wrenching twists and dark, dark moments of human misery”.

It would go on to last for three more seasons and years after the final episode released, many fans still hail it as one of the more superior historical fiction shows. One went so far as to post on Rotten Tomatoes declaring it as “one of the best shows ever made.”

Another added: “a haunting alternative history vision implemented in a extremely authentic fashion.”

While a third confessed how they were hooked upon discovering the series for the first time. They said: “Beyond impressed, stayed up until 2am on a week day… I decided to squeeze in the pilot. Needless to say, seven episodes later I was still watching.”

They continued: “The storyline is incredible. The acting is great. The emotions that it brought out of me was real and raw. It made me appreciate and think differently about the word/idea/concept that we all throw around ‘FREEDOM'” Yes, it’s fictional, and yes it’s just a TV-show, but boy they hit on something, at least in me. I’m beyond impressed!”

Someone else commented: “This is the best series since Breaking Bad. I think every one under the age of 40 needs to see this.”

The Man In The High Castle is streaming on Netflix.

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Matt Tebbutt will not return to MasterChef The Professionals after just one series at the helm, it has been reported. He stepped in to replace axed Gregg Wallace

Matt Tebbutt is reportedly not returning to MasterChef The Professionals after just one series at the helm. The TV chef was drafted in to replace Gregg Wallace, who was axed from the show over misconduct allegations.

It has been reported that the popular TV host will not be returning to the BBC professionals series when this one wraps – with just Marcus Wareing and Monica Galetti hosting the show.

Sources claim that the decision for Matt not to return is nothing to do with the presenter and more so because of the closeness with Monica and Marcus, who have been on the show since 2014 bar a brief hiatus for Monica.

“There might be a few eyebrows raised that Matt isn’t staying on given he has just joined. He didn’t do anything wrong and will definitely come back to the series as a guest in the future,” a source told The Sun.

“But bosses simply realised that they could get away with just having Marcus and Monica at the helm, especially as their chemistry is great and they have a tight relationship. Three was a bit of a crowd. Matt has taken it all in his stride and has plenty of other work to keep him busy. The whole experience was brilliant exposure for him.”

A Banijay spokeswoman said: “No decisions have been made yet about the presenting line up for the future series of MasterChef. We won’t comment on speculation.”

When Matt joined the show last year, he described it as an “absolute honour”. Announcing the exciting news, he said: “It’s an absolute honour to be working alongside these two titans of the food world. Their knowledge and uncompromising attitude is now the stuff of legend and I look forward to them taking me under their wing and seeing the chefs get off to a flying start in the competition!”

Matt previously confessed it was difficult stepping into Gregg’s shoes. He explained: “Stepping into someone’s TV shoes is a difficult position to be in. But I did it before – under totally different circumstances, of course – when James Martin left Saturday Kitchen.

“I just try and make my own mark without making too many waves. I’ll be as safe as houses on MasterChef: The Professionals! It’s fair to say the ‘Good Cop’ would apply here. My two grown-up kids, for instance, call me ‘GI Dad’ but the ‘GI’ refers to ‘give in’ rather than the GI Joe reference that I’d hoped they meant. Seriously, though, I think I’ll be pretty fair but expect high standards – after all some of these contestants are at the top of their game.

“It’s all been very exciting and I was very chuffed to be picked for The Professionals. I was pretty surprised to be honest but I think they wanted to get someone with as much experience as possible so they could drop them in at the deep end! And the fact that my name also begins with a ‘M’ maybe helps. A bit of alliteration never hurts.”

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SINGER Anne-Marie has sparked concern after branding herself a “wreck” in a new social media message.

The star tweeted a lengthy message in which she also suggested people “wouldn’t care” about her “emotional” struggles.

Anne-Marie, 34, took to X earlier today to share the rare personal message in which she also addressed her parenting struggles and ‘mum-guilt’ amid attempts to revive her fledgling music career.

The star began by writing: “Feeling emotional today. Sorry I been distant.

“Not sure if you care but I do. I’m working really hard to get this right.”

Her concerning post continued as she addressed her compromising work-life balance.

TOUGH TIME

Anne-Marie says she felt ‘mad’ & like a ‘bad mum’ but was scared to ask for help

CIAO OLD ME

Anne-Marie promises ‘spicy’ new album and reveals star she turns to for advice

The Ciao Adios singer penned: “Still figuring out how to be a good mum AND write the best album you’ve heard from me. It’s intense.

“I want to post, but I look and feel like a wreck most of the time.”

She added: “I know you don’t care about that though hahah.

“I miss you all so much and hope you are feeling as happy as you can be.”

Anne-Marie signed off her message by posting: “A cuddle is needed.”

The mum-of-two’s post sparked worry among her fans as many rushed to check in on the performer and insist they “do care” after her troubling words.

One said to her: “Anne marie you never ever need to apologise for being distant. You’re balancing being a mum, being human, and creating something beautiful for all of us that’s a lot for anyone.”

Another echoed: “We all care about you so much. You prioritise yourself, your health and your family.”

Another alarmed fan penned: “I’m proud of you. Speaking out is already so brave.”

Before a fourth went on to comment: “You didn’t have to force yourself, we care about it and care about you. Take care yourself and kids love u.”

Anne-Marie welcomed her first child with rapper husband Slowthai in February 2024 months before he faced a trial relating to charges of rape.

Her partner faced a criminal trial later that year whilst she was pregnant with their second child.

Slowthai was ultimately found not guilty of the crimes.

The couple’s second child was born in April last year.

The singer has been attempting to head back to the top of the charts after her latest single released failed to make a dent on the singles charts.

Her latest single, Depressed, managed to reach number 41 – a far cry from her top ten streak of hits eight years ago.

A collaboration with Aitch, also released last year, also failed to chart.

Speaking to The Sun last year, she affirmed her plans to continue working on her fourth album despite recent setbacks.

She told us: “Next year there will be new music.

“I think I need to switch it up a bit… Will I be rapping? Who knows.

“I am definitely switching it up.

“I need to make it exciting again, you know.

“I can’t just come back as the same Anne Marie I have been for ten years.

“I am going to do a little spice.”

Disneyland Resort President Thomas Mazloum has been named chairman of Walt Disney Co.’s experiences division, the company said Tuesday.

Mazloum succeeds soon-to-be Disney Chief Executive Josh D’Amaro as the head of the Mouse House’s vital parks portfolio, which has become the economic engine for the Burbank media and entertainment giant. His purview includes Disney’s theme parks, famed Imagineering division, merchandise, cruise line, as well as the Aulani Resort and Spa in Hawaii.

Jill Estorino will become the head of Disneyland Resort in Anaheim. She previously served as president and managing director of Disney Parks International and oversaw the company’s theme parks and resorts in Europe and Asia.

Estorino and Mazloum will assume their new roles on March 18, the same day as D’Amaro and incoming Disney President and Chief Creative Officer Dana Walden.

“Thomas Mazloum is an exceptional leader with a genuine appreciation for our cast members and a proven track record of delivering growth,” D’Amaro said in a statement. “His focus on service excellence, broad international leadership and strong connection to the creativity that brings our stories to life make him the right leader to guide Disney Experiences into its next chapter.”

Mazloum had been about a year into his tenure at Disneyland. Prior to that, he was head of Disney Signature Experiences, which includes the cruise line. He was trained in hospitality in Europe.

In his time at Disneyland, Mazloum oversaw the park’s 70th anniversary celebration and recently pledged to eliminate time limitations for park-hopping, which are designed to manage foot traffic at Disneyland and California Adventure.

Mazloum will now oversee a 10-year, $60-billion investment plan for Disney’s overall experiences business, which includes new themed lands in Disneyland Resort and Walt Disney World. At Disneyland, that expansion could result in at least $1.9 billion of development.

The size of that investment indicates how important the parks are to Disney’s bottom line. Last year, the experiences business brought in nearly 57% of the company’s operating income. Maintaining that momentum, as well as fending off competitors such as Universal Studios, is key to Disney’s continued growth.

In his new role, Mazloum will have to keep an eye on “international visitation headwinds” at its U.S.-based parks, which the company has said will likely factor into its earnings for the fiscal second quarter. At Disneyland Resort, that dip was mitigated by the park’s high percentage of California-based visitors.

Times staff writer Todd Martens contributed to this report.