studio

THE word “splat” has been on Ian Gillan’s mind for a few years now.

To him, it is a word to conjure with, one to fuel his wild flights of imagination.

To most of us, it summons visions of insects hitting windscreens or ripe tomatoes falling to the floor.

As you will discover, however, the Deep Purple singer and lyricist — he of the legendary full-throated holler — has given “splat” a much deeper meaning.

What if it represents the end of humanity as we know it?

Then, as he suggests with an “optimistic” spin on the notion, “What if we morph into something else that’s metaphysical?”

star’s tears

Emotional moment Yungblud breaks down on stage & admits to ‘struggling’

STOP THE FLO

Grammy-nominated Brit group postpone new album release as member has surgery

When Gillan first considered Splat! as an album title, he thought it sounded “too terminal”.

He says: “I knew how the interviews would go — ‘So this is your last record, right?’ ”

It soon becomes clear from talking to the hard rock survivor that Deep Purple, the last band standing in a so-called “unholy trinity” alongside Led Zeppelin and Black Sabbath, are very much alive and kicking.

When it came to writing themed lyrics for Purple’s 24th studio LP, Splat! screamed out from the pages of the notebook Gillan keeps to record his ideas.

Now, in tall, spidery type, it adorns an album cover housing some of the band’s heaviest, most riff-driven, yet most concise music in years.

As Gillan attests, Splat! summons the devil-may-care spirit of iconic early albums Deep Purple In Rock and Machine Head — and songs like Child In Time, Smoke On The Water and Black Night.

“What I’m hearing now is the band as it was in ’69,” he says.

There’s no doubting that the current line-up of Gillan, founder member Ian Paice (drums), another stalwart in Roger Glover (bass), Don Airey (keyboard player since 2001) and recent recruit Simon McBride (guitar) has hit a purple patch.

“You can give all kinds of reasons, but, quite simply, I think it’s human chemistry,” says Gillan, who lives in Portugal and turned 80 last August.

“The songs are coming easy.

The band is cranking live.

When all the elements work well, they feed off each other.”

He salutes Northern Irish guitarist McBride, who replaced Steve Morse in time for previous album =1, for adding a dynamic gut-punch to proceedings.

He agrees with me that the songs on Splat! don’t “outstay their welcome”, crediting legendary Canadian producer Bob Ezrin (Alice Cooper, Pink Floyd, Kiss) for “keeping the arrangements snappy”.

Gillan recalls how it used to be: “With the band having no leader — we never have really — it was often a case of sitting there and one of us would say, ‘Let’s make this bit longer, let’s put another section in there’.

“We might spend weeks arguing or debating an arrangement.

But Bob just comes in and says, ‘I’m not liking that’, and cuts it out.”

Gillan considers Purple to be “an instrumental band”, with the music always getting written first.

Then it’s time for him to step in with the lyrics and those still mighty vocals, delivered with all the theatricality you might expect from someone who took the part of Jesus on the original Jesus Christ Superstar album.

It’s fair to say that Splat!, also the name of the album’s emphatic closing track, represents one of Gillan’s most ambitious concepts, so let’s return to his thought process.

“For some time now, I’ve been trying to make an album sound as if all the songs belong,” he says.

“There’s one exception on this record and I’m not happy about it,” he announces by way of a slight digression.

When I suggest that the track in question might be Third Call, which seems more to do with sex than metaphysics, Gillan replies: “Oh, how did you guess?

It should have been called Sore Thumb.

“I’ve done my own little album on my computer, replacing it with a song destined to be a B-side or bonus track called Hoot ’n’ Slither, which does fit.”

So, let’s hear about his mind-boggling concept, so big that it almost hurts the brain.

“I’ll probably find myself in pseud’s corner again,” he mutters with a smile, before launching into his explanation.

“I’ve been fascinated by the word eternity since I was eight.

I couldn’t understand how things could go on forever.

As a child, it didn’t seem possible to me.

“One summer night, I started thinking about the end of the road, the end of the country, beaches, the sea, the sky, the stars.

“I started panicking, so I built a brick wall around my universe, as many kids have, I’m sure.

“That was it, I was safe.

And then, a horrible thought occurred to me: ‘What’s behind the bricks?’ ”

Gillan says that “later in life”, Edwin Abbott’s classic novella Flatland, a satirical study of a two- dimensional world written in 1884, got him thinking about other dimensions, the afterlife and spiritual worlds.

Then he considered that the population of Earth had “virtually tripled” during his lifetime.

He continues: “For some years, this explosion has seemed unsustainable to me and that the only way to escape is not by flying through the solar system in tin cans.

“It has to be metaphysical.

I’m hopeful.

Perhaps we might become some sort of intelligent energy.”

Gillan draws my attention to the song The Only Horse In Town, one of the last recorded for Splat! and driven by Airey’s fulsome keys and McBride’s shimmering riffs.

It was inspired by a real-life encounter with someone close to death near Noble Street Studios in Toronto where Purple were doing a recording session.

“The snow came down and we saw there were these vagrants living under a blue tarp,” he says.

“The place looked like a rubbish dump.

“We offered them some hot food when we went out to get our takeaway for lunch — and they didn’t want it.

They just wanted dollars for crack.

“I thought of this one guy who probably had days to live.

I imagined his final hit.

“Then (in my mind) I stepped into his shoes and started walking across America until I got to the high plains of New Mexico and found this derelict film set.

“Along with a clapped-out old horse, this guy finds solace, a haven.

It fits very nicely with the overall pattern of the album.”

Next, we take a dive into more of the Splat! songs, starting with the three-minute opening blast, Arrogant Boy, about a bloke called Billy.

“The attitude in the music screamed frustration to me,” says Gillan.

“I had this idea of an ordinary guy down the pub who doesn’t give a monkey’s toss about what goes on at the higher levels of society.

He’s sick of the political pendulum.

“Everyone knows that nothing’s happened in the last fifty, sixty years.

We’ve built nothing.

We’ve done nothing.

We’ve gone backwards in almost everything.

The great institutions are useless piles of rubble.

“So Billy is sticking his head up out of a hole and saying, ‘Get on with it!’”

This brings us to the wild Diablo, recorded in Nashville and featuring guitar solos from none other than country rock star Keith Urban, whose studio the band were occupying.

Here, Gillan truly lets his imagination run riot.

“Diablo is a place where young people go for their rite of passage.

It’s dangerous and many don’t come back,” he says.

“This is the story of Dra-ma.

She pickles her knuckles and has 20 fights before beating up Guts McKenzie in the final.

She celebrates with a bucket of wine and falls into the glitter pool.

It’s all a bit surreal.”

You may think Gillan’s gone off on one but this ceaselessly entertaining character is also partial to a bit of humour.

The Rider is not about someone on a horse, but more about the notorious demands of rock stars when they go on tour.

He says: “I’m not going to mention his name, but he’s a very famous musician in a very famous band.

I was sitting having a beer with him and he said, ‘Someone got a fear of flying so we hired a psychologist.

The next week, there were four psychologists on the plane, one for each member of the band.

Then someone got a bad back so we got a physiotherapist.

The next week, there were four of them.’’

So what about his band’s riders?

“Deep Purple have never been extravagant,” he answers.

“When I was with Black Sabbath, it was a slightly different story, more funny than extravagant.

“I remember Geezer [Butler] complaining that the ham was round and the bread was square, that his sandwich was an incongruous mess which didn’t look right.

“My rider has always been very simple.

It’s bread and cheese, some tea bags — it has to be PG Tips — and a kettle.”

Elsewhere on Splat!, Jessica’s Bra has got to be one of the most eye-catching song titles of the year.

It was supposed to be Bar but, as Gillan admits: “I can’t see too well and make loads of typos these days.

“It’s a sort of Irish pub song.

I grew up in pubs with a beer in one hand, a fag in the other, and in fantastic company.

“My pals were drinking pals — I didn’t smoke a joint until I was 38.

We were pub guys who got locked in, behaved outrageously, but it stayed within the walls.

No harm done.”

Guilt Trippin’, with its gorgeous piano intro and outro and screaming vocals, is about “God and Charlie Darwin having a pint”.

Gillan says: “God is saying, ‘We’ve got to get the numbers right next time,’ but Darwin just goes, ‘Humpty, humpty’.

He doesn’t want to interfere!”

The Lunatic, inspired by the plight of George Orwell’s 1984 protagonist Winston Smith, summons a bout of indignation from Gillan.

“I can’t believe the prescient nature of that book, which was published in 1949,” he says.

“More recently, the NHS proscribed the word lunatic.

I take great offence at that.

Most of my friends are lunatics and always have been — and I happily follow the moon around.”

Through the song Scriblin’ Gib’rish, Gillan vents his spleen at those online matrixes where you have to identify motorbikes or traffic lights, “proving that I am a human being to a f***ing robot”.

Of note here is that he’s heading to UK theatres next spring for his Talking Gib’rish spoken-word tour, a departure from the arena-sized norm.

It’s an opportunity for him to regale audiences with stories from more than six decades in the business.

On a personal level, it’s clear that Gillan is pressing on despite the rigours of live performance and, as he reports, “failing eyesight”.

“Over the past few days, I’ve been taking a deep breath and looking at the future,” he says.

“A few years ago I was doing a talk and the theme was positive ageing.

I realised that when people retire, they stop making long-term plans — even if it’s small things to do with the house or garden.

“But I keep thinking some years ahead with projects, and don’t worry whether I complete them.

“That’s a self-creating energy, like nuclear energy.

It’s incredible.

So, I’m making long-term plans and to hell with it!”

If that’s the template for his mind, what about his body?

Alluding to his younger self — that skinny figure in tight flared jeans with a shaggy mane — he says: “Obviously, I used to be quite athletic when I was young, but I can’t pole vault anymore!

“Well into my sixties, I used to run upstairs two at a time, and now I run down ten at a time.

“So, you’ve got to have a laugh.

Otherwise, you’d sit down and cry.”

One thing is for certain, Ian Gillan and Deep Purple are NOT about to go Splat!

DEEP PURPLE

Splat!

★★★★☆

POP superstars Madonna and Kylie Minogue get into the groove as they film a comedy bar sketch for Madge’s special with Graham Norton.

Madonna, 67, invited Kylie, 58, to take part in the top-secret filming last month, having admired her career for over a decade, the Sun can reveal.

A source said: “Madonna and Kylie have long been fans of each other, so when Kylie got the call to make a cameo in the BBC special, it was a no-brainer. Rather than a performance, Kylie actually appears in the show in a light-hearted skit.

“She plays a barmaid, though, awkwardly, Madonna doesn’t like the drink Kylie gives her. It’s all very light-hearted.”

The Sun understands the pair have discussed hitting the studio together in the future.

The TV special, Madonna & Graham, airs tonight at 10.40pm on BBC One.

in vogue

Madonna, 67, looks half her age as she goes braless in sheer blue minidress at PFW

HUG UP ON YOU

Madonna & Charli XCX END feud with hug weeks after ‘dancefloor is dead’ swipe

It was filmed in Camden at Koko, where Madonna performed for the first time in the UK for just 200 people in 1983 when it was called the Camden Palace.

Graham said: “As a lifelong fan it is always a thrill to interview Madonna. But to meet her on the dance floor where she first performed in London over 40 years ago felt incredibly special.”

Kylie made a surprise guest appearance at Madonna’s The Celebration Tour in LA in 2024.

They performed Gloria Gaynor’s 1978 hit I Will Survive in a nod to Kylie’s 2005 breast cancer battle.

Sony Pictures will invest $100 million and take a minority stake in virtual reality venue operator Cosm, as the studio continues to build a business in communal experiences.

As part of the investment, Sony Pictures Chief Executive Ravi Ahuja will also join Cosm’s board of directors, the studio said Wednesday. The size of Sony’s minority stake was not disclosed.

The El Segundo-based Cosm currently operates three venues — one at Hollywood Park in Inglewood, and the others in Dallas and Atlanta. The company plans to open additional venues in Detroit and Cleveland.

Cosm bills itself as a “shared reality venue,” and its facilities center around a massive, wraparound screen that is intended to envelop viewers with additional digital effects. The company has largely focused on sports, though it has also shown Cirque du Soleil shows and done several collaborations with Warner Bros., including recent screenings of 2001’s “Harry Potter and the Sorcerer’s Stone” in honor of the film’s 25th anniversary.

“Cosm sits at the intersection of several trends shaping the future of entertainment,” Ahuja said in a statement. “We’ve followed Cosm since before launch and have been impressed with the quality of the experience and the enthusiasm it’s generating with audiences.”

The investment is Sony’s latest venture into experiential entertainment. In 2024, the Culver City-based studio acquired dine-in theater chain Alamo Drafthouse Cinema.

Madonna is just a material girl, living in a material world.

The “Vogue” hitmaker graced the cover of Interview magazine for the Summer 2026 issue and in the accompanying chat, the singer revealed the reason the ultra-hyped biopic with “Ozark” star Julia Garner was scrapped: not enough cold hard cash.

Turns out, Universal Studios was not Madonna’s Mr. Right. According to the pop star, the studio didn’t share her vision for a budget for the film.

“I worked on my script for two years and spent two years at Universal Studios with the line producers doing budgeting and casting,” she told the magazine. “We had a falling out, me and Universal, regarding budget because I needed — I’ve had an extraordinary life. I’ve had a huge life, so I needed a big budget. You know what I mean?”

The film had been in the works for years, and in 2021 Universal Pictures won a multi-studio auction to helm the biopic. According to Variety, the script followed Madonna from her upbringing in the suburbs of Detroit, her artistic awakening in 1980s New York City, and concluded around the 1998 release of “Ray of Light.”

“I found a way to make it for less money in Serbia, but I don’t think they were into the idea of — I don’t know,” she said. “Maybe they just didn’t believe in me.”

Madonna said the studio couldn’t wrap its head around what she was suggesting and countered that she wouldn’t “stay in Serbia more than four days.”

“I said, ‘Did you read the script?’ My whole life has been survival. I’m not going there for a holiday.’”

Madonna said that she was in “limbo” when the movie plans fell apart, and she considered telling her life story through a Netflix series when the streamer came knocking. But she wouldn’t be able to use the script she had penned for Universal without buying it from the studio for “an extortionist’s price,” even though she wrote it.

“That’s just the way it goes,” she continued. “I started trying to understand how making a series would work. It’s a very, very different process. You have to meet a lot of writers and find the right showrunner, and I couldn’t find one. This went on for another eight or nine months. I was like, ‘Good thing I have another job because I need to work, I need to create. I need to do what I was put on this earth to do.’”

Representatives for Universal Pictures, Netflix and Garner did not immediately respond to The Times’ request for comment.

Through the process of writing the script, Madonna was bitten by the memoir bug, but she channeled that confessional energy into her forthcoming album, “Confessions on a Dance Floor: Part II,” which drops July 3. A 13-minute music video weaving together six tracks from the new album was released earlier this month and featured A-list cameos by Sabrina Carpenter, Kate Moss, Lourdes Leon, Benedict Cumberbatch and more.

While the biopic and buzz around Garner’s portrayal of the “Like a Virgin” star had fans of the two blondes chomping at the bit, all is not lost: Art captures life. Garner and Madonna were spotted filming scenes in Venice two weeks ago for the second season of “The Studio,” in which Madonna plays herself struggling to get her biopic made.

ADELE is gearing up to shock the music world by making a comeback – and is already hard at work.

The elusive superstar singer vowed to take a “big break” two years ago.

Now The Sun can reveal she secretly flew into London earlier this month from her LA bolthole and has been writing and recording at Church Studios in North London over the past week.

In even more exciting news for fans, other famous musicians have been spotted there while she has been inside.

It all leads to hopes the 38-year-old may have collaborations on her next record, having never done so on the core work of her four albums.

American singer-songwriter Justin Vernon, better known as frontman of indie folk band Bon Iver, was photographed outside the studios last Wednesday.

‘PEOPLE ARE WORRIED’

Inside Britney’s ‘lonely’ life as pals reveal fears for ‘lost’ star

happy for you

Dua Lipa shares stunning snaps from her and Callum Turner’s Sicily wedding

It is not known whether he is working with Adele, although in 2016 she tweeted: “Bon Iver’s music is one of the true loves of my life. Every. Single. Time.”

Gen Z heartbreak singer Gracie Abrams also appeared to be shooting a music video outside at the same time.

The studios are owned by producer Paul Epworth, who Adele has worked closely with throughout her career, and with whom she won an Oscar for James Bond theme song Skyfall.

Church Studios are also where she made parts of her 2015 album 25.

A source said: “Adele is spending at least a fortnight in London writing and recording music.

“She was in and out of sessions last week and will be back in there this week, but she is keeping a low profile while she is here.

“She feels safe at Church Studios and it’s where Paul is based, so it made sense to travel over for the ­sessions, rather than work somewhere else in LA.”

The studios were previously owned by Eurhythmics great Dave Stewart, and it was where the British band recorded their 1983 album Sweet Dreams (Are Made Of This).

Industry insiders believe the move is an attempt to develop a more English-sounding album, after her most recent one, 30, was made in the States.

A second music source said: “Adele has been living in LA for a decade now and although she loves it, her roots in London are very important to her.

“People close to her have been encouraging her to reconnect with where she grew up for her new music, because they believe it will help inspire something different.

“Her last album was well received but it was very Hollywood.

“People loved Adele originally because she was down to earth and relatable, so she’s trying to bring that back by drawing on inspirations in her home town.

“Coldplay, Paul McCartney, Oasis, Mick Jagger, Florence + The Machine, Culture Club, The Streets, Tom Jones, and her close friend Jack Penate have all worked at Church Studios before, so she’s in good company.”

Adele was born in Tottenham, North London, and later moved to Brixton and West Norwood in South London.

On her third album 25, released in 2015 just before she relocated to the US, she had lyrics about the capital and a song called River Lea, about the waterway running through Tottenham.

But 2021’s 30 was written about her divorce from charity entrepreneur Simon Konecki, which happened in LA, and made no mention of the UK.

After releasing the record, she ­performed two sell-out shows in Hyde Park, followed by her two-year ­Weekends With Adele residency in Las Vegas and a ten-night residency at a purpose-built stadium in Munich.

Now it is clear the mum-of-one is trying to soak up some British ­culture while she is here.

Adele was photographed in London nine days ago arriving at the 36th birthday party of actor Aaron Taylor-Johnson.

Then on Thursday night she attended Messy singer Lola Young’s concert at O2 Academy Brixton, and the youngster shared a selfie of them together.

Fans have also claimed Adele was in the audience at a production of Romeo & Juliet in London’s West End on Friday night.

In July 2024, Adele revealed she planned to take a break after her run of Sin City shows.

She said: “I don’t have any plans for new music at all.

“I want a big break after all this and I think I want to do other ­creative things just for a little while.”

But in February, she flew to Rome for her acting debut in Tom Ford’s upcoming historical drama Cry To Heaven, based on Anne Rice’s 1982 novel of the same name.

She spent several weeks there and will appear opposite Hollywood heavyweights including Colin Firth, Julianne Moore, Nicholas Hoult and Thandiwe Newton.

Two months later, The Sun revealed she was being courted to record a single for the soundtrack.

But although work has brought her back to the UK, it looks unlikely that a move is on the cards.

The Rolling In The Deep singer paid £47million in 2022 for Sylvester Stallone’s former Californian home with her sports agent partner Rich Paul.

The following year Adele talked about how she would find it tough to move back to the UK.

The singer, who now only occasionally returns to London, explained: “I get really bad seasonal depression, so the weather is good for me here.

“It is strange sometimes, because I’m very British. Because it’s a bit harder for me to go out nowadays, what I love the most about LA is everyone goes to each other’s houses. I like that.

“And I actually have made a lot of really great core friends. I didn’t think I’d ever have a real friend group here. I don’t want a bunch of celebrities being my friends — well, only celebrities.

“And my friends are actually from LA, Before I moved here, I’d never met one person who was from LA.

“They’re not famous and they’re great. And having a kid at school, I’ve got great mum friends. I do like it.”

The same year, she had an ­emotional exchange with British actor and presenter James Corden on his final Carpool Karaoke ­segment on The Late Late Show, before he moved back to the UK.

James said: “It’s been a brilliant adventure but I’m just so certain it’s time for us as a family, with people getting older, people that we miss, to go home.”

A teary Adele responded: “I know. I’m just not ready to come back yet, otherwise I would come back with you.”

She also said she likes being left alone in LA, adding: “For anyone that has never been to LA, you assume it would be the opposite. But there are so many famous ­people here that they don’t waste their time,” she said.

“I really miss London, but I miss the London from before all of this happened in my life.”

Since releasing her debut album 19 in 2008, Adele has become one of the 21st century’s best-selling artists, and won 16 Grammys.

Her second album 21 racked up sales of 57million, while 30 sold 261,000 copies in its first week to become the fastest-selling album in four years.

Now the pressure is on for Adele to continue her streak of success.

Having named her first four albums after the ages she was when she wrote them — 19, 21, 25 and 30 — it remains to be seen whether her next record will be called 38, her age now.

When 25 came out, Adele said: “I think this will be my last age one.

“I’m sure I’m wrong with this but I feel there’s been a massive change in me in the last couple of years.”

She later decided to name her fourth album after the age she was when she got divorced, and reflected on the future of her titles in an interview at the time.

Adele said: “I am just like everyone else in the world. I can change my mind. And I haven’t got to stay true to something that I’ve said — you know, I think the age thing is a bloody good idea. And so I want to keep going with (the titles). Or I might not.”

Our music insider added: “Adele feels the pressure with her music and won’t rush anything out if it’s not up to scratch with her back catalogue.

“She has been writing for a while now but she is taking her time with it.

“She knows there are always grand expectations and she is determined to only return when the music is the best it can be.”

Netflix Inc. is under contract to buy Radford Studio Center, a historic Los Angeles movie studio space, for a fraction of its 2021 $1.85-billion sale price after lenders including Goldman Sachs Group Inc. repossessed the property.

The price is close to $400 million, according to two people with knowledge of the transaction, which is expected to close in the third quarter.

The Times reported in April that Netflix had plans to buy the studio property.

The one-time silent movie lot has been home to many popular TV series over the decades, including “Gunsmoke,” “Gilligan’s Island” and “Seinfeld.”

Netflix wants to consolidate its real estate footprint in one place and has been considering relocating from a group of Hollywood buildings it leases from Hudson Pacific Properties Inc. The Hudson Pacific leases expire in 2031.

Radford’s current owner, Hackman Capital Partners, defaulted on $1.1 billion of bondholder debt and turned the property over to lenders led by Goldman after it was unable to reach a refinancing deal last year. The sale will wipe out close to two-thirds of the debt.

The value of Los Angeles studio real estate has tumbled since interest rates climbed and production plummeted following strikes in 2023 by unions representing writers and actors. Landlords unaffiliated with studios, such as Hackman, have been hit particularly hard as production moved to space owned by the entertainment giants. Occupancy of L.A. soundstages fell to 62% in the first half of last year, according to FilmLA, a local permitting group.

Representatives of Goldman and Netflix declined to comment. A Hackman representative didn’t immediately provide a comment.

Netflix, which has historically leased rather than owned real estate, has stepped up investing in studio lots. It’s currently developing a $1-billion production center in Fort Monmouth, N.J. The streaming service reported $12.3 billion in cash and equivalents in its most recent quarter. Netflix was paid a $2.8-billion breakup fee by Paramount Skydance Corp., which won a bidding war for Warner Bros. Discovery Inc.

Before the recent slowdown, Hackman went on a buying spree of movie lots, banking on ever-growing demand for streaming TV production. In March, Deutsche Bank AG sued Hackman to foreclose on its Kaufman Astoria Studios in New York. Hackman-owned Television City in Los Angeles and Manhattan Beach Studios in nearby Manhattan Beach are both being marketed after lenders led by Deutsche Bank pushed for the sale, Bloomberg reported in May.

Brokerage Cushman & Wakefield Ltd. is selling the $240-million loan on the 22-acre Manhattan Beach property, which it describes in a marketing document as “one of the most strategically positioned opportunities in coastal Los Angeles, combining an institutional-quality operating asset with some of the most irreplaceable underlying land in the South Bay.”

The Radford Studio lot was only 71% leased as of March, according to mortgage filings.

Gittelsohn writes for Bloomberg.

When Brian Grazer has an idea for a movie, he now starts with a chatbot. The co-founder of Imagine Entertainment — the company behind “A Beautiful Mind,” “Apollo 13” and “Liar Liar” — said he sits down with Anthropic’s AI assistant, Claude, to rough out a story before handing it to a writer.

“You can build the whole thing into an outline. You still need a screenwriter. I always believe you need a screenwriter,” Grazer said during a keynote at UCLA’s Entertainment Symposium on Thursday. What once could have taken up to a year, he said, now takes him about a week — but the human writer stays.

That balance — AI as an accelerant rather than a replacement — captures where much of Hollywood has landed in practice. Amazon MGM, Lionsgate, Netflix and Disney have all made major investments in the technology. The sharper question at the symposium, which drew many of the industry’s top lawyers and dealmakers to the Westwood campus, was not whether to use AI but how: who authorizes it, how far it goes and who gets paid.

For the companies building the tools, the answer increasingly comes from the client. Studios, production companies and distributors regularly approach Promise, a generative AI company, to bring AI into their productions, and each arrives with its own usage guidelines, said the company’s president, Jamie Byrne. Those rules govern which AI models Promise may use and what protections apply — effectively letting each client decide how heavily AI figures into the work.

“It comes down to a risk appetite,” Byrne said during a panel on AI. “We know that there’s talent that are staunchly against it. We know that there are many who are okay with it.”

He framed adoption as a competitive necessity: “Every time there’s a technology change, certain studios or production companies rise. Others fall, and it’s usually the ones that are not leaning into the new tool.”

Ron Howard, also of Imagine Entertainment, argued the limits will ultimately be set elsewhere — by viewers. “Sure, it’s about efficiencies and budgets, but more than anything, audiences are going to tell us where those restrictions are,” he said. He expects AI-generated content to settle into its own subgenre over time, with audiences signaling what they will accept.

The most contested ground is labor, where consent has become the dividing line. The emergence of synthetic performers such as Tilly Norwood has made AI a central issue in SAG-AFTRA’s contract. The union’s most recent agreement draws a clear line between authorized digital replicas, which use a performer’s likeness with their consent, and fully synthetic creations.

Talent agencies are organizing around the same principle. In recent years, Creative Artists Agency began digitally scanning clients into what it calls the CAA Vault, building a replica of a client’s image, likeness and voice while leaving the talent in complete control of how it is used.

That control is beginning to carry real value, said Tammy Brandt, CAA’s deputy general counsel, who said she is seeing more deals that involve digital likeness. Hollywood has been slow to work out how to monetize these replicas, she said, but once it does, audiences will start to encounter them more often.

“You have to lean into the technology and understand what it can do, and honestly, how you can make money, work with talent and with creative assets in a way that the user is interested in,” Brandt said. “There’s a little bit of trial and error as you go with that.”

Several studios in Microsoft Corp.’s Xbox gaming division, including Montreal-based Compulsion Games and San Francisco-based Double Fine, are in active negotiations to spin off as they try to thwart closure, according to people familiar with the company’s plans.

Cambridge, England-based Ninja Theory, the maker of Hellblade, is also in conversations with Xbox, as are several other studios across the portfolio that are at risk of being shuttered.

The studios may still have the opportunity to buy themselves back from Xbox and go independent, although many employees will probably lose their jobs as a result, said the people, who asked not to be named because they were not authorized to speak to the press.

Employees at several studios have been informed of the situation and given permission to seek new work but were told that the status of the studios is still in flux.

An Xbox spokesperson declined to comment.

The potential closures are part of a broader reorganization being overseen by Asha Sharma, who took over as Xbox’s new chief executive in February.

Last week, Bloomberg News reported that the gaming division is planning significant layoffs. Sharma sent out a memo to staff lamenting the bleak state of the business, which has seen revenue and margins plummet in recent years. “Going forward, this cannot continue,” she wrote.

Compulsion Games, Double Fine and Ninja Theory all made award-winning games that were not commercial hits. But even some of Xbox’s more commercially successful studios are not yet sure how they will fit into Sharma’s new mandate, which will prioritize the biggest franchises as the company looks to return to growth.

Compulsion Games is the developer behind South of Midnight, which was released last year. Double Fine, best known for the Psychonauts series, released the smaller games Keeper and Kiln over the last year.

Xbox is facing the current challenges despite having made major purchases in recent years, including its acquisition of Activision Blizzard Inc. for $69 billion in a deal that closed in 2023.

Xbox Game Studios head Craig Duncan stepped down last week ahead of the layoffs, said the people familiar with Microsoft’s plans. Gaming newsletter the Game Business previously reported his departure.

Schreier writes for Bloomberg.

Beneath azure skies and fluffy white clouds, three giggling toddlers and their mothers arrive at a candy-colored water park in the town of CoComelon.

It’s the opening of “Fast Little Fishy Splash Water Park Adventure,” a three-minute episode of “CoComelon,” the popular children’s cartoon series that is perhaps as controversial as it is appealing to young children.

Moonbug Entertainment, the studio behind “CoComelon,” says the episode, which debuted on YouTube in May, is the result of a years-long collaboration with a UCLA think tank.

In an unconventional move for a privately held entertainment company, the studio released its child development guidelines on its website Tuesday. Moonbug’s head of communications Bao Nguyen said the company began to incorporate findings from the research into its creative process in late 2025.

“It’s a great example of what we’ve been trying to do,” said Rich Hickey, Moonbug’s chief creative officer, referring to the episode. “Inclusive storytelling and learning through play — they’re all evident within that episode.”

Nina and Cody, ecstatic about visiting their neighborhood splash pad, run through fountains and hop in kiddie pools, but protagonist JJ is a bit more skeptical.

With support from his friends and his mother, who offers him goggles and a pair of orange arm floaties, JJ decides to face his fears. He joins his friends under a tipping bucket, and — spoiler alert — realizes that he actually enjoys playing in water. (“I just love to swim, swim, swim,” he sings.)

The guidelines, called the “Moonbug Learning Principles Framework,” are informed by academic research and advise that Moonbug shows should help young viewers navigate “real life moments” and “model positive relationships among children and their friends and caregivers.”

Other priorities include creating shows that encourage kids to learn through play, as this helps them develop their imagination and creativity, and featuring characters from diverse backgrounds (“CoComelon’s” Nina is Mexican American, Cece is Korean American and Cody is Black) — and giving said characters depth — across all Moonbug shows.

“We’re a digital-first company and we realized that there may be some … hesitation to sharing online content with children,” Hickey said. “This is really to keep building on the trust we think we’ve built.”

“CoComelon” is Moonbug’s flagship preschool show, and the series’ origins date back to 2006 when commercial director Jay Jeon shared a YouTube video of an alphabet cartoon set to music. The videos began to revolve around toddler JJ in 2017.

By 2020, “CoComelon” was the most-watched YouTube channel in the world, averaging 3.5 billion monthly views. That year, the show made its streaming debut on Netflix — where it broke ratings records — and was bought by London-based entertainment company Moonbug.

Moonbug was then acquired by Candle Media, a firm led by ex-Disney execs Kevin Mayer and Tom Staggs, for a reported $3 billion. Disney+ has since obtained the exclusive streaming rights to “CoCoMelon.”

“CoComelon‘s” image woes aren’t new. The series has developed a reputation for keeping children glued to the screen, as seen in videos that have gone viral on social media of babies bolting to the television upon hearing the marimba theme song.

In 2020, a Guardian columnist wrote that “CoComelon” was “like crack” for a preschool child. A New York Times report in 2022 gave the public more insight into Moonbug’s audience development process, which included testing “CoComelon” videos on young children to make its shows as attention-grabbing as possible.

The program has been a hot topic on parenting forums. The exchange typically goes something like this: Someone asks if “CoComelon” is “bad” and a gaggle of parents weigh in. “Very overstimulating,” said a user in one Reddit thread. “It moves too fast for kids’ brains to process, which can cause a speech delay,” wrote another.

Asked to respond to the criticism, Hickey said he believes Moonbug makes “age-appropriate content” and produces a range of videos to cater to different moments throughout a child’s day, from slow bedtime videos to faster-paced ones meant to encourage movement, Hickey said.

In 2023, Moonbug recruited the Center for Scholars and Storytellers, a think tank at UCLA that bridges entertainment media and psychology research, to “create the best possible product” for its audience, Hickey said.

The center was tasked with analyzing Moonbug’s content and crafting the learning principles to guide the studio’s future preschool programming, which also includes the “Blippi” and “Little Angel” franchises.

A scene from Moonbug Entertainment’s “Blippi’s Job Show.”

(Jessica Perez / Moonbug)

Moonbug also asked the center to determine if there was research showing that audiovisual content could be addicting for preschoolers, said Yalda T. Uhls, an assistant adjunct professor of psychology at UCLA and executive director of the Center for Scholars and Storytellers. Uhls said the center’s review of existing peer-reviewed research found that there was no such evidence.

And despite oft-repeated claims that long-form content is better for kids than short-form content, “there isn’t really actually any evidence for that,” Uhls said. “It’s very inconclusive.”

The center found that preschool children struggle to learn as much from content with frequent cuts, though consuming it doesn’t impact their attention span negatively, Uhls said.

As such, the principles the center crafted recommend Moonbug “minimize distractions and tangential songs or storylines” when characters are navigating real-life situations to make sure it does not interfere with preschool children’s ability to learn lessons.

The center interviewed members of Moonbug’s creative teams and formed an advisory council of academic experts in child development to evaluate a selection of Moonbug’s episodes, assess the quality of socio-emotional learning and find areas for improvement, Uhls said.

“The content certainly had a lot of places where it could improve, but it wasn’t horrible,” Uhls said. “There was some learning within the episodes. … It wasn’t all good, it wasn’t all bad.”

Uhls said she recalled several instances of episodes modeling unsafe behavior, but declined to share specifics.

The center plans to continue to work with Moonbug to integrate child development research much earlier in the studio’s creative process and aid with the integration of the learning principles into its content slate, Uhls said.

AMC’s plan to launch a new interactive live concert series in theaters is on ice, for now. With a booming box office full of films like “Obsession,” “Backrooms” and “Scary Movie,” the theater chain has postponed the concert project until later this year.

In a statement, AMC said due to the “robust lineup of upcoming films and strong advance ticket sales in the weeks ahead,” it needed to make some programming adjustments. Some of the major upcoming releases for June include Disney’s “Toy Story 5” and Steven Spielberg’s “Disclosure Day.”

Acts like Bebe Rexha, Paris Hilton, Kim Petras and Marren Morris were lined up to test out the new format next week, as a part of the Girls Night Live concert series.

The chain is partnering with live entertainment company Arena One to bring new technology to theaters. This tech would allow artists on a remote stage to see, hear and respond to the theater audience, in effect turning your local cinema into a stadium, the companies said. Fans who already purchased tickets have received refunds.

The series was initially marketed as a new draw to get customers to the theaters, but given the strong box office numbers so far this year, it’s clear the demand for theaters is already growing

Focus Features’ “Obsession” is now nearing $230 million in global box office revenue, according to Box Office Mojo, and is the studio’s highest-grossing movie at the domestic box office.

Similarly, A24’s “Backrooms” is the indie studio’s highest-grossing movie at the domestic box office, with nearly $140 million. It pulled in $100 million at the box office only six days after its initial release.

Most recently, “Scary Movie” topped the box office last weekend with a $105.5-million worldwide debut, ranking among the top five biggest R-rated comedy openings of all time.

AMC said it would announce new dates and additional artists for the interactive concert series in the coming months.

The Director’s Guild of America has struck a tentative deal with the Alliance of Motion Picture and Television Producers, completing the negotiation cycle for Hollywood’s major unions.

SAG-AFTRA ratified its contract last week, the Writers Guild approved its deal back in April, and the DGA has similarly landed on a new contract, after nearly a month of negotiations. The latest deal with major film and TV studios was announced on Tuesday, but its terms have not yet been disclosed.

The Directors Guild, led by its president Christopher Nolan, reportedly entered negotiations in hopes of improving conditions to create new jobs, bulk up its health fund, and increase protections against generative AI.

“The tentative agreement will be presented to the DGA National Board for approval,” the DGA said in a statement. “Consistent with the Guild’s longstanding practice, terms of the agreement will not be released publicly until the National Board has completed its review.”

Negotiations started on May 11, and the current contract is set to expire on June 30. Once the DGA National Board approves the new contract, it will be sent to its members for a ratification vote. The union represents nearly 20,000 helmers, assistant directors, associate directors, unit production managers and stage managers.

The studios said they were pleased to have reached this latest tentative agreement with DGA.

“We appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry,” AMPTP said in a statement.

The DGA’s tentative contract marks the last few steps of the current Hollywood union negotiation cycle. The previous one in 2023 was marked by the industry-stopping strikes from SAG-AFTRA and WGA, and the industry is still feeling the impact from them. But this year’s bargaining season was much quieter and uncontroversial. SAG-AFTRA and WGA will reconvene with the studios for bargaining in 2030, as they all signed four-year contracts.

On a recent weekday morning inside a studio in the heart of Hollywood, Rachel Lindsay and Van Lathan, co-hosts of The Ringer’s “Higher Learning,” were getting ready to roll.

By the time the podcasters came into the Spotify Sycamore Studios for their show, which covers all things in Black culture and politics, the overhead lights were set, and the cameras were precisely angled. Decorative books were propped up between their seats and a big red “Higher Learning” logo stood behind them.

As soon as everyone silenced their phones, the hosts began to banter like two old friends. Lindsay complimented Lathan on his recent foray into stand-up comedy at the Netflix is Joke Fest at the Laugh Factory.

“I just have to say … basically a star is born,” said Lindsay, grinning. “I have to talk about it. Now I never doubted you.”

The pair helms one of the many shows on The Ringer podcast network, known for its roster of A-list celebrity hosts and sports and culture commentators that recently moved into Spotify’s newest podcasting studios.

The 11,000 square-foot space on Sycamore Avenue was designed as both a home base for The Ringer’s production and a video podcasting hub for select Spotify creators.

Since its opening earlier this year, the space has welcomed more than 25 podcasters and shows, on top of the dozens of shows that still record at Spotify’s Mateo studios in the Arts District.

The company estimates that over the last five years it has contributed more than $10 billion to the podcasting industry, including payouts to creators and investments in new content.

Podcasts are just one arm of Spotify’s business, as the audio giant has over 100 million songs and 700,000 audiobooks on its platform. But video podcasts have become an increasingly important way for the company to keep listeners tuned in — and paying for subscriptions amid growing competition from Apple Music and YouTube Music. Despite a surge in profits in the first quarter, Spotify’s share price has fallen 25% this year as investors worry about a slowdown in subscriber growth.

Van Lathan and Rachel Lindsay record their podcast, “Higher Learning with Van Lathan and Rachel Lindsay,” at Spotify’s Sycamore Studios in Hollywood on May 7. The podcast is distributed on Spotify through The Ringer.

(Allen J. Schaben/Los Angeles Times)

One of the main drivers behind opening the Sycamore studios was to create a central hub for The Ringer, a media company Spotify acquired for $250 million in 2020.

Geoff Chow, Spotify‘s head of podcast studios and The Ringer’s managing director, said the investment is already paying off “in terms of the productivity and the quality of the content we’re able to produce from here.”

The Ringer is one of the streamer’s most popular assets. Spotify includes nine Ringer shows in its list of the top U.S. podcasts.

“They’re pouring into this space and their creators,” Lathan said, before recording a new “Higher Learning” episode. “We really have the freedom to do so much.”

He and Lindsay said the studio has elevated their show by switching up their workflow and increasing in-person work.

Thanks in part to its centralized location, tucked between the offices of SiriusXM and music and sports entertainment company Roc Nation, they say guests are more eager to visit and record in person. Lathan joked that even while walking down the street, he’ll run into radio personalities like Sway Calloway, who hosts his own successful “Sway in the Morning” show on SiriusXM, and convince them to come up for a tour of the space.

Sycamore has already seen guest appearances from Snoop Dogg on “Game Over with Max Kellerman and Rich Paul,” Pennsylvania Gov. Josh Shapiro on “Higher Learning with Van Lathan and Rachel Lindsay” and “Project Hail Mary” author Andy Weir on “House of R.”

“This street is so cool,” Lindsay added. “It’s just a different energy here.”

The duo first started recording at Spotify’s Arts District campus, which is more focused on audio-driven programs. But as the podcasting landscape evolves and video becomes a more important element, “Higher Learning” is now able to maximize on the new studio’s video-first capabilities.

Chris Thomas, studio operator, works in the control room on the podcast, “Higher Learning with Van Lathan and Rachel Lindsay.”

(Allen J. Schaben/Los Angeles Times)

Spotify also employs a combination of full-time employees and freelancers that staff each show, including sound engineers, lighting specialists and set designers who help keep the place running.

The Ringer, founded by media mogul Bill Simmons, exists online as a website, a podcast network and video production house, anchored in sports, pop culture and politics coverage. Some of its most popular programs include “The Bill Simmons Podcast,” “The Rewatchables” and the inaugural Golden Globe winner “Good Hang with Amy Poehler.”

Many of the hosts overlap within The Ringer’s podcasting ecosystem. Just between Lathan and Lindsay, they host and appear as regular guests on as many as five shows, so they work from the studio three to five times a week. By being in close quarters together, a greater sense of collaboration has enveloped The Ringer’s team. Chow said there are some days when Simmons will walk onto four shows a day, just to share his thoughts on a topic.

“This is my dream of what The Ringer is. We’re all here talking, we’re all existing together,” Lathan said. “We’re all popping in and out of different rooms all the time.”

Exterior view of the building that houses Spotify’s new Sycamore Studios. The company takes up one floor of the facility.

(Allen J. Schaben/Los Angeles Times)

The Ringer was first founded in 2016. At the time, Simmons had recently been ousted from ESPN due to a strained relationship with higher-ups. Simmons had spearheaded the network’s Grantland sports blog, which focused on cultural commentary that is similar to what The Ringer does today. The Ringer soon established itself as one of the fastest-growing independent podcast networks.

The brand still keeps its roots in fandom — whether it’s through football or “Game of Thrones,” said Chow. So, to have a space that reflects the diversity of its programming often makes recording more fruitful, especially during key moments like the NFL draft or awards season.

As The Ringer continues to expand its roots in Hollywood, the network remains focused on maximizing its content.

In January, The Ringer started airing select podcasts on Netflix to reach a wider audience. Chow said the partnership is off to a promising start. Each of the five recording studios at the Sycamore site is fully equipped with live-streaming technology — making the weekly Netflix live shows possible.

“Podcasts have become like a cultural hub and curator of things that are happening in the world,” Chow said. “We always want to innovate and test. That’s something that was exciting to us to think about bringing our audience new content in different places.”

Warner Bros. Discovery’s impending sale has rattled Hollywood — and the company’s balance sheet as the auction’s high costs increasingly come into focus.

The New York-based media company released its first-quarter earnings Wednesday, which included a $2.9 billion loss. That amount includes $1.3 billion in restructuring expenses, including updated valuations for Warner’s declining linear cable television networks.

Contributing to the net loss was the $2.8 billion termination fee paid to Netflix in late February when the streaming giant bowed out of the bidding for Warner. The auction winner, Paramount Skydance, covered the payment to Netflix but Warner still must carry the obligation on its balance sheet in case the Paramount takeover falls apart. Should that happen, Warner would have to reimburse Paramount.

Warner also spent another $100 million to run the auction and prepare for the upcoming transaction, according to its regulatory filing.

“As we prepare for our next chapter, our focus remains on executing our key strategic priorities: scaling HBO Max globally, returning our Studios to industry leadership, and optimizing our Global Linear Networks,” Warner Bros. Discovery leaders said Wednesday in a letter to shareholders.

Warner generated $8.9 billion in revenue, a 3% decline from the same quarter one year ago, excluding the effect of foreign exchange rate fluctuations.

Its streaming services, including HBO Max, notched milestones in the quarter and 9% revenue growth to $2.9 billion. The company launched HBO Max in Germany, Italy, Britain and Ireland during the quarter.

Advertising revenue for streaming was up 20% compared to the first quarter of 2025.

The streaming unit posted a 17% increase to $438 million in adjusted earnings before interest, taxes, depreciation and amortization (EBITDA).

Warner’s studios, primarily its TV business, had a strong quarter.

Studios revenue rose 31% to $3.1 billion, compared to the prior year quarter.

Television revenue soared 58% (excluding exchange rate fluctuations) due to increased program licensing fees to support the launch of HBO Max in international markets. Those launches also propelled the movie studio, which saw revenue increase 21%.

Video games revenue declined 30% because of lower library revenues.

Adjusted EBITDA for the studios grew $516 million (158%) to $775 million compared to the prior year quarter.

The company’s vast linear television networks saw revenue fall 9% to $4.4 billion compared to the prior year period.

TV distribution revenue tumbled 8% largely due to a 10% decrease in domestic linear pay TV subscribers.

The company also felt the loss of its NBA contract for its TNT channel, which NBC picked up. Advertising revenue fell 12%. “The absence of the NBA negatively impacted the year-over-year growth rate,” Warner said.

As the costs of the merger with Paramount come into clearer focus, the opposition has grown louder.

More than 4,000 artists and entertainment industry workers, including Bryan Cranston, Noah Wyle, Kristen Stewart and Jane Fonda, have signed an open letter warning about the dangers of the merger with Paramount. “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.”

Adjusted EBITDA for the television networks fell 10% to $1.6 billion, compared to the prior year quarter.

Warner ended the quarter with $3.3 billion in cash on hand and $33.4 billion of gross debt.

SAG-AFTRA and the Alliance of Motion Picture and Television Producers have landed on a new tentative contract.

The actors union’s new agreement with the trade group that negotiates with Hollywood unions on behalf of the major studios will reportedly improve AI protections and boost the guild’s pension fund. Similar to the pact the Writers Guild reached with the studios last month, SAG-AFTRA’s contract will last four years instead of the usual three.

SAG-AFTRA confirmed the tentative deal on Saturday. The union said in a statement that “specific details will not be released” until the SAG-AFTRA National Board reviews its terms.

The contract is set to cover workers who are involved in motion pictures, scripted primetime dramatic television, streaming content and new media.

The actors union began negotiations with the studios in February and extended those talks in March, but paused to allow the AMPTP to finish negotiations with the writers union. Negotiations resumed April 27 and ended May 2.

The tentative contract still needs to be voted on by its members — SAG-AFTRA represents more than 160,000 actors, broadcast journalists, dancers, DJs, stunt performers, voice-over artists and other entertainment professionals.

The union’s current contract is set to expire June 30. SAG-AFTRA joins WGA as the latest Hollywood union to strike a deal with the studios.

The Directors Guild of America is the last union that still needs to reach an agreement with the studios. Negotiation sessions with AMPTP will begin on May 11, as its contract is set to expire on June 30.

Members of the Writers Guild of America have officially ratified their newest contract with the Alliance of Motion Picture and Television Producers.

More than 90% of the 11,000 voting members in both WGA East and West registered their support of the new agreement. The voting period closed Friday at noon, after the union first struck a tentative deal earlier this month.

The new contract includes a robust healthcare plan in which studios pay over $320 million to sustain the health fund, higher residual rates — including a provision for a “success bonus” for the most popular streaming shows from 50% of the base residual to 75% — and language on the licensing of work for AI training.

“The first reaction [from members] was relief that we were not going to be going into a period of labor strife or strike authorization vote, in the midst of this contraction,” said John August, the co-chair of WGA’s negotiating committee, referring to the ongoing challenges in the industry. “Members want to work, and they want to get back to doing their job.”

Negotiations between the union and film and TV studios began in March, as the union’s current contract expires May 1. August said that, at the beginning of the negotiations, expanding the healthcare plan was a top priority. The union was able to secure increases that would raise the cap that companies pay to as high as $400,000 by 2028.

Union officials say the current cap has remained unchanged for two decades as healthcare contributions have steadily declined because there are fewer working writers.

But under the new contract, members would, for the first time, have to start contributing to their healthcare costs to the tune of $75 per month. The earnings threshold to get coverage would increase by about $7,000 to $53,773, leaving many members concerned about the higher cost.

“This is all difficult. Healthcare in America is not a good situation. But we were really mindful, as we always are, of trying to make sure the career of writing is sustainable,” negotiating committee co-chair Danielle Sanchez-Witzel said.

Additionally, the contract terms have been extended from the WGA’s usual three years to four — though it is not the first time the guild has added more time to its deal with the studios. Sanchez-Witzel clarified that the four-year period for the new contract ”is, by no means, a standard. This is just what we needed this year and what we agreed to for this cycle.”

“We were here in 2026 trying to get some things that we didn’t get earlier [in previous negotiation cycles] and happy for the progress we made,” she said.

The WGA is the first of the Hollywood unions to strike a deal with the studios. AMPTP congratulated the WGA on the ratification in a statement released shortly after the vote totals were announced.

“This deal reflects a collaborative approach that supports both writers and the industry’s long-term stability,” AMPTP said.

SAG-AFTRA and the Directors Guild of America still need to negotiate new contracts.

The actors’ union began its negotiations in February and extended those talks in March, but paused to allow AMPTP to finish its deal with the writers’ union. SAG-AFTRA’s and the DGA’s contracts expire June 30.

Streaming entertainment giant Netflix is in negotiations to buy the historic Radford Studio Center lot in Studio City.

Netflix plans to purchase the Los Angeles studio that has been home to generations of landmark television shows, including “Gunsmoke” and “Seinfeld,” according to two people with knowledge of the pending deal who were not authorized to speak about it publicly.

The studio’s previous operator, Hackman Capital Partners, defaulted on a $1.1-billion mortgage in January. Investment bank Goldman Sachs took over the property and is in talks with Netflix to sell it for between $330 million and $400 million.

Representatives for Hackman and Netflix declined to comment on the planned sale.

Culver City-based Hackman Capital Partners and Square Mile Capital Management teamed up to buy the Radford Avenue property from ViacomCBS in 2021 with a winning bid of $1.85 billion, after a competitive battle for the 55-acre studio beloved by the television industry.

At the time, the staggering price tag underscored the value — and scarcity — of TV soundstages in Los Angeles as content producers scrambled for space to shoot TV shows and movies to stock their streaming services. It was one of the largest-ever real estate transactions for a TV studio complex in Los Angeles.

Since then, production has substantially declined in Southern California. L.A. continues to battle the loss of production to other states and countries, as well as the lingering effects on the industry of the pandemic and the 2023 dual writers’ and actors’ strikes. Cutbacks in spending at the major studios after a surge in streaming-fueled TV production have further damped film activity in the region.

Founded by silent film comedy legend Mack Sennett in 1928, the lot became known as “Hit City” in the decades after World War II as popular TV shows such as “Leave It to Beaver,” “Gilligan’s Island,” “The Mary Tyler Moore Show,” “The Bob Newhart Show” and “Will & Grace” were made there. The storied lot gave the Studio City neighborhood its name,

Netflix, which has a market cap of about $455 billion — more than double that of Walt Disney Co. — has maintained its dominance in the global streaming business with more than 325 million subscribers.

The Los Gatos-based company has production offices worldwide, including facilities in Albuquerque, Brooklyn, London, Madrid and Toronto.

Netflix had secured an $82.7-billion deal to buy Warner Bros. studios and streaming services in December, but 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.

ROBBIE WILLIAMS could be getting back in the studio — this time with boyband Blue.

It comes after Rob wrote the lads’ new single Flowers, which is on the setlist for the UK leg of their 25th Anniversary world tour.

Biz on Sunday’s Emily caught up with Blue members
Antony Costa, Simon Webbe, Lee Ryan, and Duncan James at the Eventim Apollo in Hammersmith, West London, this week.

The band are on their milestone tour following the release of seventh studio album Reflections.

Antony said: “We would love to work with Robbie’s people and that is the conversation that is happening.

“Karl Brazil (Robbie’s music director) is very much on our side.

read more on robbie williams

no regrets

Robbie Williams hits back at ‘bully’ podcast host after he’s branded a ‘redcoat’

READY TEDDY GO

‘Incredibly proud’ Robbie Williams says daughter Teddy is set for stardom

“He is championing Blue and us and the lads have spoken to Karl separately and together.

“You never know, watch this space.”

Antony revealed that Robbie reached out to the band after watching their story on the BBC documentary Boybands Forever.

He said: “It resonated with him because we were all young and he was a young lad in Take That.

“Take That went on a different journey than us, but we still wanted that same goal.

“Robbie has always been there and he’s been a big supporter of me and the boys.”

Duncan said: “We’re so lucky that after 25 years we’re still getting to sell out gigs, still touring around the world and we’ve got the adoration from the fans.

“We’ve had the nod from Robbie to write that song for us, so it’s almost like the industry is opening the door again and we’re feeling the love.”

Of their new hit Flowers, Duncan added: “A lot of people have said it sounds like a Robbie song as well.”

Blue are one of the few bands still touring with an original line-up.

Simon said: “One of the reasons we have stood the test of time is all four of us wanted to be in a boyband.

“Most are full of members who want to be solo artists but weren’t good enough.

“So all of a sudden you’ve got egos.

“We don’t understand why bands argue or why they don’t get on because when you’re a team, you’re a team player.”

The boys are playing at London’s Royal Hospital Chelsea on June 11.

I will get my prosecco and picnic blanket ready.

Tickets are on sale at myticket.co.uk.

Meanwhile, the band revealed Ellie Goulding got them to perform at her 70s-themed baby shower in January, ahead of the birth of her daughter Iris.

The boys sang their 2002 track One Love with Ellie.

Duncan added: “We didn’t realise she was a big fan of our music.”

SAM THOMPSON is stepping down from his role on Love Island: Aftersun.

The 2023 I’m A Celeb winner has been a panel regular on the spin-off since his stint in the jungle.

But an insider revealed: “Sam’s schedule is jam-packed and producers are going in a different direction so there’ll be a bit of a shake-up on Aftersun.

“ITV is really keen on harnessing new talent, especially plucking from its pool of influencers and TikTokkers to boost ratings.

“Sam may well return as a guest, but he won’t be a regular.”

A spokeswoman for Sam said: “He absolutely loved his time as part of the Love Island team and the show will always have a special place in his heart.”

NOEL SHOWS HIS SCENTS OF STYLE

NOEL GALLAGHER might have a thing for cigarettes and alcohol – but he also likes more refined smells, too.

The Oasis great shares the same taste in scent as suave Thirties and Forties playwright and composer Noel Coward.

He visited bespoke perfumer Azzi Glasser at her London studio.

Azzi, who has created scents for Kylie Minogue, Tom Hardy And Jude Law, charges £1,500 for a “fragrance workshop” to create a one-off scent to match your personality.

Noel spent £400 on candles and chose Vetiver scent by Floris London – favoured by Noel Coward.

Azzi revealed that Noel is also a fan of her £259 Mystere Vetivert.

She said: “It smells like you’re wearing a million dollars.”

IS THAT MADGE? CORSET IS

MADONNA returned to Coachella in the same jacket and corset she performed in 20 years ago as she joined Sabrina Carpenter for her headline set on Friday.

The sparkling duo performed the Queen of Pop’s hits Vogue and Like A Prayer before launching into a new song, I Feel So Free, from Madonna’s long-rumoured new album, Confessions II, set for release on July 3.

Madonna was delighted to stand four inches taller than Sabrina, who is just under 5ft.

She told the crowd: “The other thrilling thing I need to point out to everybody right now is this is probably the first time I’ve ever performed with someone who’s shorter than me.

“So, thank you for giving me that experience.”

In response, Sabrina shouted, “Amen!”.

Cute as a button.

’ROACHES ROLLING OUT AGAIN?

ROLLING STONES fans reckon there could be live dates on the horizon under their alias, The Cockroaches.

Rumours started after the rockers updated their website to include a poster of a 1977 surprise gig at El Mocambo Club in Toronto, attended by Princess Margaret , which was billed as a gig by The Cockroaches.

Keith Richards also posted a cryptic comment saying: “Great fun though huh?

A good rhythm section, a couple of mates, where else can you go.”

A source said: “There is a lot of buzz about this as next year it will be 50 years since the Stones last played live as The Cockroaches.”

TALIA MAR is hoping to work with DJ Sigala again.

The pair collaborated on 2022 dance track Stay The Night.

Asked if she would like to work with him this year, Talia told me: “Oh my God, yes. I was talking to him the other day. He is summer. I was like, ‘Can we get some new music please, because it is summer?’.”

Talia who has released new track Lady, will play at London’s Courtyard Theatre on May 16.

She said: “I want it to be really casual, I don’t want it to be glitz and glamour.

“Stripping it down is a really lovely moment.”

TIM’S CHILL TIME DOWN TO A TEE

TIMOTHEE CHALAMET has been enjoying some chill-out time on the beach.

After watching Justin Bieber at Coachella with his girlfriend Kylie Jenner last weekend, he headed for Miami to relax.

The Marty Supreme actor paid homage to his movie with a “Supreme” Wu-Tang Clan tee.

Tim was later seen catching some rays shirtless and sipping on a Coke.
Lovely.

AFTER the whirlwind success of No1 hit Stick Season, Noah Kahan didn’t rush back into the studio.

In fact, he stopped completely. Facing writer’s block and still processing everything that had happened, he stepped away for six months, forced to rethink not just the music, but what success meant.

His 2022 album Stick Season — rooted in Vermont and exploring mental health, identity and small-town life — transformed the singer from a cult folk artist into a global name.

Topping the charts in the UK, the record was also certified multi-platinum in the US, where it sold over four million copies and had billions of global streams.

Kahan was nominated for a Grammy for Best New Artist and the emotionally raw, nostalgic and deeply personal record was widely seen as one of the defining albums of the decade.

“I just couldn’t write for a while,” he confesses. “When I first got off the road, I didn’t make any music in a long time.

speaking out

Victoria Beckham breaks silence on Brooklyn feud for first time

BAY BEAUTY

Iconic Baywatch star signs up to reboot alongside Brooks Nader and Livvy Dunne

“I spent months not doing anything and it was painful because I like to be busy.

“It took so much strength for me to push that feeling away.

“I’m aware of how rare the moment was, how big the moment was and how lucky and fortunate I was, but my whole life I was trying to prove to people that I had a place here. So when the huge moment was happening, instead of being like, ‘Yeah, I made it’, I was like, ‘Oh my god, how am I going to stay here?’.”

That pressure quickly took its toll. Kahan said: “Writer’s block is such a lonely feeling — it makes you feel like your value’s been taken away. I felt completely unable to open up about it, but I ended up reaching out to friends.

“Marcus Mumford really helped. He understood what it’s like to be under a lot of pressure and afraid of failing and gave me great advice.”

Kahan also had to redefine success. It was not chasing numbers — just being able to make music was enough.

He says: “I learned the hard way about burnout. Success is a double-edged sword. I’ve always said if I had any, or if my tour sells out, I’d be happy. But the second it sells out, you’re looking at the next thing to achieve.

“Starting off this new album was really scary. I had to realise I didn’t need to be the biggest artist in the world or where Stick Season took me. I didn’t need to be successful to be loved.”

Kahan is in London for a few days to promote The Great Divide, his fourth studio album, which is out next Friday.

Taking time off to reset both mentally and emotionally was essential to writing again.

“I’ve struggled with my mental health,” he says candidly.

“But I was struggling more than anybody knew. I’ve struggled with anxiety, depression and body dysmorphia, but it was the OCD that I hadn’t figured out.

“I was diagnosed with OCD last year. It’s not about washing my hands a thousand times — it’s obsessive thinking. I was struggling with a lot of self-esteem and confidence issues, but I’d never dealt with anything so acutely like OCD. I’m supposed to be the singer who’s open about his mental health, but I felt so much shame.

“I needed medical intervention and therapy, and I didn’t want to be open about that because I was afraid. It was frightening as I’d been stripped of

this thing I loved.

“I couldn’t express myself through music any more, and so I didn’t tell anybody and it came to a breaking point.”
Through help and time, Kahan started to recognise his disorder in ways he hadn’t before.

“Now I wake up knowing my day is not going to be decided by what I see on my phone,” he says when discussing how therapy has helped him.

“Before, I’d have 700 brilliant words of praise, but it would be the one negative word that would shatter me. For a long time, I thought I was crazy.”

In August 2025, Kahan married his longtime partner Brenna Nolan, bringing a new sense of stability to his life.

The singer has also made a Netflix documentary — Noah Kahan: Out Of Body. It captures this difficult period, which he sees as part of his healing.

He says: “Making the film was a strange but amazing process. Having people follow you around took time to get used to, but they captured a really honest moment for me. Watching it back with my family was emotional. It showed how we really are.

“It was hard seeing how unhappy I was then, but in the end, it told a beautiful story.”

He adds: “My family are on the new record. I love the song American Cars. It’s about my sister.

“Whenever things were tough at home, she’d drive up from New York in a rental car, sunglasses on, just a total badass.

“She’s a surgeon, she just gets things done. She’d come back and help us through it, and the song came from that. Like, you need to come home and help fix this.”

The Great Divide is an album about friendship, miscommunication, regret and personal growth, and the title track became the guiding, emotional “north star” of the record.

He says: “Yeah, The Great Divide is really about a friendship that didn’t work out — one where I wasn’t able to express myself.

“And then there’s a song, Dan, which is about the opposite — being open, telling each other how much you care, facing hard truths. It ends in a way that really encapsulates the whole record. It’s probably my favourite song we made.

“There are a lot of stories,” he adds.

“It’s very emblematic of my childhood and a lot of people’s, young men in particular. Talking about feelings or asking difficult questions can feel like more discomfort than it’s worth, but the consequence is you don’t really know someone as well as you think you do.”

It’s an expansive album with 17 tracks, including the gorgeous We Go Way Back, Willing And Able, Haircut and Porch Light.

He adds: “I can’t wait to see crowds singing back Willing And Able, and Haircut started from that idea of someone coming back to town changed — like they’ve outgrown it. I felt like I’d become that person, only going home for inspiration instead of really being there.

“The song is almost someone singing to me, saying, I’m glad you’ve figured things out, but at least I’m still here and still real. You’ll leave again, and we’ll still be here. That’s what it’s about.

“Then, Porch Light is really about my biggest fear — how I’ve changed.

“I worry about going home and feeling like people see me differently, like I’ve become this ‘Hollywood’ version of myself, too big for where I’m from. That my relationship with Vermont has been changed by success and leaving Vermont for Nashville.

“But my family has always kept me grounded. They’re so happy for me. I wanted to write about that fear you have in your head before you even pick up the phone.

“You’re always anticipating what people might think. But there’s a silver lining in Porch Light. It’s about people saying, ‘We still care about you, we’ll still be here — but you need to figure things out first’.”

And that sense of place runs throughout the album.

“Yeah, the first and last songs really frame the album — I wanted them to feel like an intro and an outro,” Kahan says.

“The first track, End Of August, is this big, building track about that time of year in Vermont . . . It’s that moment when the tourists leave and the people who live there can finally come out of hibernation — like, ‘They’re gone’.”

He’s been working with Stick Season collaborator Gabe Simon, The National’s Aaron Dessner — best known for his work with Taylor Swift, Bon Iver and, more recently, Gracie Abrams — plus Ed Sheeran and Mumford & Sons.

Kahan says: “Gabe and I are really close — we went through a lot making Stick Season, so on this album we leaned on each other. He’s like a brother and the perfect person to go through this with.”

Aaron Dessner brought calm, structure and creative balance to the process.

“Aaron came in early on, but I was intimidated at first,” admits Kahan. “I looked him up on Wikipedia and was terrified of his success. This guy’s a legend.

“This was where Taylor Swift writes and Justin Vernon (Bon Iver), who works with Aaron, is my hero. Aaron has a magic to his music — a real understanding of what an artist is trying to say. But he’s a sweet, calm man who lives a very humble life in upstate New York on a farm.

“I needed him to stabilise me creatively. He is regimented in how he makes music and I need a routine. He is an amazing producer and this album sounds so f*****g cool because of what Aaron did.”

The sound on the new album is more expansive than Kahan’s earlier music and includes horns, guitar and richer production.

He says: “Honing on a sound and a theme started the process. Aaron’s place had dirt bikes, fishing rods and skeet shooting — all the things that I grew up doing.

“We couldn’t make the music in Vermont this time and the setting was really important, feeling connected to nature and beauty.

“It’s hard for me to make music in a city. Whenever I’m in a city, all I write is, ‘Get me out of the city’ songs.”

He adds: “We were also still in the middle of touring and I was over the Stick Season songs.

“There’s a lot of electric guitar on the new record, and bouzouki and mandocello, instruments we haven’t really used before. It’s a new confidence, but having spent three years on the road, I just want to make music that’s exciting to play live.”

It’s the connection with his audience that remains key.

He says: “I love it when I see fans singing back my songs as it means they’re feeling it.

“I’m always honoured when someone says my music has helped them to reach out for help. Though it can be overwhelming when people tell me they’re struggling with difficult thoughts.

“I don’t always feel equipped to handle that and I worry I’m not helping in the way they need. It’s hard when you feel you’re letting someone down.”

Now, his attention is focused on bringing the album to the stage.

He says: “I’m looking forward to playing these new songs. This record tells a story, so we’re working on the stage design, setlist and lighting to tell that story. We’re playing stadiums now, but I want fans to still have an intimate experience.”

Kahan returns to historic Boston baseball stadium Fenway Park, the home of the Boston Red Sox, for four nights this July.

He will also be back in the UK, including three nights at London’s O2 in November.

He says: “I’m excited about those dates, but my dream is to play Stamford Bridge.

“It’s my favourite sport and I love Chelsea FC. But I was told you can’t play there. I’ve achieved so much already, but that is my ultimate dream.”

• The Great Divide album is out next Friday, April 24.

NOAH KAHAN – The Great Divide

★★★★★

It turns out the “Spaceballs” sequel won’t be called “Spaceballs 2: The Search for More Money” after all.

Mel Brooks beamed into Amazon MGM Studios’ CinemaCon presentation to set the record straight via a pre-taped video Wednesday. The follow-up to his 1987 film set in a galaxy very, very, very, very far away is actually titled “Spaceballs: The New One.”

“After all these years, I found the money,” the comedy icon explains as he waves toward a duffel bag overflowing with “Spaceballs” money. “But everywhere I go people say, ‘Mel, Mel, where’s the new “Spaceballs”? When are you going to make the new “Spaceballs”? When are you going to make the new one?’”

“Well, we did it, and the title is ‘Spaceballs: The New One,’” Brooks continues. “It’s just like the old one, but it’s newer.”

While details about “The New One’s” story remain under wraps, the studio did offer attendees a glimpse of the film with a new trailer that pokes fun at the current state of the industry. A voice-over declares Hollywood studios are “merging willy-nilly” as images of the Paramount and Warner Bros. signs appeared on screen — before noting that the merger between Amazon and MGM Studios is what led to “Spaceballs 2.”

Dark Helmet’s look appears to be updated for the times, as his mask resembles that worn by the “Star Wars” sequel trilogy’s Dark Side warrior Kylo Ren. The trailer also included footage of lightsaber (or Schwartz ring) fights as well a nod to the “Avatar” franchise, with Dark Helmet crossing paths with a Na’vi in the restroom.

“Spaceballs: The New One” is slated to hit theaters April 23, 2027. Here’s everything we know about the sequel so far.

What is “Spaceballs: The New One” about?

According to Amazon MGM’s press release, the film’s story details “are being kept under lock, key and an industrial-strength Schwartz shield.”

Who is in the movie?

Original “Spaceballs” cast members Rick Moranis (Lord Dark Helmet), George Wyner (Colonel Sandurz), Daphne Zuniga (formerly Princess, now Queen Vespa), Bill Pullman (Lone Starr) and Mel Brooks (Yogurt) are confirmed to return for “The New One.” This marks Moranis’ first onscreen film role since taking a hiatus in 1997.

Newcomers include Josh Gad, Keke Palmer, Lewis Pullman and Anthony Carrigan playing new characters who’ve yet to be revealed.

Who are the filmmakers?

“The New One” is directed by Josh Greenbaum (“Barb and Star Go to Vista Del Mar,” “Will & Harper”) from a script written by Josh Gad, Dan Hernandez and Benji Samit (based on characters created by Brooks, Thomas Meehan and Ronny Graham).

Brooks is among the producers of “The New One,” which also includes Brian Grazer and Jeb Brody as well as Gad, Greenbaum and Kevin Salter. Executive producers include Adam Merims, Samit and Hernandez.

Time staff writer Samantha Masunaga contributed to this report.