studios

NBCUniversal owner Comcast is indeed interested in some of Warner Bros. Discovery’s assets.

On a Thursday call with analysts to discuss third-quarter earnings, Comcast President Mike Cavanagh suggested the Philadelphia giant might bid for certain Warner assets, primarily the Warner Bros. film and television studios and its streaming service HBO Max.

Sources had previously said Comcast was angling to join the Warner Bros. Discovery auction after that company’s board formally opened the process last week. The Warner board has unanimously rejected three unsolicited bids from David Ellison’s Paramount, which has offered $58 billion for all of Warner Bros. Discovery.

Comcast isn’t looking to acquire the entire company or Warner’s large portfolio of cable channels that include CNN, TBS and Food Network. Instead, Cavanagh suggested that Comcast’s interest would be more narrow.

He noted that NBCUniversal and Warner Bros. have compatible businesses. Comcast wants to grow its studios business and its struggling streaming service, Peacock, which lost $217 million during the quarter.

“You should expect us to look at things that are trading in our space … It’s our job to try to figure out if there are ways to add value,” Cavanagh told analysts.

But he added a note of caution, saying the company didn’t feel that a merger was “necessary.”

“The bar is very high for us to pursue any [merger] transactions,” he said.

The Warner Bros. Discovery auction comes amid deep turmoil in the industry. Traditional entertainment companies, including Warner and NBCUniversal, have long relied heavily on cable programming fees to boost profit but consumers have been scaling back on pay-TV subscriptions amid the move to streaming.

To address that challenge, Comcast is spinning off its cable channels, including CNBC, MSNBC, USA and Golf Channel, into a separately traded company called Versant. That process is expected to be complete this year.

As part of the transition, the liberal-leaning MSNBC is changing its name to MS Now and dropping the peacock from its network logo, reflecting its pending exit from NBC, which will remain part of Comcast.

Cavanagh suggested that Comcast would not double down in a declining cable channel business that it was already exiting.

But Warner has other compelling businesses, including HBO and its Warner Bros. film and television studio. The Warner Bros. studio has released a string of movie blockbusters this year, including “Superman” and “A Minecraft Movie.”

Warner and NBCUniversal are investing in their respective streaming services but both lag Netflix, YouTube and Walt Disney Co. in terms of subscribers and engagement. Peacock has 41 million subscribers; the service has lost billions of dollars since Comcast launched it five years ago.

To shore up Peacock and the NBC broadcast network, Comcast has doubled down on sports, including striking a $27-billion, 10-year deal for NBA basketball, a contract that kicked in this month with the new season. (Nielsen ratings for the inaugural NBA game on NBC last week were strong — nearly 5 million viewers).

Most analysts believe that Ellison’s Paramount is in the best position to win Warner Bros. Discovery. They point to the Ellison family’s determination, wealth and political connections. Tech titan Larry Ellison, who is backing his son’s bid, is the second-richest man in the world behind Elon Musk, and President Trump views the elder Ellison as a good friend.

In contrast, Trump has displayed a dim view of Comcast Chairman and Chief Executive Brian Roberts, in large part, because of Comcast’s ownership of MSNBC, which Trump has accused of being an arm of the Democratic National Committee.

The tension has led observers to conclude that Comcast would face a stormy regulatory review process with Trump overseeing the Department of Justice, which would likely perform an anti-trust review of any major transaction for Warner Bros. Discovery.

Concerns about Comcast’s ability to get deals through the Trump administration may be overblown, Cavanagh said.

“I think more things are viable than maybe some of the public commentary [suggests],” Cavanagh said.

IT’S that time of year when theme parks go from shouts of joy to screams of terror – and none more so than Universal Studios, where its Halloween Horror Nights return for their 34th year.

I am a big Universal Studios fan — having been to Orlando, Florida three times this year alone, and racked up 12 visits in my lifetime.

But this is the first time I’ve felt brave enough to try the spooky events that take over the parks from the end of August until November 2.

To up the ante, I decide to swap the Sunshine State for Los Angeles and Universal Studios Hollywood.

Here, in the daytime, you’ve got much-loved characters such as Shaggy and Scooby-Doo, and Glinda from Wicked roaming the park.

But as the sun sets and evening descends, to mark the reopening of the park for Halloween Horror Nights, these cute characters vanish.

READ MORE ON UNIVERSAL STUDIOS

EURO-VERSAL

I went to a European theme park that’s a dupe of Universal Studios & dirt cheap

PARK LIFE

Huge boost for UK’s 1st Hollywood theme park as final sign off ‘in the pipeline’

And in their place come killer clowns such as Art from the film Terrifier, and towering crows who plays tricks on innocent attendees.

The overall experience involves eight haunted houses, four scare zones, two live shows and one terror tram.

My one piece of advice? No amount of preparation will have you ready for what Universal has in store for you.

The creative teams excel at putting you front and centre of some of the biggest movies and shows, including Terrifier, Five Nights At Freddy’s, Fallout, Friday The 13th, WWE: The Wyatt Sicks, Poltergeist — and their own creations, Monstruos 3: The Ghosts Of Latin America, and Scarecrow with music by Guns N’ Roses guitarist Slash.

The Poltergeist house returns as a fan favourite, which first appeared in 2018.

Only this time, as you walk through a room that resembles the inside of a brain, your senses become overwhelmed by a strong musky smell.

The haunted houses are packed with more jump scares than ever before and, despite having become slightly desensitised to the frights, I don’t think it’s possible to ever become accustomed to a demonic scarecrow running at you.

Just when I thought it was safe, numerous versions of serial killer Jason Voorhees (from Friday The 13th) leapt out to grab me as I headed for the safety of the exit.

It might not sound like fun, but trust me when I say the laughs come later as you recall your hilarious reactions and those of your pals.

When you’re not being tortured in the haunted houses, you can venture through various scare zones located around the park.

My best tip for those who are most fearful is to act confident, as the actors prey on the weak. If you clock them coming towards you, they will most likely choose another target.

For Horror Nights, The Studio Tour has been overtaken by the Terror Tram, which transports guests to the middle of the sound stages where they’ll be faced with the villains of Blumhouse movies including The Exorcist, The Purge, Happy Death Day, M3GAN and more.

This was a highlight of the event for me, as I felt all-consumed by the smoke, lights, music and actors jumping out from behind hidden doors.
After all that horror, you’ll have deserved a well-earned break.

There are plenty of themed drinks and food options to calm your nerves, whether it’s a Jason mask s’more, Art sunflower cookie sunglasses, or Fallout’s RadAway non-alcoholic concoction that’s served in a blood bag.

If the scares become too much, there’s plenty else to keep visitors busy in LA at this time of year.

Golden era of film

Take a hike with Bikes and Hikes up to the Hollywood sign and hear the tales of the area while you climb.

Or you can visit the Hollywood Walk of Fame to see landmarks such as the Chinese Theatre, and stop for a spot of lunch or dinner at the Shirley Brasserie situated inside the Roosevelt Hotel.

Just down the road from here is the Hollywood Museum, which is filled with thousands of costumes, props and sets from the golden era of film.

If you want to see some of the movie magic, then take a trip to Warner Bros. Studio Tour Hollywood.

COOL OFF

I’ve been to over 50 countries – here are my cheap winter sun hols with £11 hotels

UNMASKED

Chilling unheard tapes reveal how cops tore apart smirking serial killer Ted Bundy

This is a brilliant journey around popular TV show and film sets, from Friends to Gilmore Girls, and you can get close to costumes and props from the likes of Harry Potter and Batman.

Keep your ears tuned in wherever you go though. If you listen hard you may still hear the distant screams from Universal Studios.

A year after tech firm OpenAI roiled Hollywood with the release of its Sora AI video tool, Chief Executive Sam Altman was back — with a potentially groundbreaking update.

Unlike the generic images Sora could initially create, the new program allows users to upload videos of real people and put them into AI-generated environments, complete with sound effects and dialogue.

In one video, a synthetic Michael Jackson takes a selfie video with an image of “Breaking Bad” star Bryan Cranston. In another, a likeness of SpongeBob SquarePants speaks out from behind the White House’s Oval Office desk.

“Excited to launch Sora 2!” Altman wrote on social media platform X on Sept. 30. “Video models have come a long way; this is a tremendous research achievement.”

But the enthusiasm wasn’t shared in Hollywood, where the new AI tools have created a swift backlash. At the core of the dispute is who controls the copyrighted images and likenesses of actors and licensed characters — and how much they should be compensated for their use in AI models.

The Motion Picture Assn. trade group didn’t mince words.

“OpenAI needs to take immediate and decisive action to address this issue,” Chairman Charles Rivkin said in a statement Monday. “Well-established copyright law safeguards the rights of creators and applies here.”

By the end of the week, multiple agencies and unions, including SAG-AFTRA, chimed in with similar statements, marking a rare moment of consensus in Hollywood and putting OpenAI on the defensive.

“We’re engaging directly with studios and rightsholders, listening to feedback, and learning from how people are using Sora 2,” Varun Shetty, OpenAI’s vice president of media partnerships, said in a statement. “Many are creating original videos and excited about interacting with their favorite characters, which we see as an opportunity for rightsholders to connect with fans and share in that creativity.”

For now, the skirmish between well-capitalized OpenAI and the major Hollywood studios and agencies appears to be only just the beginning of a bruising legal fight that could shape the future of AI use in the entertainment business.

“The question is less about if the studios will try to assert themselves, but when and how,” said Anthony Glukhov, senior associate at law firm Ramo, of the clash between Silicon Valley and Hollywood over AI. “They can posture all they want; but at the end of the day, there’s going to be two titans battling it out.”

Before it became the focus of ire in the creative community, OpenAI quietly tried to make inroads into the film and TV business.

The company’s executives went on a charm offensive last year. They reached out to key players in the entertainment industry — including Walt Disney Co. — about potential areas for collaboration and trying to assuage concerns about its technology.

This year, the San Francisco-based AI startup took a more assertive approach.

Before unveiling Sora 2 to the general public, OpenAI executives had conversations with some studios and talent agencies, putting them on notice that they need to explicitly declare which pieces of intellectual property — including licensed characters — were being opted-out of having their likeness depicted on the AI platform, according to two sources familiar with the matter who were not authorized to comment. Actors would be included in Sora 2 unless they opted out, the people said.

OpenAI disputes the claim and says that it was always the company’s intent to give actors and other public figures control over how their likeness is used.

The response was immediate.

Beverly Hills talent agency WME, which represents stars such as Michael B. Jordan and Oprah Winfrey, told OpenAI its actions were unacceptable, and that all of its clients would be opting out.

Creative Artists Agency and United Talent Agency also argued that their clients had the right to control and be compensated for their likenesses.

Studios, including Warner Bros., echoed the point.

“Decades of enforceable copyright law establishes that content owners do not need to ‘opt out’ to prevent infringing uses of their protected IP,” Warner Bros. Discovery said in a statement. “As technology progresses and platforms advance, the traditional principles of copyright protection do not change.”

Unions, including SAG-AFTRA — whose members were already alarmed over the recent appearance of a fake, AI-generated composite named Tilly Norwood — also expressed alarm.

“OpenAI’s decision to honor copyright only through an ‘opt-out’ model threatens the economic foundation of our entire industry and underscores the stakes in the litigation currently working through the courts,” newly elected President Sean Astin and National Executive Director Duncan Crabtree-Ireland said in a statement.

The dispute underscores a clash of two very different cultures. On one side is the brash, Silicon Valley “move fast and break things” ethos, where asking for forgiveness is seen as preferable to asking for permission. On the other is Hollywood’s eternal wariness over the effect of new technology, and its desire to retain control over increasingly valuable intellectual property rights.

“The difficulty, as we’ve seen, is balancing the capabilities with the prior rights owned by other people,” said Rob Rosenberg, a partner with law firm Moses and Singer LLP and a former Showtime Networks general counsel. “That’s what was driving the entire entertainment industry bonkers.”

Amid the outcry, Sam Altman posted on his blog days after the Sora 2 launch that the company would be giving more granular controls to rights holders and is working on a way to compensate them for video generation.

OpenAI said it has guardrails to block the generation of well-known characters and a team of reviewers who are taking down material that doesn’t follow its updated policy. Rights holders can also request removal of content.

The strong pushback from the creative community could be a strategy to force OpenAI into entering licensing agreements for the content they need, legal experts said.

Existing law is clear — a copyright holder has full control over their copyrighted material, said Ray Seilie, entertainment litigator at law firm Kinsella Holley Iser Kump Steinsapir.

“It’s not your job to go around and tell other people to stop using it,” he said. “If they use it, they use it at their own risk.”

Disney, Universal and Warner Bros. Discovery have previously sued AI firms MiniMax and Midjourney, accusing them of copyright infringement.

One challenge is figuring out a way that fairly compensates talent and rights holders. Several people who work within the entertainment industry ecosystem said they don’t believe a flat fee works.

“Bring monetization that is not a one size fits all,” said Dan Neely, chief executive of Chicago-based Vermillio, which works with Hollywood talent and studios and protects how their likenesses and characters are used in AI. “That’s what will move the needle for talent and studios.”

Visiting journalist Nilesh Christopher contributed to this report.

Henry Jaglom, the uncompromising indie filmmaker who eschewed big-budget operations in order to preserve his creative vision, died Monday night. He was 87.

Jaglom died at his Santa Monica home surrounded by his family, his daughter Sabrina Jaglom said. The writer-director, whose filmography includes “Last Summer in the Hamptons” and “Eating,” was known for his intimate, naturalistic style and foregrounding of women’s stories in his work.

Sabrina, also a director, said in a statement that her father was “larger-than-life, and made the world a lot more colorful for those of us lucky enough to know him.”

“But, most of all, he was the most loving and supportive Dad. He will be greatly missed, but impossible to forget,” she said Thursday.

From his earliest directing gigs, Jaglom was committed to creating autobiographically inspired and emotionally resonant stories with as little studio intervention as possible. He kept costs low, cast his friends and family in his movies and pursued an improvisational production style that preceded the early-2000s film genre mumblecore.

“My movies talk about the emotional side of life,” Jaglom told The Times in 2009.

“I just try to have people do what we do, which is sit around, talk, deal with the emotions of life,” he said. “It can be touching, sad, happy, but it allows people to go through some of what they go through in life and not feel isolated and lonely.”

Jaglom’s 1985 film, “Always,” in which he co-starred with his ex-wife Patrice Townsend, was inspired by the disintegration of the couple’s own relationship. Jaglom and Townsend divorced two years before the film’s release.

Nearly a decade later, conversations Jaglom had with his second wife, actor Victoria Foyt, about parenthood were distilled into 1994’s “Babyfever,” which the couple wrote, directed and Foyt starred in.

Former Times staff writer Chris Willman called the comedy-drama “remarkable in its comprehensive documentary aspects.”

“Jaglom is, as always, big on verite and improvisation; with such a large cast milling about the airy, oceanside house, he’s managed to cover just about every conceivable baby base, with sentiments ranging from banal self-interest to self-conscious belly laughs, and a lot of very real, undeniably affecting poignancy in-between,” Willman wrote in his review of the film.

“Babyfever” was lauded for sincerely engaging with topics affecting women and for starring a mostly female cast — both of which were trademarks for Jaglom, who went on to form a women’s arm to HHH Rainbow Productions, his production company with producers Howard Zucker and Henry Lange, which for many years was located on the Sunset Strip in West Hollywood.

“Women are the most disenfranchised people in this business,” he told The Times in 1987. “They still have to play mostly by men’s rules. And as I’ve been successfully making million-dollar movies for some time now I thought: ‘Why can’t they do it too?’”

Jaglom was a mentee and close confidant of acclaimed filmmaker and actor Orson Welles, whose farewell performance came in Jaglom’s 1987 comedy “Someone to Love,” which screened at the Cannes Film Festival.

“He plays himself, shedding even the persona he adopted for TV talk shows,” Jaglom told The Times of Welles’ acting style in the film. “People will finally get to see him the way I knew him; it’s almost as if he was sitting there having lunch with you.”

Peter Biskind compiled conversations between the longtime friends for his popular 2013 book, “My Lunches With Orson: Conversations Between Henry Jaglom and Orson Welles.”

Several people approached Jaglom about publishing the tapes before Biskind came knocking, the director told The Times in 2013. But Biskind was the first one he took seriously.

“I said, ‘You want to put yourself through all this?’” Jaglom said. “And he said, ‘Yeah, on the one condition that you don’t censor me.’”

Jaglom, born in London in 1938, was the child of Jewish parents who immigrated to England to escape Nazi persecution. Later, Jaglom’s family moved to New York, where Jaglom spent his formative years and returned after attending the University of Pennsylvania.

In New York, Jaglom trained with Lee Strasberg at the Actors Studio, acting in and directing off-Broadway theater and cabaret before moving to Hollywood in the late 1960s. The multihyphenate went on to make his directorial debut in 1971 with “A Safe Place,” which starred Wells and Jack Nicholson.

After finding commercial success with his third film, “Sitting Ducks” (1980), Jaglom told The Times in 1987 that he was pitched by several big-time studio heads who said, “‘When you’re ready to make a serious movie, a big movie, come and see me.’”

“I said: ‘If you love my films why would you want me to come and make one of your big ones?’” Jaglom said, adding that with a large studio at the helm, directors run the risk of ceding the “final cut.”

“As far as I’m concerned all the big stars and fancy limos and fine dressing rooms aren’t worth a thing if you don’t control your film creatively,” he said.

For years, Henry ate at the same cafe on Santa Monica’s Montana Avenue. He was always delighted when fans and aspiring filmmakers stopped to say hello.

In addition to Sabrina, Jaglom is survived by a son, Simon Jaglom, and ex-wives Townsend and Foyt, Sabrina and Simon’s mother.

“Sound of Freedom” distributor Angel Studios made its stock market debut Thursday as the company looks to expand its streaming service and eventually penetrate international markets.

The Provo, Utah-based firm is trading on the New York Stock Exchange under the ticker symbol ANGX. Shares of the company rose 8% to $13.

Angel Studios’ launch on the public market is the latest step in the company’s unconventional journey into the entertainment business.

Founded by brothers Neal, Daniel, Jeffrey and Jordan Harmon, the company began as VidAngel, a service that allowed viewers to sanitize Hollywood movies by erasing sex, violence and swear words. But in 2016, VidAngel was sued for copyright infringement by Walt Disney Co. and Warner Bros., who said the company’s business model — which involved purchasing thousands of DVDs and Blu-ray discs and allowing users to stream them online — was essentially piracy.

VidAngel eventually settled the case, and the Harmon brothers sold off the filtering business. The company rebranded as Angel Studios and kept its content production and crowdfunding operation.

Today, the firm operates a streaming service and releases movies theatrically, including 2023’s massively popular “Sound of Freedom,” which grossed $250 million worldwide, and the animated film “The King of Kings,” which came out in May and tells the story of Jesus. The studio focuses on what it calls “values-based storytelling,” and its slate is determined through the vote of its 1.5 million Angel Guild members, who also get free movie tickets and other perks.

“It’s really a combination of the values of a broader audience,” said Jordan Harmon, president. “If you look at movies like ‘The Sound of Music,’ or ‘Casablanca’ or ‘12 Angry Men,’ all those were broad, incredible stories that touched the lives of tens, if not hundreds, of millions of people. Those are the type of stories that we think fall right into this values-driven, light-amplifying mission.”

Though considered small for Hollywood, Angel Studios moved to become a publicly traded company because its nearly 70,000 investors required it to, said company Chief Executive Neal Harmon. The company merged with a special purpose acquisition company (or SPAC) called Southport Acquisition Corp. to go public. A SPAC is essentially a shell company that exists solely to buy a private company and take it public without the scrutiny of a traditional IPO.

“We’re turning the way that this industry works on its head,” he said. “And because we are not doing the traditional Hollywood gatekeeper thing, we also needed to access capital in an untraditional way.”

The path is far from the potato farm in Idaho where the brothers grew up, and where the nearest neighbor was a quarter-mile away. Working together on the farm — and sharing a bedroom for years — helped foster the communication and bond between the brothers, said Jeff Harmon, chief content officer.

“If you look in Hollywood, the best partnerships have all been brothers,” he said, ticking off several successful movie business sibling partnerships including the Disneys, Warners and Nolans. “When they actually work together really well, it becomes unstoppable.”

Disney Channel fans are just realising that you can experience a holiday just like Camp Rock in real life; there is an almost identical spot with beautiful lakes, campfires and more

Every noughties child who was glued to the Disney Channel had one dream: to rock out at Camp Rock and rub shoulders with the Jonas Brothers, just like Demi Lovato’s character, Mitchie Torres. Nearly two decades on from the film’s release, fans are still belting out tunes from the Camp Rock soundtrack and its follow-up, Camp Rock 2.

Now, die-hard movie buffs can rejoice as there’s a ‘real-life Camp Rock’ where they can live out their musical fantasies. Nestled in Haliburton in Ontario, Canada, Kilcoo Camp offers idyllic scenes that could be straight out of the movie, featuring quaint cabins and lush woodlands set against the backdrop of the pristine Lake Wanakita.

A TikTok user recently shared a sneak peak of her time there. TikTok user @nomswithcat declared she was “living out my childhood dreams” while posting about her last meal at the camp.

Her final day kicked off with a “splendid view” and a breakfast of bread cake. “I had it every single day, it’s literally just jam and bread,” she confessed.

READ MORE: Love Island and The Traitors go head-to-head in huge awards clash

After breakfast, she warmed up for a dance session, later indulging in a hearty lunch of spaghetti and meatballs smothered in marinara sauce, which she described as “sweet and savoury”.

The camp experience wrapped up with a classic evening of fireside barbecue and s’mores.

“It was such a lovely way to end off camp,” the TikToker said, admitting she would miss the camp cuisine.

Fans of the iconic film were left stunned to discover that Camp Rock isn’t mere fiction.

One flabbergasted fan exclaimed: “Camp rock is a real place why didn’t anyone tell me.” Another lamented: “You mean to tell me I could have saved all my money to go here?”

“Wait you’re telling me that we can go to Camp Rock,” echoed another, full of surprise. “Wait, what this is real?” one asked in disbelief.

While another shared their astonishment: “Why didn’t I know this was a thing?” “Oh wow never knew it was real,” admitted yet another fan.

The location, known for hosting summer camps and educational trips, also offers private retreats.

However, enthusiasts dreaming of their own Camp Rock experience should note that it comes with a hefty price tag; a four-week stay this summer will set you back $6,675 (£4902), while a two-week stint costs $3,950 (£2901).

Would you visit the real Camp Rock? Comment below.

Hollywood’s workforce just needed to “survive ’til ’25.” That was last year’s hopeful mantra for entertainment industry pros battered by layoffs and limited film and TV production.

But now as the year approaches its halfway point, a bleaker saying seems apt: “Exist ’til ’26.”

Rosy projections of a robust recovery this year have not materialized. If anything, the downturn, at least in terms of employment at the studios, has continued.

In recent weeks, three media and entertainment giants — Walt Disney Co., Warner Bros. Discovery and Paramount Global — have said they will lay off staffers. Disney cut several hundred employees in the U.S. and abroad, while Paramount shed hundreds of its domestic workforce and Warner Bros. eliminated several dozen positions.

It is yet another sign that the industry is still recovering from the effects of the pandemic and the dual writers’ and actors’ strikes of 2023, while also trying to navigate the changing media landscape.

As people continue to cut the cord and viewership of traditional broadcast television declines — taking with it valuable ad dollars — companies are reallocating resources to their streaming platforms. They’re cutting back on spending after massive investments during the so-called streaming wars. And now, economic uncertainty from President Trump’s tariffs has rattled the markets, creating a difficult overall business environment.

“We’re going through this squeezing of our ecosystem in Hollywood,” said J. Christopher Hamilton, a practicing entertainment attorney and a professor at Syracuse University who focuses on the business of media. Companies are “trying to find a new normal, adjust to the financial pressures that the global economy is under and also figure out what is the smartest business model and path forward.”

It’s a far cry from the hints of optimism some in the industry had toward the end of last year. With the strikes finally in the rearview mirror, and delayed films debuting in theaters and production slowly coming back, the thought was “we’re out of the strikes, we’ll be able to go back to the market, sell and buy,” Hamilton said.

Instead, many of the recent conversations he’s had with clients and media executives have been centered on fear and uncertainty. People will tell him that it’s hard to sell a TV show, or that they don’t know if their job will be around in two weeks. The international market has also become more favorable to local content, meaning U.S.-made shows are now heavily competing with homegrown series.

“It’s a horrible time in the business from the content creation, content production standpoint,” Hamilton said. “People don’t want to take risks. They’re fearful of losing their jobs.”

The idea of “survive ’til ’25” was always a myth, said Stephen Galloway, dean of Chapman University’s Dodge College of Film and Media Arts. The issues the industry is facing are long term and disruptive.

“The industry is retrenching,” he said. “And there’s going to be a shake-up that lasts for quite a while.”

The continued decline of linear TV is one issue nearly all studios are grappling with. Though viewership is down and can drag on a company’s stock price, traditional broadcast TV still makes money, making it important to manage costs and generate profit for as long as possible.

That also means job cuts in those areas.

Disney’s layoffs hit its film and television marketing teams, television publicity, casting and development as well as corporate financial operations. Warner Bros. cut employees from its cable TV channels. While Paramount did not disclose the departments affected by the layoffs, its co-chief executives acknowledged in a note to staff that the decision came as the company navigates “continued industry-wide linear declines.”

Linear TV’s struggles have led media companies to spin off their traditional television assets, including cable networks, into separate entities. Santa Monica-based Lionsgate got the ball rolling in 2023 when it said it would sever its film and TV studio business from its pay cable unit Starz, a transaction that was completed this year.

Late last year, Comcast Corp. said it would make a new company consisting of its cable channels, including CNBC, MSNBC and USA Network. Then on Monday, Warner Bros. said it too would split into two publicly traded companies — one entity called Streaming & Studios and a second called Global Networks, that would consist of its cable channels such as CNN, TNT and Discovery.

The Warner Bros. split is “an acknowledgment that the idea of building something big enough to compete in the streaming war didn’t work,” said Peter Murrieta, a writer and deputy director of the Sidney Poitier New American Film School at Arizona State University. Moreover, Netflix’s dominance in the streaming space has made many companies reevaluate their plans.

“There were already signs pointing to the unsustainability of the number of shows and the number of streamers,” he said. “It’s the aftereffects of trying to compete at the streaming level and thinking that’s the future. Resources were put there, and now they have to retrench.”

Disney Chief Executive Bob Iger has said as much in comments to Wall Street, acknowledging that the House of Mouse pumped out too many shows and movies to compete against Netflix.

The company has since pulled back amid Iger’s call to focus on quality over quantity and to reach profitability in its streaming services, which it achieved last year. The company’s latest job postings now include a number of openings for software engineers.

The larger economic environment, too, is of concern to those in Hollywood. In addition to industry-specific concerns about artificial intelligence and the decline of traditional TV and cable, the entertainment business is also grappling with domestic and global financial uncertainty. Paramount’s executives cited the “dynamic macro-economic environment” in its note to employees.

“Right now, there is an absolute sense of terror among people in the business that they’ll be out of a job, that the old models aren’t working, that they won’t earn what they once did,” said Galloway of Chapman. “They’re not wrong to be afraid. I think they’re wrong to be as afraid as they are because it’s a retrenchment, and it’s a retrenchment following a gigantic expansion.”

White-collar jobs in other industries are also being threatened by technological change, greater investment in AI and retrenchments after pandemic-era hiring sprees. Earlier this year, tech companies such as payment firm Square, Meta, Google and Workday said they would lay off employees.

But Hollywood has always been a boom-and-bust industry, Galloway said, noting that in times of change, new opportunities always arise. Jobs in virtual production or AI are becoming more numerous. As studios cut back on their staff, they will still need producers to shepherd shows and films, said Susan Sprung, chief executive of the Producers Guild of America trade group.

“These companies aren’t getting out of the business of producing great programming, movies and television,” she said. “If you don’t have as large of an executive team that can help supplement that, it makes it even more important that you have good producers working on every one of your projects.”

While the current environment is tough, the industry has always been difficult, and people in this business are resourceful and intentional about their work, said Murrieta of Arizona State.

Though it is a trying time, he said, “there’s got to be hope.”