Hollywood
Naomi Watts to star in Errol Morris-helmed Holland, Michigan
MUMBAI: Naomi Watts is in talks to star in Holland, Michigan, a thriller that will be directed by Oscar-winning documentarian Errol Morris from a script by first time screenwriter Andrew Sodroski. The script is described as a suburban thriller with pitch black humor. Le Grisbi Productions’ John Lesher and Adam Kassan are producing and Sean Murphy will be co-producer. Production will start in April.
Watts will be seen next as Princess Diana in the Oliver Hirschbiegel-directed biopic Diana. She just wrapped the Ted Melfi-directed St. Vincent De Van Nuys with Bill Murray and the Alejandro Gonzalez Inarritu-directed Birdman, the latter of which Lesher produced.
Morris is at Toronto to unveil his latest documentary, The Unknown Known and his past work includes The Thin Blue Line, Tabloid and the Oscar-winning The Fog Of War: Eleven Lessons From The Life Of Robert S. McNamara. Morris served as executive producer on Joshua Oppenheimer’s documentary The Act Of Killing.
Lesher is currently in pre-production on the David Ayer-helmed WWII film Fury with Brad Pitt. He produced Blood Ties, Guillaume Canet’s English language debut which premiered at Cannes, and was acquired by Lionsgate. Watts is repped by CAA and Untitled Entertainment.
Hollywood
Disney to cut 1,000 jobs in major restructuring drive
Layoffs span ESPN, studios and tech as company pivots to growth
MUMBAI: The magic isn’t disappearing but it is being reorganised. The Walt Disney Company has announced plans to cut around 1,000 jobs as part of a sweeping restructuring effort aimed at sharpening its edge in an increasingly unpredictable entertainment landscape. The move, led by CEO Josh D’Amaro, reflects a broader internal reset as the company rethinks how it operates, allocates resources and competes in a fast-evolving industry. In a memo to employees, D’Amaro acknowledged the difficulty of the decision but framed it as a necessary step to ensure Disney remains “efficient, innovative, and responsive” to rapid shifts in consumer behaviour and technology.
The layoffs will span multiple divisions, including marketing, film and television studios, ESPN, technology teams and corporate functions. Notifications have already begun, signalling that the restructuring is not a distant plan but an active transition underway.
Importantly, the company has clarified that the cuts are not performance-driven. Instead, they form part of a wider transformation strategy aimed at building a leaner, more agile organisation, one better equipped to respond to streaming dynamics, digital disruption and evolving audience expectations.
The timing is telling. The global entertainment industry is in the middle of a structural shift, with traditional television revenues under pressure and box office returns becoming increasingly volatile. Meanwhile, streaming platforms and digital-first competitors continue to redraw the rules of engagement, forcing legacy players to rethink scale, speed and storytelling formats.
For Disney, long synonymous with blockbuster franchises and timeless storytelling, the pivot is both strategic and symbolic. The company is doubling down on technology, direct-to-consumer services and content ecosystems that align with modern viewing habits, where audiences expect immediacy, personalisation and cross-platform experiences.
Even as the restructuring unfolds, D’Amaro struck a note of optimism, reiterating Disney’s commitment to creativity and long-term growth. Support measures for affected employees are expected as part of the transition, though details remain limited.
In essence, this is less about cutting back and more about reshaping forward. As Disney redraws its organisational map, the message is clear, in today’s entertainment world, even the most magical kingdoms must evolve or risk being left behind.
