Hollywood
American actor Michael Walker dies of heart attack
American actor Michael Walker, who gained fame in the film Man from Africa by Mickey Nivelli, was found dead at his Four Roads, Diego Martin apartment after he had reportedly died as a result of heart failure about two days before.
Police told the Express that his landlady opened the door to his apartment and found him dead on the floor after one of his sons telephoned her, saying that his father was not responding to his phone-calls.
Walker was 63.
He shot to fame with his starring role in the locally-produced film Man from Africa, which was released in 1982 and was followed by the sequel Girl from India, both directed by India-born Harbance Kumar aka Mickey Nivelli.
Prior to his acting, Walker enjoyed a modeling career which brought him to the attention of local movie-makers.
He also acted in Jealous, Messing Around and Rainbow Raani, made by Nivelli.
Nivelli in a message said Walker had failed to get in his own country the fame he deserved. “With my movies I had hoped he would travel internationally but those plans fell.”
Fellow actor Ralph Maraj, who also starred in Girl from India, said: “It is so sad that he has passed away. An actor of great talent and he would have done very well if he had continued because he always had natural acting skills.”
“He was quite a warm and friendly person, always full of energy, and I wish to extend my sympathies to his family,” Maraj added.
Walker matriculated with Yale ’63, enrolled for a period, living in Trumbull, studied anthropology, but left before graduating to begin a career in acting. His first role was as Bill Russell on the television show Mr. Novak in March 1964 in the episode Moment Without Armor. The remainder of his filmography includes roles in The Defenders, Perry Mason, The Name of the Game, and others, concluding in 1970.
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.
