Hollywood
Chu and Blossom Top Winner at 37th Asian American International Film Fest
NEW DELHI: The film Chu And Blossom won two significant awards at the 37th Asian American International Film Festival in New York this week.
It received Audience Award as wellas the Emerging Director Awards for Charles Chu and Gavin Kelly.
The awards were presented by AAIFF programme manager Lesley Yiping Qin, honouring the best in Asian American filmmaking and emerging directors.
The screening of The Penny Farthing followed the ceremony.
The closing night presentation How To Fight In Six Inch Heels by Ham Tran and a question and answer session with producer Timothy Linh.
The Special Jury Prize went to The Rice Bomber directed by Cho Li while the documentary award went to Tenzin Tsetan Choklay for Bringing Tibet Home.
The Best Short was Sutures by Tiffanie Hsu and the One to Watch Award went to Animals, directed by Stefanos Tai (Shorts, For Youth By Youth)
The Screenplay Competition Finalists were Eugene Park for Michael’s Story. Jisen John Ho for The Tragedy of Ziad and Aysel, and Carol Lee Hall for Donaldina.
This year’s jurors were ‘Lunchbox’ fame Ritesh Batra (shorts), J.P. Chan (shorts), Clarissa de los Reyes (screenplay), Christopher Fiore (screenplay), Eric Lau (feature), Claus Mueller (feature), Brandon Ruckdashel (feature), Michael Sandoval (screenplay) and Tong Shen (shorts).
The Asian American International Film Festival founded by Asian Cinevision, Inc. (ACV) in 1987, is a national media arts organisation that annually presents independent cinema by Asian and Asian Americans, panel discussions, special events, screenplay competition readings, gala receptions and after parties. ACV staff members include John C. Woo, Lesley Yiping Qin, Sophia Giddens, Judy Lei and Jason Chu.
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.
