Hollywood
Daniel Radcliffes Horns acquired by Dimension & RADiUS-TWC
MUMBAI: Dimension and RADiUS-TWC have acquired US rights to Horns, the Alexandre Aja-directed thriller that stars Daniel Radcliffe, Juno Temple, Max Minghella, Joe Anderson, Kelli Garner, Heather Graham, David Morse, Kathleen Quinlan and James Remar.
The deal was for multiple millions, rivaling the largest deals made for the other Toronto films.
Keith Bunin wrote the script, based on the novel by comic book author Joe Hill. The logline: After being blamed for the death of his longtime girlfriend (Temple), a small-town guy (Radcliffe) awakens one morning to find a pair of horns growing from his head. The film was produced by Red Granite Pictures founders and producing partners Riza Aziz and Joey McFarland in addition to Mandalay’s Cathy Shulman. Aja is also a producer.
Dimension chief Bob Weinstein and RADiUS-TWC co-presidents Tom Quinn and Jason Janego have been working on this deal since the festival. It was certainly a talked-up title that several distributors pursued. They haven’t figured out the release configuration but are looking at 2014.
“I enjoyed working with Alex Aja on Piranha 3D,” said Weinstein. “I think he’s made a masterful film in Horns, and I’m thrilled to continue our relationship.”
RADiUS co-presidents Quinn and Janego, who confirmed the deal, called the film “a devilish wild ride. Visionary director Alexandre Aja delivers one of the coolest and most daring genre titles we’ve seen in quite some time. While Daniel Radcliffe’s flawless turn as ‘IG’ is sure to go down as one of the great anti-heroes of all time. We couldn’t be more excited to work with Alexandre, Joe, Riza, Joey and Cathy on this terrific film.”
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.
