Hollywood
International guests address narrative interactivity and international business at RioContenMarket 2015
MUMBAI: Esmeralda Producoes, content curator for RioContentMarket has just confirmed two big names for the 2015 edition of the event. Writer and games designer Steve Ince will attend the event as a keynote speaker and his presentation will address interactivity related aspects, as well as how this tool relates to narrative in games and other media. With over 20 years’ experience in the development of electronic games, Steve has games that were a hit and received positive criticism in his CV, like Beneath a Steel Sky, Broken Sword and In Cold Blood. Working as a freelancer for several studios since 2004, he has worked for EA, CD Projekt Red and Wizarbox. In addition, he has been nominated for the BAFTA several times and has won awards like the Game of the Year from the Independent newspaper. He is also the author of the book Writing for Video Games.
Kristin Jones is the executive in charge of international acquisitions, co-productions and format for the AMC channel. She will make an exclusive presentation about the channel for those attending the event. Among other things, she is in charge of developing and maintaining relationships with networks, subscription TV services and producers outside of the USA. Previously, she held the position of senior vice-president at Miramax and Buena Vista International.
The fifth edition of RioContentMarket, the biggest audiovisual content production event in Latin America, open to the television and digital media industry, will take place from 25 to 27 February 2015 at the Hotel Windsor Barra, in Rio de Janeiro.
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.
