Hollywood
Lionsgate partners Buena Vista for ‘The Hunger Games’ release in Russia
MUMBAI: Lionsgate and Buena Vista International (BVI) have joined hands on the theatrical release of The Hunger Games: Mockingjay – Part 2, the fourth installment of the global blockbuster Hunger Games franchise, in Russia and the rest of the Commonwealth of Independent States (CIS) later this year.
BVI will launch Mockingjay 2 on 19 November in all available formats including Imax 3D as part of the film’s day-and-date global rollout.
“Mockingjay 2 is the next thrilling chapter of an incredible global franchise, and we look forward to creating a singular motion picture event for Russian audiences. We’re delighted to extend our partnership with our friends at Lionsgate on one of the most highly anticipated films of the year,” said BVI international distribution executive David Kornblum.
“We’re thrilled to capitalize on the opportunity to extend our long and successful relationship with the BVI team around the world. Their prestige, performance and consistency speak for themselves. We look forward to creating an epic and memorable Mockingjay 2 launch for our Russian fans, and BVI is the perfect partner to help us bring The Hunger Games franchise to the next level of performance,” added Lionsgate Motion Picture Group co-chair Patrick Wachsberger
Lionsgate’s Summit Entertainment label has previously partnered with BVI on the Japanese release of the action thriller Red, the release of the Step Up franchise in Japan and Spain and the Japanese releases of Source Code and Tree of Life.
The first three installments of The Hunger Games franchise have already grossed more than $2.3 billion at the global box office, and The Hunger Games: Catching Fire is the tenth highest-grossing domestic release of all time. The Hunger Games trilogy of books has already sold more than 82 million copies around the world.
The Lionsgate and Summit labels will continue their theatrical output deals with West Company and Central Partnership, respectively, for the rest of their theatrical slates in Russia and the CIS.
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.
