Hollywood
Madonna to direct her third project
MUMBAI: According to the Hollywood Reporter, Madonna is set to helm the big screen adaptation of Ade: A Love Story, the debut novel of Rebecca Walker, daughter of Pulitzer Prize winning author Alice Walker (The Color Purple).
Rebecca Walker will co-produce the film, along with Bruce Cohen, who produced Silver Linings Playbook and American Beauty. Adé: A Love Story holds a 3.67/5 ratings based on 179 ratings on Goodreads. In this stunning debut novella, Rebecca Walker turns her attention to the power of love and the limitations of the human heart.
When Farida, a sophisticated college student, falls in love with Adé, a young Swahili man living on an idyllic island off the coast of Kenya, the two plan to marry and envision a simple life together – free of worldly possessions and concerns. But when Farida contracts malaria and finds herself caught in the middle of a civil war, reality crashes in around them. The lovers’ solitude is interrupted by a world in the throes of massive upheaval that threatens to tear them apart, along with all they cherish.
Madonna evidently loved the book when it was published last year. She posted a picture of the cover on her Google+ account and quoted, “Read this Book! An incredible journey! A Beautiful LOVE story!”
This film will be Madonna’s third outing in the director’s chair. Her last film was W.E., in 2011, a period retelling of the dire straits of Edward VIII and Wallis Simpson, while her directorial debut, 2008’s Filth and Wisdom was a comedy centered on roommates living desperate lives in London.
Madonna was on a huge world tour last year, and was named the world’s top-earning celebrity by Forbes in 2013 with gross earnings of about $125 million.
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.
