Hollywood
Paramount & Anonymous Content to make ‘The Windfall’ as a TV series
MUMBAI: Paramount TV and Anonymous Content have come together to develop Indian author Diksha Basu’s upcoming debut novel The Windfall as a TV series.
Indian filmmaker Shonali Bose has been assigned the responsibility to write and direct the potential plot. Rosalie Swedlin and Doreen Wilcox Little are the executive producers for Anonymous Content under the company’s first-look deal with Paramount TV.
Scheduled to be published in June by Penguin Random House imprint Crown, The Windfall tells the story of an Indian couple in Delhi who are suddenly catapulted from their humble middle class origins into massive wealth. When they leave their safe and yet claustrophobic environs of their East Delhi home, and move to a mansion in the plush new suburb of Gurgaon, the family discovers what it means to be nouveau riche in modern India as they struggle to fit in.
Paramount TV and Anonymous Content’s previous collaborations include series Berlin Station, now in production on its second season for Epix; 13 Reasons Why, based on Jay Asher’s bestselling YA book, premiering 31 March on Netflix; Maniac, to be directed by Cary Fukunaga starring Emma Stone and Jonah Hill, also for Netflix; and The Alienist for TNT, based on Caleb Carr’s novel.
Also in the works are Spoonbenders, based on Daryl Gregory’s upcoming novel; a series based on Rebecca Traister’s bestselling book All the Single Ladies: Unmarried Women and the Rise of an Independent Nation; a series based on 9-year-old journalist Hilde Lysiak’s book series Hilde Cracks the Case; Legbreakers, an English language version of the hit Swedish drama series Torpederna with Irvine Welsh penning the pilot; and Smoke Gets in Your Eyes: and Other Lessons from the Crematory, adapted and executive produced by Nurse Jackie co-creator Evan Dunsky, based on Caitlin Doughty’s bestselling memoir.
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.
