Film Production
Studio 100 Film brings The Last Dodo to life at AFM 2025 premiere
MUMBAI: It’s extinction no more, the dodo’s back and ready to soar. The Studio 100 Film is giving the world’s most famous flightless bird a new pair of wings with The Last Dodo, which makes its grand debut at the American Film Market (AFM) 2025 in Santa Monica.
The vibrant CGI-animated family feature follows Dave the last surviving dodo, who finds himself navigating the perilous streets of 17th-century London. With help from his street-smart sidekick, Eggy the rat, Dave must overcome his fear of flying, proving that courage sometimes comes with feathers.
Produced by Australia’s Cheeky Little Media (Kangaroo Beach, Vegesaurs) and the UK’s Cantilever Media (The Amazing Maurice), the film is co-directed by Jun Falkenstein (The Tigger Movie) and written by Simon and Tristan Dodd. The international collaboration brings together creative forces from Australia, the UK, and India, a global flock united by humour and heart.
“This film reimagines the dodo not as a relic, but as the beating heart of a hilarious buddy story,” said Studio 100 Film senior manager sales and acquisition Lorena Booth. “It’s full of laughs, surprises and a message that really takes off.”
Cheeky Little Media chief content officer Patrick Egerton added, “The dodo has always captured our imagination: tragic, funny, or both. Dave is all that and more, a character you’ll root for in a wildly funny and heartfelt adventure.”
Currently in development and slated for release in 2027, The Last Dodo promises a feather-ruffling mix of comedy, courage, and charm, a film that proves even the extinct can make a spectacular comeback.
Film Production
Disney to cut 1,000 jobs under new chief executive
The entertainment giant’s freshly installed boss inherits a restructuring already in motion, with marketing and corporate roles bearing the brunt
CALIFORNIA: Walt Disney is preparing to slash up to 1,000 jobs in the coming weeks, the Wall Street Journal reported, as the entertainment giant’s freshly installed chief executive moves swiftly to trim fat and tighten the ship.
The cuts, less than 1 per cent of Disney’s global workforce of 231,000, will fall hardest on marketing and corporate roles. The planning, notably, began before D’Amaro formally took the top job in March, suggesting the new boss inherited a restructuring already in motion rather than one of his own making.
Driving the push is Asad Ayaz, Disney’s newly appointed chief marketing officer, who in January assumed command of a unified, company-wide marketing operation spanning film, television and streaming. His consolidation drive has been given a suitably cinematic internal name: Project Imagine.
The move is modest by Disney’s recent standards. Between 2023 and 2025, under former chief executive Bob Iger, the company eliminated roughly 8,000 positions across several brutal rounds of cuts, saving $7.5 billion, comfortably exceeding its own targets. As recently as June 2025, several hundred more jobs were axed across Disney Entertainment, hitting film and television marketing, publicity, casting, development and corporate finance.
Disney’s structural headaches are well-documented: shrinking streaming margins, a weakened box office, and fierce competition from Amazon and YouTube gnawing at its flanks. The company is merging its Disney+ and Hulu teams into a single app, has brought in consultants from Bain & Co to guide its broader cost strategy, and is betting heavily on digital growth.
The wider entertainment industry offers little comfort. Sony Pictures, Paramount and Warner Bros. Discovery have all taken the knife to their workforces in recent years, and further cuts loom if Paramount’s acquisition of Warner goes through.
For D’Amaro, the message is clear: there will be no honeymoon period. The magic kingdom still has some cost-cutting spells left to cast.
