Hollywood
‘The November Man’ coming to India on 29 August
MUMBAI: The spy thriller based on the novel ‘There Are No Spies’ by Bill Granger, The November Man will hit the theatres on 29 August 2014.
Starring former James Bond Pierce Brosnan, Australian actor Luke Bracey and Olga Kurylenko, The November Man, is directed by Roger Donaldson, known for his works like Species, The Recruit, The Bank Job and produced by Beau St. Clair of Irish Dream Time and Sriram Das of Das Films.
With a screenplay by Michael Finch and Karl Gajdusek, The November Man is the ultimate cat and mouse game set in the world of international espionage. It is a dark, gritty and realistic story with its roots in spy films of the past.
While Pierce Brosnan plays Peter Devereaux, a man, now living a peaceful life who is reluctantly lured back into his old CIA role for one final mission, Kurylenko is a social worker who is a brave, beautiful, compassionate and insightful woman caught in the middle of other people’s crossfire and forced to trust a complete stranger in Devereaux to protect her.
‘There’s nothing black or white about Devereaux, he’s pretty lethal,” says Brosnan. Talking about Devereaux, director Donaldson says, “He is such a tough, ruthless, bleak character that he’s been nicknamed The November Man. The idea is that it’s like the onset of winter when everything dies and Pierce, I think really rose to the challenge and does a great job with this character.”
Aussie actor Luke Bracey plays the role of David Mason. When asked about acting against Pierce in the film, Luke said, “It was an absolute thrill. I couldn’t believe it at the start when I first got the job but it was great and I felt very fortunate.”
With growing suspicions of a mole in the agency, there is no one Devereaux can trust, no rules and no holds barred. So get ready for this action packed film coming soon in the theatres near you.
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.
