Hollywood
Wavescape Surf Film Festival is back this July
NEW DELHI: A total of 19 films including 12 features are being screened at the ongoing Surf Film Festival in Durban.
The annual festival brings the best of surf culture, spearheaded by the world’s best surfing documentaries and shorts. The festival concludes later this week.
“Our 2014 edition features the most diverse and geographically disparate collection yet,” said Steve Pike (Spike) co-founder of the festival and editor of wavescape.co.za, who will be introducing the films.
“Of particular interest to our audience are three documentaries featuring pioneering journeys into the wave-rich but unknown wildernesses of Alaska, Russia and Patagonia. Surfers have always enjoyed the spirit of exploration and these should sate that wanderlust”, he added.
Wavescape this year also offered subject matter ranging from gay surfing to extreme ski BASE jumping. Out in the Lineup chronicles the story of gay surfers in the US and Australia who challenge the establishment while travelling the surfing world to hear stories of transformation and hope.
The story of Shane McConkey, in the film simply entitled McConkey, chronicles the tragically heroic story of the American ski icon who evolved BASE jumping to a thrilling new level when he mixed skiing, BASE and wingsuit flying into a heady, hi-octane mix of adrenaline and acute danger.
Several films focused on women surfing, including South African professional surfer Bianca Buitendag in Disguised in Nature; world champion Stephanie Gilmore in Stephanie in the Water; and 3 Killas y un kiwi – a fascinating look at Latino professionals (and one Kiwi) from South America, said Spike.
There’s also Tide Lines, about a crew of South African surfers who sail the world collecting garbage, visiting the famous garbage gyre of the Pacific Ocean to highlight the need to conserve our oceans. The Old, the Young and the Sea covers the famous surfing routes of Europe in an eclectic mix of culture, kombis and crisp cold perfection.
“We even have a documentary about alternative rock band Switchfoot, who surf and play gigs on their 2012 world tour to Australia, New Zealand, Africa and Bali,” said Spike.
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.
