Hollywood
Writers of ‘Game of Thrones’ decide on next film project
MUMBAI: Writers of the HBO Original series Game of Thrones, which yet again surpassed its viewership and garnered record ratings, have taken on their first feature project since becoming the architects of the HBO series adaptation of George R.R. Martin’s bestselling fantasy series, which will open its fourth season this Sunday on HBO Defined.
According to Deadline, David Benioff and D.B. Weiss have made a deal with Fox to write, direct and produce Dirty White Boys, the 1995 novel, written by Stephen Hunter, who also wrote Point Of Impact, the novel that was turned into the Mark Wahlberg film Shooter.
Benioff and Weiss have had to dedicate their entire attention to the series because of the creative demands that came with writing and producing the ambitious signature HBO series Game of Thrones (GoT). This is the first project that they will helm together and the first since they began the GoT journey. They said it all started while they were shooting the breeze with a bunch of writer pals.
Dirty White Boys follows Lamar Pye, who has escaped from Oklahoma State Penitentiary, accompanied by his idiot cousin and a vicious but cowardly artist. To have stayed in prison was certain death, but his chances on the outside are not much greater: his excesses know no bounds – one killing follows another.
Benioff and Weiss are currently in postproduction on the remainder of Season 4 of GoT.
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.
