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media-news

New Song to Benefit Refugee Children

By Media News
4 min read • Published March 24, 2026
By Media News
4 min read • Published March 24, 2026

Pop song, We All Stand Together features a youth chorus and two up-and-coming student singers to build awareness of and raise funds for more than 50 million refugee children worldwide. Victims of war, conflict, weather, poverty and disease, their plight gets little attention.

NEW YORK, NY / ACCESS Newswire / March 24, 2026 / Refugee children will be the beneficiaries of a creative initiative centered on a new pop song, "We All Stand Together." It has been created to increase awareness of and raise funds for the more than 50 million displaced children around the world. They are victims of war, conflict, religious persecution, climate disasters, food and water scarcity, and gang violence. The number is growing, while government funding is declining.

Written by Michael Orland (American Idol) and Judy Winger Quay with lyrics by Brian Seth Hurst, the digital single, engineered by Miklos Malek, features up-and-coming singers Bella Stine of California and Lea Jade García of Texas, a chorus from the University of Texas Rio Grande Valley (UTRGV), and 12 students from Pharr-San Juan-Alamo Southwest High School. It is available at stand4childrensong.com for $10. Proceeds will go to Austin-based nonprofit Global Impact Initiative (Gii), which helps refugee families and children around the globe.

Stand Together for Children is a project of New York City-based social benefit firm Channel4Cause. The campaign was produced by award-winning filmmaker Jeff Oppenheim and nonprofit and social cause expert Alibe Hamacher. Oppenheim and Hamacher are founding members of Channel4Cause and the visionaries behind the campaign. The campaign includes the song, a forthcoming music video, and a feature-length documentary, "The Resilience of Innocence: The Making of the Stand Together Project." The song’s message: "If we all stand together, not a break in the human chain, if we all stand together, we all stand to gain."

"We envision this campaign as sustainable over many years," said Hamacher. "It will inspire change and goodwill while raising resources to help safeguard children on the move." UNICEF and Save the Children estimate that the number of refugee children under 18 exceeds 50 million.

Orland and Oppenheim envisioned the project as a youth-driven campaign and brought on Stine and García to be the lead singers. Both college students are deeply committed to the cause. The youth choir represents youth engagement on an even deeper level.

Through the Rotary Club of Mission, Texas, the producers met with Dean Jeffrey Ward of the UTRGV School of Fine Arts. With a 90.1% Latino enrollment, UTRGV and its choir offered a dynamic vocal and symbolic attraction, as many singers are either immigrants or the children of immigrants. As such, the University’s choir would be the ideal group to record the song, and the Rotary Club pledged its support to make that happen.

Orland and Malek worked with choir director Sean Taylor to arrange and record the choral section. Oppenheim and Hamacher worked with students from UTRGV’s film program who filmed the performance. "This helped to empower them professionally while, as the primary storytellers, they chronicled the student singers," said Oppenheim.

Hamacher, a native of Chile, noted that, "The average length of time a refugee child spends in a camp can be up to twenty years. She also cites their struggles to find a balance between their new environments and their home countries. "Even once settled in their new homes, children often encounter enormous cultural barriers, from language to religious rituals to diet, leaving them to feel very much like outsiders." Hamacher engaged Global Impact Initiative as the primary nonprofit partner for the campaign, as its mission addresses these challenges and others in its work with families locally and internationally.

Anjum Malik, founder of Gii, explains: "When families feel respected and supported, children feel it immediately." Gii’s mission is to empower vulnerable and underserved communities to achieve economic independence through education, employment, and community engagement. "That sense of belonging," Malik added, "becomes the foundation for everything else. It opens the door to learning, growth, confidence, resilience, and hope for the future."

"Stand Together represents the whole Rio Grande Valley community as it not only brings attention to the community here but also presents parallels to children on the move," said vocalist Lea Jade García, a biology major at UTRGV. A second-generation Texan, she is following in the footsteps of her father, singer/songwriter Leo Alejandro García.

Lea already has a budding career in classical Mariachi but is now launching into mainstream pop and Latin music. "This song cuts close to home," said Lea, "and as a global youth ambassador to this project, I can give voice to my local community here in the RGV and my Latino community at large."

Bella Lily Stine, the other vocalist and global youth ambassador, is a native of Bakersfield, CA, and has been singing since a very young age. She is the voice of the iconic character Lucy Van Pelt in the Cartoon Network’s animated series, "Peanuts" (created by Charles Schulz).

Bella stated, "Stand Together’s message is to make us all understand – especially American kids my age – that any of us are vulnerable to being on the move." Bella, a major in commercial music and communications, added, "Music is universal, so it is perhaps the best way to build awareness. By lifting my voice as a singer, I am also standing together with the young people of the world."

Contact: Frank Gómez, f.gomez@channel4cause.com

SOURCE: Channel4Cause

View the original press release on ACCESS Newswire

Topics:

media-news
media-news

Newsmax Appoints David Evans to Board of Directors

By Media News
4 min read • Published March 23, 2026
By Media News
4 min read • Published March 23, 2026

Former CFO and COO Brings 25 Years of Public Company Financial and Operational Leadership

Evans Adds Digital Media Expertise to Newsmax Board as Company Expands Streaming Services
and Audience Reach

BOCA RATON, FL / ACCESS Newswire / March 23, 2026 / Newsmax Inc. (NYSE:NMAX) ("Newsmax" or the "Company") today announced the appointment of David Evans to the Company’s Board of Directors, effective on Thursday, March 19th. Evans brings extensive public company financial leadership and digital media expertise to Newsmax as the Company continues to expand as one of America’s leading news networks.

"We are thrilled to welcome David Evans to the Newsmax Board of Directors," said Christopher Ruddy, CEO of Newsmax. "David’s exceptional track record as a CFO and COO of a publicly traded multi-media company, combined with his deep expertise in both digital media transformation and the capital markets, makes him an invaluable addition to our Board. His professional background, specifically his deep experience scaling digital businesses, aligns perfectly with Newsmax’s strategic priorities as we continue to grow our streaming services and expand our overall reach."

Evans joins the six existing members of the Newsmax Board of Directors including CEO Christopher Ruddy, U.S. Secretary of Labor Alex Acosta, Ambassador Nancy Brinker, Chris Nixon Cox, Ambassador Paula Dobriansky and David Gandler.

David Evans

David Evans is a board-ready executive and audit committee financial expert with 25 years of progressive leadership at a publicly listed multi-media company, including roles as Chief Financial Officer, Chief Operating Officer and Division President of New Media and Publishing. He combines deep expertise in financial oversight, SEC reporting and corporate governance with hands-on experience scaling digital media businesses across streaming, OTT TV, podcasting, e-commerce, digital advertising and social media.

Most recently serving as Chief Operating Officer of Salem Media Group from 2022 to 2025, Evans directed all operations with specific oversight of the digital media, e-commerce and finance functions. He previously served as Division President of New Media & Publishing from 2007 to 2021.

As Executive Vice President and Chief Financial Officer from 2000 to 2006, he instituted the company’s SOX compliance framework, helped triple the company’s stock price, executed a $93 million equity offering at a then record EBITDA multiple for the radio broadcast industry and secured more than $500 million in debt capital at industry-leading terms while guiding the company’s strategic pivot to digital media. Earlier, Evans held senior leadership positions at Warner Bros. Consumer Products, including Senior Vice President and Managing Director for Europe, Middle East and Africa.

Evans is a Chartered Accountants of England and Wales, where he achieved 5th place national ranking. He earned a Bachelor of Science (Honors) in Managerial and Administrative Studies with a specialization in Finance, Accounting and Strategic Planning from the University of Aston in Birmingham, England.

About Newsmax

Newsmax Inc. is listed on the NYSE (NMAX) and operates, through Newsmax Broadcasting LLC, one of the nation’s leading news outlets, the Newsmax channel. The fourth highest-rated network is carried on all major pay TV providers. Newsmax’s media properties reach more than 50 million Americans regularly through Newsmax TV, the N2 Channel, the Newsmax App, its popular website Newsmax.com, and publications such as Newsmax Magazine. Through its social media accounts, Newsmax reaches over 22 million combined followers. Reuters Institute says Newsmax is one of the top U.S. news brands and Forbes has called Newsmax "a news powerhouse."

Forward-Looking Statements
This press release contains forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995, including statements concerning Newsmax’s strategic priorities, growth plans, streaming expansion, audience reach, digital initiatives, and the anticipated contributions of David Evans as a member of the Company’s Board of Directors. These statements are based on current expectations and assumptions and are subject to risks and uncertainties that could cause actual results to differ materially from those expressed or implied in the forward-looking statements. Factors that could cause actual results to differ materially include, among others, changes in market, business, economic, competitive, technological, regulatory and other conditions, as well as the risks described from time to time in the Company’s periodic filings with the Securities and Exchange Commission. Newsmax undertakes no obligation to update any forward-looking statements, except as required by law.

For more information, please visit Investor Relations | Newsmax Inc.

Investor Contacts
Newsmax Investor Relations
ir@newsmax.com

SOURCE: Newsmax Inc.

View the original press release on ACCESS Newswire

Topics:

media-news
Managing

Why Mission-Driven Organizations Keep Losing Comms Talent to Corporate

The talent drain isn't about dedication. It's about structure, pay, and treating communications like an afterthought.

communications pro working with a colleague
Miles icon
By Miles Jennings
@milesworks
Miles Jennings is CEO of Mediabistro and its parent CognoGroup. He previously founded and led Recruiter.com through its NASDAQ listing, executing more than 10 acquisitions over nearly a decade as CEO and COO.
8 min read • Originally published March 23, 2026 / Updated March 23, 2026
Miles icon
By Miles Jennings
@milesworks
Miles Jennings is CEO of Mediabistro and its parent CognoGroup. He previously founded and led Recruiter.com through its NASDAQ listing, executing more than 10 acquisitions over nearly a decade as CEO and COO.
8 min read • Originally published March 23, 2026 / Updated March 23, 2026

She runs the newsletter, the social channels, the press list, the annual report, the website copy, and the emergency messaging when something goes sideways. Maybe the staff lunch requests, too. She does this alone. She believes in the mission.

She is also updating her resume.

This is the reality at hundreds of nonprofits, museums, foundations, and public media organizations across the country. The communications person who holds everything together is quietly planning their exit, and the organization won’t understand what happened until the role has been open for six months.

The problem is not a lack of mission-driven candidates. The problem is structural. Too many organizations treat communications as overhead rather than strategy, under-resource it, and then wonder why the person doing the work of three people eventually leaves to do the work of one person somewhere else for better pay.

And this isn’t just a staffing inconvenience. It is part of a much larger crisis. The nonprofit sector is America’s third-largest employer, representing 10% of the workforce and contributing $1.4 trillion to the economy. Yet according to Forbes, the sector is quietly hemorrhaging talent at a rate that threatens its ability to function. Nearly a year of federal budget cuts, the closure of USAID, and philanthropic funding pulling back have created what researchers are calling a perfect storm.

The Workforce Crisis Nobody’s Covering

While tech layoffs and federal government cuts consistently make headlines, the nonprofit sector’s employment crisis has received almost no public attention. Since January 2025, an estimated 140,000 federal employees have lost their jobs due to agency closures, program eliminations, and budget reductions, with cascading effects on nonprofit contractors and grantees who relied on that funding.

The downstream impact is severe. In a survey of long-term unemployed social sector workers, 50% lost their jobs due to organizational layoffs, and another 19% were directly impacted by federal budget cuts. Among those unemployed for more than a year, 64% are considering leaving the sector entirely. Another 36% have already taken work outside it.

The Building Movement Project’s 2025 Race to Lead survey confirmed what individual stories have been suggesting for months: nearly one in three respondents reported taking a new job in the past year, with many citing layoffs, role eliminations, or organizational restructuring as the cause. Not growth. Not ambition. Survival.

The “Department of One” Problem

Against this backdrop, communications teams are getting smaller, not bigger. According to the 2025 Nonprofit Communications Trends Report, only 1 in 4 nonprofit communications teams grew in 2024, down from 1 in 3 the year before. Meanwhile, 38% of nonprofit communicators are solo operators, the only person at their organization responsible for marketing and communications. More than half of those solo communicators are the first person to ever hold the role.

The result is what the sector quietly calls the “department of one.” A single communications staffer, usually mid-career, usually underpaid, acting as writer, designer, social media manager, media relations contact, and internal agency for every other department. Fundraising needs a campaign. Programs need a report. The executive director needs talking points by tomorrow. There is no prioritization because everything is urgent, and there is no backup because there is no team.

This is a retention crisis, brewing, if not here already. In the Social Impact Staff Retention Project 2025 survey, nearly 7 in 10 nonprofit employees said they planned to look for a new job this year. The top reason, cited by 59%, was too much responsibility and not enough support.

Leadership knows this is happening. A Center for Effective Philanthropy study found that 95% of nonprofit leaders are concerned about staff burnout, and nearly half say it is difficult to fill vacancies. So the awareness is there, but the structural response, perhaps due to funding, is not.

The Pay Gap Nobody Wants to Quantify

Then there is compensation. When you control for skills and experience, nonprofit employees earn 4% to 7% less than their for-profit counterparts, according to Bureau of Labor Statistics data. For a communications director, that gap can mean $8,000 to $15,000 a year. Over a five-year career stint, that is a significant amount of money to leave on the table in exchange for mission alignment.

But the gap goes deeper than salary. According to research from Independent Sector and United for ALICE, 22% of nonprofit employees live in households that cannot afford basic necessities like housing and healthcare. That means roughly 1 in 5 people working to deliver social services are themselves in financial distress. The financial strain disproportionately impacts racial and ethnic minority workers and those in social assistance roles.

The sector has long relied on what researchers call the “labor donation,” the implicit expectation that employees will accept below-market compensation because the work is meaningful. That bargain can hold for some time, but it should not be an ongoing assumption, particularly for mid-career professionals with options.

What the Organizations Keeping Their People Are Doing Differently

The data points toward a few specific practices that are working. Actual operational changes that correlate with retention.

They are building real teams, not adding more to one person’s plate

The same Trends Report found that communications effectiveness and staff retention both improve significantly once a team reaches three full-time staff members. That is the threshold. Below it, you are running a solo operation disguised as a department. Above it, you have enough coverage for specialization, time off, and strategic thinking instead of constant firefighting. Budget constraints drop from 41% (solo) to 26% (small teams) to 13% (large teams). Time constraints drop from 48% to 32%.

A three-person team is not a luxury. For an organization that depends on public communications to drive awareness, fundraising, and advocacy, it is the minimum viable team.

They are publishing salary ranges

According to SHRM research, 60% of organizations now include salary ranges in job postings, up 15% over the previous year. The results are measurable: 70% of those organizations report an increase in applications, and 66% report higher-quality applicants.

For nonprofits, this is especially significant. Candidates applying to mission-driven roles are already self-selecting for values alignment. When you also show them that you are paying fairly and transparently, you remove the single biggest source of friction in the hiring process.

They are treating staff wellbeing as operational infrastructure

The Johnson Center at Grand Valley State University makes the case plainly: investing in staff wellbeing is not an expense; it is an investment. Employee wellness directly correlates with engagement, productivity, and performance. Today’s workforce expects mental health support, flexible schedules, and hybrid work arrangements as baseline conditions, not perks to negotiate for. Organizations that build these into the job description from day one are the ones keeping their people. The ones that treat well-being as something they will get to once the budget allows it are the ones writing job postings every six months.

They are using AI to handle the first draft, not replace the person

The 2025 M+R Benchmarks report found that 78% of nonprofit organizations now use generative AI in their marketing, fundraising, or advocacy programs.

But here is the gap: according to the 2025 Trends Report, 83% of nonprofits still do not have a written policy on AI usage. The organizations that are retaining comms staff are the ones building structures around AI adoption, using it to automate first drafts, scheduling, and reporting, so their people can spend time on strategy and creative work instead of the production grind.

The Hiring Problem on the Other Side

Even when organizations get the structure and compensation right, many still struggle to fill open roles. Part of the reason is that the hiring process itself has become a barrier.

In the Forbes survey of long-term unemployed social-sector workers, 85% cited a lack of employer response as their primary challenge. Qualified candidates are being ghosted after final-round interviews by organizations whose entire mission is built on human dignity. The experience paradox makes it worse: 62% of respondents reported being overqualified for available roles. Too experienced for entry positions, yet lacking the narrow specializations listed in senior job descriptions.

Then there is the question of where these roles get posted. When a museum or foundation lists a communications director position on a general job board, it competes with thousands of corporate roles for the attention of candidates who may have no particular interest in mission-driven work. The applicant pool skews wrong before a single resume comes in.

This is where the gap between intention and execution becomes a practical problem with a practical solution. Mediabistro exists specifically for this market. It is a job board built for communications, media, marketing, and creative professionals. Not general talent. Not tech workers browsing laterally. People who do this work for a living and are actively looking for their next role in it.

The talent pool is pre-qualified in a way that general boards cannot match. And the economics are different: Mediabistro employer subscriptions start at $199 per month. For a nonprofit that just spent three months ghosting applicants on a large general job board, we can be a great alternative.

The communications job market is changing fast. The roles nonprofits need to fill in 2026 require people who can write, manage channels, analyze performance data, and deploy AI tools, sometimes all in the same week. Those people exist. But they are not scrolling general job boards hoping a museum or foundation happens to have posted something. They are on platforms where communications work is the entire point.

What Happens If Nothing Changes

In a stark assessment published in Forbes, researcher Aparna Rae laid out the feedback loop: organizational fragility leads to layoffs, which floods the job market with qualified candidates, which enables exploitative hiring practices, which drives talent out of the sector permanently, which weakens organizations further. This crisis is not self-correcting.

The sector will continue to lose mid-career communications professionals to corporate roles that pay more, demand less, and offer clearer boundaries. The institutional knowledge that walks out the door will be replaced by junior hires who burn out faster because the structure has not changed. The cycle will repeat.

Or: organizations can decide that communications is a strategic function, staff it accordingly, pay transparently, give their people modern tools, and recruit from the places where communications talent actually looks for work.

The candidates are out there. The question is whether the organizations are building roles worth staying in, and posting them where the right people will find them.

Ready to reach communications professionals who actually want mission-driven work? Post your role on Mediabistro and start hiring from a talent pool that’s already looking for you.

Topics:

Managing
Entertainment

10 Best Things to Watch on Streaming This Week

10 Best Things to Watch on Streaming This Week
By Colby Droscher
6 min read • Published March 23, 2026
By Colby Droscher
6 min read • Published March 23, 2026

Cillian Murphy as Thomas Shelby

Netflix

The streaming calendar doesn’t always cooperate. Most weeks, it’s a few decent options buried under a landfill of algorithmic filler. This week is different. Three major platforms dropped tentpole titles on the same Friday, a long-dormant cult classic returned for its final season, and a Marvel series with genuine momentum premieres Tuesday. The backlog cleared, the heavy hitters showed up, and the couch is suddenly the best seat in any room.

Whether you want Tommy Shelby’s last ride, a prank show that somehow got better in its second season, a suburban murder mystery that’s funnier than it has any right to be, or a documentary about professional bowling that will make you rethink everything you thought you knew about professional bowling, this week has it. Ten picks, zero filler. Here’s what to watch.

Jury Duty Presents: Company Retreat

Still from Jury Duty: Company Retreat

Prime Video

Prime Video | Reality prank comedy

The premise was already absurd once. Somehow, they pulled it off twice. Jury Duty: Company Retreat debuted with a perfect 100% on Rotten Tomatoes, which is the kind of number that sounds made up until you start watching and realize, no, this show really is that good. 

The new mark is Anthony Norman, a 25-year-old temp who thinks he’s landed a gig helping a hot sauce company with its annual retreat. He has no idea that every colleague, every crisis, and every disastrous dinner theater night has been scripted around him. Anthony goes out of his way to ensure that each person he encounters feels welcome and seen, and that intelligence, care, and curiosity is something rarely found in unscripted television. New episodes drop Fridays. Don’t miss the first batch.

Peaky Blinders: The Immortal Man

Cillian Murphy and Thomas Shelby on horseback

Netflix

Netflix | Crime drama film

Thirteen years. Six seasons. One Oscar in between. Cillian Murphy is back as Tommy Shelby, and the man still wears a newsboy cap like it’s a threat. The film jumps to 1940, with German bombers targeting Birmingham and Tommy now gray-haired and isolated on a crumbling country estate, but Barry Keoghan joins as Tommy’s illegitimate son, Duke, who’s taken over the Peaky Blinders and is running them directly into a Nazi counterfeit currency scheme. The film is uneven in places (the two-hour format can’t breathe the way the show’s seasons did), but it captures the essence of what made the series special while giving Tommy Shelby a final chapter that feels both powerful and personal. For the faithful, it’s a proper farewell. For newcomers, it’s a very stylish entry point into a mythology 13 years deep.

DTF St. Louis

Jason Bateman sitting on a swing in DTF St. Louis

HBO Max

HBO/Max | Dark comedy limited series

The name is exactly what it sounds like, and the show is nothing like what you’d expect. Jason Bateman plays Clark, a St. Louis weatherman; David Harbour plays Floyd, his new best friend, an ASL interpreter who feels like life has passed him over; and Linda Cardellini plays Carol, Floyd’s wife, who enters a covert arrangement with Clark that becomes the center of a murder investigation. The murder is almost beside the point. What makes DTF St. Louis addictive is that viewers are never entirely certain whose perspective to trust or who to root for in this love triangle. It holds an 88% on Rotten Tomatoes and has become HBO’s most-watched show of the month (which, given that The Pitt exists, says something). Catch up before the April finale.

Wicked: For Good

Still from Wicked: For Good

Giles Keyte // Universal Pictures

Peacock | Musical film

The one that completed the cultural moment. Wicked: For Good made its streaming debut on March 20, with Cynthia Erivo’s Elphaba working in the shadows to expose the Wizard’s plan, while Ariana Grande’s Glinda reigns in Emerald City, haunted by their estrangement. The film brought in two brand-new songs from original composer Stephen Schwartz, and the Peacock debut comes loaded with bonus content for the fan who wants to live inside Oz for a full weekend. The sequel grossed $533.7 million worldwide, meaning a lot of people already have opinions. Now you can form yours from the couch.

Daredevil: Born Again Season 2

Still from Daredevil: Born Again

Marvel Television

Disney+ | Superhero drama series

The premiere lands Tuesday, March 24, and Hell’s Kitchen is about to get complicated again. Season 2 follows Matt Murdock’s attempts to oust Wilson Fisk as Mayor of New York City, with eight weekly episodes running through mid-May. The showrunners have promised they’ll lean harder into the show’s street-level brutality (the stuff that made the original Netflix run a genre benchmark) and the season reunites several Defenders alumni, including Jessica Jones. For Marvel fans burned by the franchise’s uneven streaming output over the past few years, this one has the pedigree to be different.

The Comeback Season 3

Lisa Kudrow in The Comeback Season 3

HBO Max

HBO/Max | Cult comedy series

Lisa Kudrow’s Valerie Cherish has been anticipating this moment for 21 years. Season 1 premiered in 2005, satirizing reality TV two years before the Kardashians made it a way of life. Season 2 arrived in 2014, skewering prestige cable. Season 3, the final one, finds Valerie offered the lead in a new sitcom written by AI, which she’s hesitant to accept. The joke writes itself, but the execution is Kudrow’s alone. If you’ve never seen The Comeback, start at the beginning. If you have, you already know: Valerie Cherish doesn’t just want the room. She needs it.

Deadloch Season 2

Madeleine Sami and Kate Box in Deadloch

Amazon // MGM Studios

Prime Video | Australian crime comedy

The mismatched detectives of Deadloch deserve to be as well known as Sherlock Holmes and Kay Scarpetta, and Season 2 picks up with Dulcie Collins and Eddie Redcliffe investigating the death of Eddie’s former policing partner. The Australian crime-comedy landed quietly during its first run but earned a devoted following for its sharp writing and genuinely funny central dynamic. If you slept on Season 1, this weekend is a good time to catch up.

Something Very Bad Is Going to Happen

Camila Morrone wearing a wedding dress in Something Bad is Going to Happen

Netflix

Netflix | Horror series

The title is the premise. An atmospheric horror series following a bride (Camila Morrone) and groom (Adam DiMarco) in the week leading up to their ill-fated nuptials, with Jennifer Jason Leigh co-starring. All eight episodes dropped Thursday, making it a full binge-watch weekend if the premise hooks you in the first episode. If you need your horror to feel inevitable from the opening credits, this is for you.

The Count of Monte Cristo

Sam Claflin in the Count of Monte Cristo

PBS

PBS | Period drama series

Sam Claflin plays Edmond Dantès, the young sailor falsely accused of treason and imprisoned without trial on a grim island fortress off Marseille, France, with Jeremy Irons co-starring in this latest adaptation of the Alexandre Dumas classic. Dumas wrote the original as a serialized revenge fantasy, and it still works as one. PBS period dramas are a particular kind of patient, well-dressed pleasure, and this one arrives at exactly the right moment, right when you’re tired of everything moving too fast.

Born to Bowl

A bowler who won a championship getting shaving cream spread on his face in celebration

HBO Max

HBO/Max | Documentary series

Last but not least, the best documentary on streaming this week and the most unexpected recommendation on this list. Professional bowling is no longer airing weekly on network television or minting champions whose career earnings rival those of the NHL or NBA, but there are still plenty of characters who make the sport intriguing, many of whom are the subjects of this docuseries. Liev Schreiber’s narration belies both a fondness and a level of amusement with the eccentrics at the top of the field. The sport is weirder than you remember. The people are weirder than the sport. Watch it.

Topics:

Entertainment
Entertainment

What artist data reveals about the rise of Amapiano, a house music subgenre

What artist data reveals about the rise of Amapiano, a house music subgenre
By Kristian Gorenc for Viberate Analytics
5 min read • Published March 23, 2026
By Kristian Gorenc for Viberate Analytics
5 min read • Published March 23, 2026

Wood BlockDJs during the Urban Music Awards 2025, 20th Anniversary Edition at Heartfelt Arena on May 4, 2025 in Pretoria, South Africa.

Frennie Shivambu // Gallo Images via Getty Images

What artist data reveals about the rise of Amapiano, a house music subgenre

Music trends often arrive with a sense of urgency. A song goes viral, a dance spreads across social platforms, and a genre is suddenly labeled as “next up.” But viral moments do not always translate into lasting growth. To understand whether a genre is truly expanding, it helps to look past individual hits and examine how audiences are growing across artists over time.

To evaluate genre-level growth patterns, this story analyzed artist data from Viberate Analytics, including profiles accessible via its artist search feature. By analyzing artist-level performance data across multiple genres, it asks which genre shows signs of sustained, structural growth rather than short-lived attention. The findings point consistently in one direction: Amapiano.

Looking beyond chart spikes

Many of the world’s most recognizable genres already command enormous audiences. Pop, hip-hop, and electronic music regularly dominate global charts, but short-term changes in those genres are often driven by superstar releases, promotional cycles, or seasonal listening patterns. That makes it difficult to tell whether a genre itself is growing or whether attention is simply shifting among familiar names.

To address that challenge, this analysis focused on growth behavior instead of scale. Rather than asking which genre is biggest, it examined how growth is distributed across artists and whether that growth holds up over time.

The data came from global Top 500 artist charts filtered by genre and observed over two timeframes: a 30-day snapshot and a three-month snapshot. Each genre was analyzed using the same approach, allowing patterns to be compared on equal footing.

How growth was measured

Four indicators were used to evaluate whether a genre could reasonably be described as rising.

First, growth distribution measured whether listener gains were shared across many artists or concentrated at the very top. If most growth comes from a small handful of stars, the genre may be popular without expanding.

Second, pipeline strength looked at whether mid-tier and smaller artists were growing faster, in percentage terms, than established leaders. This pattern often signals that new listeners are entering the genre through multiple artists rather than circulating among the same few names.

Third, persistence examined how many artists appeared in both the 30-day and three-month charts. A stable but not overwhelming overlap suggests continuity without stagnation.

Finally, temporal consistency compared short-term growth with three-month trends to reduce the risk of mistaking short-lived spikes for meaningful momentum.

Comparing genres on equal terms

Several genres were evaluated using this framework, including Amapiano, Afrobeat, Afropop, K-pop, and Techno. Each of these genres is influential in different ways, and each showed strength in at least one dimension.

Afrobeat and Afropop posted strong short-term growth, but much of that growth was concentrated among a small group of top artists. K-pop showed high persistence across timeframes, with many of the same artists remaining visible month after month, though growth was heavily centered on its biggest acts. Techno, meanwhile, displayed remarkable stability but relatively modest growth, consistent with a mature genre in equilibrium.

Amapiano stood apart because it combined several favorable signals at once.

A table showing each genre's growth share by top artist and by top 10 artists, respectively, for 30 days.

Viberate Analytics

Lower concentration indicates that listener growth is spread across more artists, rather than being driven by a small number of top acts.

Amapiano’s growth is widely shared

In the 30-day snapshot, Amapiano showed one of the lowest levels of growth concentration among the genres analyzed. The top artist accounted for less than 6% of observed listener gains, while the top 10 together represented just over one-third. In comparison, the top 10 artists in K-pop captured more than half of all observed growth.

This distribution matters because it suggests that Amapiano’s momentum does not hinge on a single breakout moment. Instead, growth is spread across dozens of artists at the same time.

A clear pipeline of rising artists

Tier-level analysis reinforced this picture. When artists were grouped by current listener size, smaller Amapiano artists showed faster median percentage growth than the genre’s leaders. Artists ranked outside the top 200 recorded median percentage growth above 24% in the 30-day window, compared with under 16% for the top tier.

That pattern points to a functioning pipeline, where new and mid-level artists are attracting listeners at a faster relative pace. In genres with flatter pipelines, growth tends to recycle attention among established names rather than bringing in new audiences.

A table showing the Amapiano median percentage growth by artist tier for 30 days.

Viberate Analytics

The upward trend toward smaller artists highlights the genre’s ability to generate new audience growth beyond its most established names.

Momentum that holds over time

Short-term growth can be misleading if it fades quickly. To address that risk, the analysis compared Amapiano’s 30-day and three-month charts.

Of the Top 500 artists in each period, 281 appeared in both. More than three-quarters of those overlapping artists recorded positive growth in both windows. At the same time, over 200 artists entered or exited the chart between snapshots, showing that the genre continues to renew itself.

This balance between persistence and turnover suggests that Amapiano’s rise is not a fleeting surge but an ongoing process.

What individual artists show

Artist-level examples mirror the broader trend. Established figures such as Kabza De Small and DJ Maphorisa continued to add listeners across both timeframes, showing that leading artists are still expanding their reach. Mid-tier artists like Tyler ICU recorded steady gains, while artists such as Mellow & Sleazy and Scotts Maphuma posted strong relative growth over both the short and medium term.

Not every artist followed the same path, and some experienced periods of stabilization. Taken together, however, these trajectories align with the genre-level pattern of distributed and sustained growth.

A genre in expansion

Across all measures used in this analysis, Amapiano stands out as the clearest example of structural genre growth among those examined. Its rise is not defined by a single hit or star, but by broad, persistent audience gains across its artist ecosystem.

For readers trying to understand how genres evolve in a crowded global music landscape, Amapiano offers a case study in how sustained growth looks when viewed through music analytics rather than headlines alone.

This story was produced by Viberate Analytics and reviewed and distributed by Stacker.

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Bell Rose Capital Launches Revolutionary UniteThe99 Social Media Platform on iOS and Android

By Media News
5 min read • Published March 23, 2026
By Media News
5 min read • Published March 23, 2026

Developed under the 4biddenknowledge Inc. (4BK) brand, UniteThe99 represents a bold departure from traditional social media platforms that rely heavily on algorithmic manipulation, data harvesting, and content suppression. The platform is built on a core principle: people-not algorithms-should determine what is seen, shared, and valued online.

LOS ANGELES, CA / ACCESS Newswire / March 23, 2026 / UniteThe99 Launches Revolutionary Social Media Platform on iOS and Android, Challenging Algorithm-Driven Control and Data Exploitation

A New Era of Digital Freedom Emerges Under the 4biddenknowledge Brand, a Subsidiary of Bell Rose Capital Inc. (OTC PINK:BELR)

Billy Carson developed the UniteThe99, a groundbreaking new social media platform designed to empower users and restore authentic digital communication, is now officially available on both Apple iOS and Google Play Android devices.

Developed under the 4biddenknowledge Inc. (4BK) brand, UniteThe99 represents a bold departure from traditional social media platforms that rely heavily on algorithmic manipulation, data harvesting, and content suppression. The platform is built on a core principle: people-not algorithms-should determine what is seen, shared, and valued online.

A Platform Built for Truth, Transparency, and Unity

UniteThe99 is engineered to eliminate the systemic biases and opaque systems that dominate mainstream platforms. Unlike conventional social media ecosystems, UniteThe99 combines the best features of platforms like Facebook and Instagram into one unified experience, while removing the elements that users have grown increasingly concerned about.

Key differences include:

  • No manipulative algorithms pushing propaganda, political agendas, or curated narratives

  • No selling of user data to government agencies, private corporations, or private military contractors

  • No reliance on behavioral manipulation systems designed to control visibility and engagement

  • Organic reach and real engagement, allowing content to surface based on authentic interaction

  • All-in-one functionality, integrating the most powerful features of Facebook and Instagram into a single streamlined platform

While traditional platforms monetize user behavior and data, UniteThe99 is committed to user sovereignty, privacy, and transparency.

Quote by Bell Rose Capital President, Billy Carson "For too long, social media has been used as a tool to divide, manipulate, and profit off the people. UniteThe99 breaks that system. No propaganda algorithms. No data sold to governments or private military contractors. Just real people, real voices, and real connection."

Mission: Unite the 99%

At its core, UniteThe99 is more than an app-it is a movement.

Through its official platform at https://unitethe99.app the initiative aims to:

  • Bridge ideological, cultural, and socioeconomic divides

  • Empower individuals with control over their digital voice

  • Create a global network driven by collaboration rather than division

  • Break long-standing "divide and conquer" dynamics embedded in modern digital systems

"Our mission is simple but powerful-to unite the world by removing artificial barriers and restoring authentic human connection," said Billy Carson, Founder of 4biddenknowledge Inc.
"UniteThe99 gives power back to the people while combining the best parts of existing platforms-without the surveillance, manipulation, or data exploitation."

Strategic Positioning Within a Publicly Traded Ecosystem

UniteThe99 is launched under 4biddenknowledge Inc., a subsidiary of Bell Rose Capital Inc. (OTC:BELR), providing the platform with:

  • Public market transparency

  • Strategic capital infrastructure

  • Scalable growth potential

  • Institutional-level expansion capabilities

This alignment positions UniteThe99 for rapid adoption and global scaling as demand increases for ethical, user-first social platforms.

Availability

UniteThe99 is now available for download:

  • Apple App Store (iOS)

  • Google Play Store (Android)

Users can join immediately and become part of a growing global movement focused on unity, truth, and digital sovereignty.

Watch UniteThe99 Video Trailer Here: https://www.youtube.com/shorts/zpbIcUBd7Ws

Forward-Looking Statements

This press release contains forward-looking statements within the meaning of federal securities laws. These statements include, but are not limited to, statements regarding future growth, strategic initiatives, expansion plans, monetization strategies, product development, and market opportunities. Forward-looking statements are based on current expectations and assumptions and are subject to risks and uncertainties that could cause actual results to differ materially. Bell Rose Capital Inc. (OTC PINK:BELR) and 4biddenknowledge Inc. undertake no obligation to update these statements except as required by applicable law.

About Bell Rose Capital Inc. (OTC PINK:BELR)

Bell Rose Capital Inc. (OTC PINK:BELR) is a diversified public holding company focused on acquiring, developing, and scaling high-growth businesses across technology, digital infrastructure, media, artificial intelligence, and consumer ecosystems. The Company pursues long-term enterprise value creation through strategic acquisitions, disciplined capital formation, and operational optimization within scalable verticals.

Operating under a public market framework, Bell Rose provides governance infrastructure, capital markets access, and strategic leadership to its subsidiaries. The Company evaluates opportunities in technology-enabled services, logistics platforms, AI-driven applications, digital publishing, streaming media, and emerging consumer ecosystems with recurring revenue potential.

Bell Rose’s model emphasizes:

  • Strategic acquisitions of operating businesses with proven traction

  • Capital structure optimization and institutional positioning

  • Revenue diversification across scalable digital platforms

  • Long-term shareholder value creation through disciplined execution

By combining public-market transparency with entrepreneurial growth strategy, Bell Rose Capital is positioning itself as a scalable platform for innovative enterprises seeking expansion, monetization, and institutional credibility.

About 4biddenknowledge Inc. (4BK)

4biddenknowledge Inc. ("4BK") is a diversified digital media, education, and artificial intelligence company founded by bestselling author and entrepreneur Billy Carson. Established in 2017, 4BK has evolved into a global, creator-led ecosystem spanning streaming media, publishing, online education, live events, AI-powered consumer applications, and e-commerce platforms.

The Company operates 4biddenknowledge TV, a subscription-based conscious streaming network; 4BK Academy, serving a growing international student base; a publishing division featuring multiple bestselling titles; and a portfolio of proprietary AI-driven tools designed to support career development, personal insight, and applied analytics. 4BK’s content and digital infrastructure reach millions of followers across YouTube, Instagram, TikTok, podcast platforms, and global event audiences.

Built through direct-to-consumer engagement and diversified digital monetization, 4BK has demonstrated consistent revenue growth across media, technology, and education verticals. The Company’s integration into Bell Rose Capital Inc. (OTC PINK:BELR) marks the expansion of its operations into a publicly traded structure, positioning 4BK for institutional scaling, strategic partnerships, and continued global growth.

Media & Investor Contact

Bell Rose Capital Inc.
Investor Relations
IR@bellrosecapitalinc.com

SOURCE: BELL ROSE CAPITAL INC

View the original press release on ACCESS Newswire

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DISRPT Agency, a Division of Dolphin Subsidiary The Door Powers "Art of Glam" During Oscars Week, Driving Cultural Momentum Into Camille Rose's Upcoming Beauté Noir

By Media News
3 min read • Published March 23, 2026
By Media News
3 min read • Published March 23, 2026

Samuel L. Jackson, Kelly Rowland, Ruth E. Carter, and Da’Vine Joy Randolph Among Attendees Celebrating the Creative Forces Behind Awards Season Beauty and Style

LOS ANGELES, CA / ACCESS Newswire / March 23, 2026 / DISRPT Agency, a leading cultural force in creative media relations and brand-building-and a powerhouse within Dolphin (Nasdaq:DLPN) subsidiary, The Door-continues to set the standard as a culture-forward entertainment and lifestyle partner for acclaimed multicultural haircare brand Camille Rose. Held during Oscars Week on March 11, 2026 at The Maybourne Hotel in Los Angeles, the inaugural Art of Glam: Honoring the Hands Behind the Beauty awards dinner convened industry-leading talent and creatives shaping the beauty and fashion moments seen across Hollywood’s biggest stages.

Curated by The Door’s DISRPT division, the evening featured an elite roster of honorees and A-list presenters, underscoring the agency’s expertise in crafting culturally impactful, high-profile experiences. The event also marks continued momentum for Camille Rose, as the brand and DISRPT build toward the return of Beauté Noir this Juneteenth, a multi-day experience celebrating Black beauty, entrepreneurship, and innovation.

"Art of Glam was about bringing Janell Stephens’, founder of Camille Rose, vision to life in a way that truly honors the creatives shaping beauty and culture at the highest level," said Adriane Jefferson, Founder & Managing Partner of DISRPT at The Door. "Our role was to build the right platform, talent, and experience to match the depth of that vision. This is part of a larger cultural narrative we’re building with Camille Rose, with Beauté Noir as the next chapter."

The Door’s DISRPT division led media relations, talent strategy and booking, and guest curation for the evening’s festivities, securing honorees and A-list presenters, while also curating a VIP guest list spanning entertainment, beauty, and broader pop culture. The evening was hosted by Cori Murray, Editorial EVP of EBONY Magazine. This year’s distinguished roster of honorees included Ruth E. Carter (Janell Stephens Lifetime Achievement Award), Camille Friend (Cinematic Hairstylist Visionary Award), Sheika Daley (Makeup Stylist Visionary Award), Sergio Hudson (Fashion Visionary Award), Vincent Smith (Style Disruptor Award), Tym Wallace (Red Carpet Hair Visionary Award), and John Mosley (Barber Visionary Award). The A-list group of presenters included Da’Vine Joy Randolph, Samuel L. Jackson, Kelly Rowland, Inga Beckham, Durand Bernarr, Tamara Taylor, and Archie Davis.

"When you’re working with a client whose purpose is clear, culture becomes a powerful tool to move that mission forward," said Emily Maldonado, Senior Account Supervisor at DISRPT and project lead. "Art of Glam is a reflection of what that looks like in practice."

The event welcomed over 200 guests, including top-tier media, tastemakers, and cultural leaders across entertainment, beauty, and fashion. Notable attendees included Claressa Shields, Bianca Lawson, Kyla Pratt, and more. The night sparked strong momentum across social and media, generating viral conversation and signaling Art of Glam as a new cultural moment during Oscars Week, setting the stage for Camille Rose’s upcoming Beauté Noir this June, where the celebration of Black beauty and creative excellence will continue.

ABOUT DOLPHIN:

Dolphin (NASDAQ:DLPN) is where cultural creation meets marketing execution. Founded in 1996 by Bill O’Dowd, Dolphin operates as both a venture studio-developing and investing in breakthrough content, products, and experiences-and a marketing consortium, featuring leading agencies across every communications discipline.

At its core, the venture studio creates, produces, finances, markets, and promotes new businesses and cultural ideas – ranging from acclaimed film, television, and digital content to consumer goods, live events and partnerships that define entertainment and lifestyle. Surrounding this entrepreneurial engine, Dolphin’s marketing prowess brings together best-in-class firms including 42West, The Door, Shore Fire Media, Elle Communications, Special Projects and The Digital Dept. Together, this collective delivers unmatched cross-marketing expertise and relationships across every vertical of pop culture – from film, television, music, influencers, sports, hospitality, and fashion to consumer brands and purpose-driven initiatives. Dolphin marketing has been the recipient of many accolades, including #1 Agency of the Year on the Observer PR Power List in 2025, The PR Net 100, and the PR News Elite 120.

Follow us on Instagram here.

CONTACT:

James Carbonara
HAYDEN IR
(646)-755-7412
james@haydenir.com

SOURCE: Dolphin Entertainment

View the original press release on ACCESS Newswire

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Hot Jobs

Niche Media Jobs Hiring Now: Fiction, Lifestyle, and Nonprofit Roles

Today's standout listings reward deep specialization, from AI-edited fiction to regional magazine design to cause-driven paid media.

mediabistro hot jobs
Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
4 min read • Published March 23, 2026
Mediabistro icon
By Mediabistro
The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.
4 min read • Published March 23, 2026

Specialists Are Having Their Moment

Generalists have dominated media hiring for the better part of a decade. The “do everything” job description became so common that it meant nothing. Today’s most compelling listings flip that script entirely. The roles worth paying attention to right now are those that ask for genuine depth in a specific domain.

Consider the range: one company wants someone who can evaluate AI-generated fiction with a trained literary eye. A regional lifestyle magazine needs an art director who understands print production, photo direction, and Southern editorial aesthetics. A fundraising agency is hiring a paid media manager who lives inside the Google Ads ecosystem for progressive nonprofits. These aren’t interchangeable skill sets, and the employers posting them know it.

The throughline is clear. Companies that serve well-defined audiences are hiring people who already understand those audiences. If you’ve spent years going deep on a particular content vertical or format, the market is finally valuing that expertise over breadth.

Today’s Hot Jobs

AI Content Editor, Fiction at Research on Point

Why it caught our eye: This role sits at the exact intersection where publishing is headed. The company has integrated AI drafting into its editorial pipeline and needs experienced fiction editors to ensure every piece meets human literary standards. The job description is refreshingly honest about what AI does well (volume) and what it doesn’t (voice, consistency, emotional resonance). That’s where you come in.

  • Strong command of fiction craft: narrative structure, dialogue, pacing, and character development
  • Ability to reshape AI-generated prose into polished, publishable content
  • Experience with editorial pipelines and content management systems
  • U.S.-based candidates only; fully remote at $25-35/hour on a freelance contract

Apply for the AI Content Editor position

Art Director at Virginia Living

What makes this role special: Hands-on creative leadership at an award-winning regional magazine is increasingly rare. Virginia Living covers food, culture, homes, gardens, and destinations across the state, and the Art Director sets the visual identity across both print and digital. You’ll be directing photo shoots, commissioning illustrators, negotiating creative contracts, and making typography decisions that shape each issue. This is a true creative ownership role at a publication with a loyal readership and a clear editorial voice.

  • Proven experience leading visual direction for a print publication
  • Skills in photography art direction, illustration commissioning, and layout design
  • Ability to manage freelance creatives, negotiate fees, and oversee production timelines
  • Based in Richmond, VA with a close-knit editorial team

Apply for the Art Director role at Virginia Living

Paid Media Manager at Avalon Consulting Group

The appeal here: Avalon is a full-service fundraising agency working with nonprofits in environmental conservation, social justice, and cultural arts. The Paid Media Manager runs campaigns across paid search, paid social, CTV, and programmatic channels, all in service of organizations that depend on donor acquisition to survive. If you’ve been running paid media for e-commerce brands and want your platform skills to fund something you care about, this is the transition point. Fully remote and U.S.-based.

  • Hands-on experience managing campaigns in Google Ads, Microsoft Ads, and paid social platforms
  • Ability to build audiences, set bidding strategies, and optimize toward fundraising KPIs
  • Collaboration with creative, analytics, and client service teams
  • Comfort with programmatic and CTV campaign execution

Apply for the Paid Media Manager position at Avalon Consulting

Social Video Producer at The Forward

Worth a close look: The Forward, one of the most storied names in Jewish journalism, is building out its social video operation. This producer role combines writing, editing, and platform-native storytelling with real editorial sensibility. You’ll collaborate directly with reporters and editors to turn news and culture coverage into video that performs on social platforms. The listing specifically welcomes both on-camera talent and behind-the-scenes producers, which signals flexibility in how they want to fill this seat. For anyone building a career at the intersection of journalism and social video, understanding the core language of digital media will give you an edge.

  • Track record producing social-first videos that have reached large audiences
  • Experience with platform-native analytics to inform audience development decisions
  • Strong writing and scripting ability for short-form video formats
  • Willingness to mentor colleagues who appear on camera

Apply for the Social Video Producer role at The Forward

Professional Takeaways

If your resume reads like a list of platforms you’ve touched, today’s listings are a signal to rewrite it. The roles generating the most hiring energy right now reward candidates who can demonstrate mastery of a specific content world, whether that’s fiction editing, regional lifestyle publishing, nonprofit fundraising funnels, or social journalism. Hiring managers scanning applications want to see that you’ve already lived inside their audience’s ecosystem.

In practice, that means tailoring every application to your deepest vertical experience. Lead with the domain knowledge, then layer the tools and tactics underneath. A paid media manager who understands donor psychology is more valuable than one who simply knows Google Ads. An editor who reads fiction seriously will outperform a generalist copy editor in the AI content pipeline. If you want to build your professional brand, start by owning a niche completely.

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Film Distributors Are Buying Fast Again. Here’s What Changed.

By Mediabistro Team
5 min read • Published March 23, 2026
By Mediabistro Team
5 min read • Published March 23, 2026

The international film market has its appetite back. Three separate acquisitions closed in quick succession, spanning arthouse, genre thriller, and mid-budget romance.

The velocity matters more than any individual deal. After two years of cautious positioning and compressed slates, distributors are moving faster and buying across multiple tiers.

Paradise City Sales closed territorial deals on Warwick Thornton’s “Wolfram,” a Berlinale competition entry, with buyers in Benelux, Italy, Greece, and ex-Yugoslavia. Cappu Films wrapped a global sales round for “Fox Hunt,” the Tony Leung Chiu-wai thriller, placing it in German-speaking territories, the Middle East, and multiple Asian markets. Quiver Distribution acquired the North American and UK rights to “A Love Like This,” a romantic drama from John Asher, set for an April theatrical release.

Together, these deals suggest distributors believe audiences will show up for the right titles, and that the economics can close without waiting for streaming clarity.

Meanwhile, at CPH:DOX, documentary professionals turned their attention to AI as a structural threat, borrowing survival strategies from journalism. And in Hollywood’s franchise machinery, Marlon Wayans offered public tribute to James Van Der Beek ahead of Scary Movie 6‘s June release.

Distributors Are Back at the Table

Paradise City Sales moved quickly on “Wolfram” out of Berlin. The film, Thornton’s latest after “Sweet Country” and “The New Boy,” premiered in competition at the Berlinale.

Cherry Pickers took Benelux, Unicorn secured Italy, Ama Films bought Greece, MCF Megacom closed ex-Yugoslavia, and Filmarti picked up additional territories. Competition titles always generate interest. Closing multiple European deals during the market itself is different.

That means buyers arrived with mandates and budgets ready.

Tony Leung’s star power drove similar momentum for “Fox Hunt.” Cappu Films wrapped deals with Blacktop International for German-speaking markets, Dimeo for the Middle East, and multiple Asian distributors during the European Film Market.

The crime thriller’s appeal crosses both arthouse and commercial lanes, giving distributors confidence they can position it for theatrical runs rather than holding for streaming.

Quiver Distribution’s acquisition of “A Love Like This” widens the lens beyond festival-driven sales. The romantic drama starring Emmanuelle Chriqui and Hayes MacArthur represents the mid-tier market that collapsed hardest during the pandemic.

Quiver is setting an April 3 theatrical release, a vote of confidence in spring windows that have historically struggled to find audiences outside tentpoles.

Pattern Recognition: Buyers are not waiting for perfect information or hedging with day-and-date streaming. They are betting on theatrical, moving quickly, and closing across multiple territories simultaneously.

For professionals tracking distribution strategy or managing global project timelines, this is the clearest signal that the market has stabilized.

Documentary’s AI Reckoning Gets Frank

CPH:DOX wrapped its industry programming with more than €110,000 in awards distributed across documentary projects in development. But the most consequential conversations happened in panels focused on artificial intelligence.

Documentary professionals are treating AI as a structural threat comparable to what journalism faced with digital disruption, and they are explicitly studying how newsrooms responded.

The festival awarded projects by Kathryn Ferguson, Asmae El Moudir, and Véréna Paravel, but industry participants spent equal time discussing how AI tools are already generating interview transcripts, B-roll, and rudimentary rough cuts.

The anxiety is specific: if generative AI can produce acceptable nonfiction content at scale, what happens to the labor market for documentary producers, editors, and field coordinators?

The journalism parallel is intentional. Documentary professionals see newsrooms as 10 years ahead in navigating technological displacement. Some outlets invested in investigative depth and premium storytelling as differentiation. Others automated commodity reporting and cut staff.

The documentary sector is debating which path to follow, with particular focus on positioning human editorial judgment and original reporting as irreplaceable.

For media professionals working across the journalism-documentary overlap, these conversations matter. The skill sets that protect against AI displacement in one sector translate to the other: source development, narrative architecture, ethical judgment, complex editorial project management.

The awards themselves reward exactly those defensible skills. Shourideh C. Molavi and Shrouq Alaila’s “Everything Is Red and Grey,” executive produced by Laura Poitras, took home both the Al Jazeera Documentary Film Festival Award and additional development funding. The project requires deep source relationships and editorial trust that no AI tool can replicate.

Franchise Nostalgia Meets Real Tribute

Marlon Wayans remembered James Van Der Beek’s cameo in the original “Scary Movie” with public warmth ahead of the franchise’s June return.

Wayans, who reprises his role as Shorty Meeks in “Scary Movie 6,” called Van Der Beek “cool as hell” for appearing in the 2000 film, describing it as one of the coolest moments in the franchise’s history.

The cameo worked because it played against type. The “Dawson’s Creek” star agreed to lampoon his own image at the peak of teen drama ubiquity, a choice that read as generous rather than desperate.

Franchise revivals depend on actors willing to revisit material that may no longer serve their current positioning. Van Der Beek’s willingness to participate helped establish the franchise’s self-aware tone from the start.

“Scary Movie 6” arrives June 5 after a 12-year gap. The franchise has generated more than $896 million globally across five films. Wayans’s return signals Paramount is betting on legacy cast to anchor the revival rather than attempting a full reboot.

For professionals tracking franchise development or intellectual property management, the “Scary Movie” approach offers a middle path: honor the original cast, acknowledge the time gap, trust that audiences retain affection for the property.

What This Means

The international film market is closing deals across multiple tiers with speed and confidence. For professionals in distribution, acquisitions, or international sales, buyer appetite is the strongest it has been since pre-pandemic levels.

Skills That Matter: The CPH:DOX conversations about AI offer a playbook for anyone in nonfiction content. The capabilities that protect against displacement are source relationships, narrative judgment, ethical decision-making, and complex editorial project management.

If you are building expertise in documentary, journalism, or content strategy, invest in capabilities that require human judgment rather than technical execution.

If you are navigating the media job market or exploring new opportunities, browse open roles on Mediabistro in documentary production, international sales, and content strategy. For employers building teams in distribution, nonfiction, or franchise development, post a job on Mediabistro to reach professionals tracking exactly these industry shifts.


This media news roundup is automatically curated to keep our community up to date on interesting happenings in the creative, media, and publishing professions. It may contain factual errors and should be read for general and informational purposes only. Please refer to the original source of each news item for specific inquiries.

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Entertainment

The history of the worst 'Star Wars' movie ever made

The history of the worst 'Star Wars' movie ever made
By Nicole Caldwell
6 min read • Published March 22, 2026
By Nicole Caldwell
6 min read • Published March 22, 2026
Actor Harrison Ford ,Carrie Fisher, Harrison Ford, Mark Hamill and Peter Mayhew as Chewbacca pose for a portrait on the set of Star Wars: The Empire Strikes Back in 1979 in London, England.

Mark Sennet // Getty Images

A brief history of the infamously terrible ‘Star Wars Holiday Special’

George Lucas’ “Star Wars” saga stands as the most dominant pop-culture franchise of the last half-century. ​​The space western has permeated virtually every medium, from film and video game to slippers and theme parks. But one piece of “Star Wars” memorabilia is notably absent from the canon: the resoundingly panned, time-immemorially terrible “Star Wars Holiday Special.”

To memorialize that which filmmaker George Lucas has made every effort to erase, Stacker has done the difficult, at-times-unpleasant work of compiling a brief history of the ever-campy, 1978 TV variety show. The special’s plot centers on Chewbacca’s family, awaiting his return to the planet of Kashyyyk. While the family waits, and the Empire stalks the rebels, viewers gain an inside view of Wookiee family life. The (perhaps unintended) high point of the whole fiasco is the short cartoon midway through the special when the world is introduced for the first time to Boba Fett.

Following the staggering, instant success of “Star Wars: A New Hope,” Lucas’ attention and time were elsewhere—notably on work for “The Empire Strikes Back.” While he was looking the other way, production of the TV special went sideways, churning through two directors while Bea Arthur crooned in a cantina, Jefferson Starship performed a reasonably good song about UFOs, and Carrie Fisher, Harrison Ford, and Mark Hamill popped in for regrettable cameos. The star power was strong—Harvey Korman features in three roles including one as a Julia Child-inspired alien chef preparing “Bantha Surprise” with his myriad arms—but even that wasn’t enough to save what for all ostensible purposes ought to have been a slam dunk.

The show, which is unavailable for streaming and can not be found on professionally sanctioned DVD or VHS (though you’ll have no trouble finding pirated versions online and as DVDs in their entirety), has served as the butt end of many jokes in the decades since its release. Namely, Carrie Fisher quipped that she put the holiday special on at parties as a way of enticing her guests to leave at the end of the night. Lucas famously attempted (and failed) to destroy all hard evidence of the special’s existence altogether.

Keep reading to discover everything you could possibly ever want to know about the “Star Wars Holiday Special.”

Lucasfilm Ltd.

May 25, 1977: ‘Star Wars: Episode IV – A New Hope’ debuts to a stunning, surprising reception

The runaway success of “Star Wars: A New Hope” made Lucas’ brainchild the highest-grossing movie in history, nudging out 1975’s “Jaws” and grossing $775 million. The film wasn’t surpassed until 1982’s “E.T. the Extra-Terrestrial.” “A New Hope” came complete with a unique lexicon, mythology, and intimidating potential for merchandising.

Universal Pictures

June 16, 1978: ‘Jaws 2’ released

Small-budget films with quick turnarounds like the James Bond series enjoyed enormous popularity in the ’60s and ’70s, but big-budget franchises and sequels were virtually nonexistent. That changed with “Jaws 2,” which made nearly $200 million worldwide on a $30 million budget. The sequel was the definition of big-budget, exceeding the original “Jaws” budget by more than four times.

Lucasfilm Ltd.

July 1978: Lucas funds production of ‘Empire’ with his own money

The first run of “A New Hope” ended July 20, 1978, and was re-released the following day in response to demand. The return engagement netted $10.1 million in three days. Meanwhile, George Lucas was already nearly a year into plans for “Star Wars: Episode V—The Empire Strikes Back.” To retain creative control over the sequel, Lucas funded “Empire” with his own money.

It was a risky move unlike any that had been tried before in movie history—particularly as the budget exceeded “A New Hope” by more than 150%.

Lucasfilm Ltd.

1978: Fears mount that ‘Star Wars’ characters won’t hang on

As costs mounted for “Empire,” fears grew that the “Star Wars” universe and its characters wouldn’t maintain a hold on public consciousness long enough for the franchise’s sequel to make a splash in the box office. With little precedent for sequels being promising ventures, ideas began to form for a way to maintain the relevancy of “Star Wars” while gaining new fans in the process.

Lucasfilm Ltd.

Summer 1978: CBS pitches a variety hour

Variety shows were among the earliest offerings of television, gaining steam throughout the ’30s and ’40s and enjoying explosive growth during the Golden Age of television. By the ’70s, major networks had canceled many variety shows that appealed to more rural demographics in favor of catering to wealthier parts of society. Most variety shows had ceased production by the end of the decade, which adds to the mystique of why CBS went ahead and pitched Lucas on a variety show centered on the Star Wars universe to be broadcast around the Thanksgiving holiday—and why the famed filmmaker jumped at the opportunity.

Getting “Star Wars” stars and other celebrity household names proved to be a separate challenge: Harrison Ford was particularly difficult to convince; and Bea Arthur, who played the cantina’s bartender, later said she only agreed to participate because her youngest child was a diehard fan of “A New Hope.”

Lucasfilm Ltd.

Lucas hands over a simple-if-ill-fated concept

With Lucas preoccupied developing “Empire Strikes Back,” CBS took the reins on production of the “Star Wars Holiday Special.” The caveat would be the death knell for the operation: an insistence by Lucas that the storyline center on Wookiees—namely, Chewbacca’s family. The film creator offered up a six-page treatment for the special.

Lead writer Bruce Vilanch, who later admitted to copious drug use during the screenwriting process, objected to focusing entirely on creatures who grunt unintelligibly without subtitles. Lucas was apparently firm, and the storyline moved forward.

Lucasfilm Ltd.

A chaotic production ensues

Director David Acomba made it through a small handful of titular scenes—including the cantina and Jefferson Starship’s performance—before departing the production and being replaced by Steve Binder.

Mayhem on set was second nature—from characters passing out during the cantina scene due to lack of oxygen inside the masks and Mark Hamill having to wear almost comical makeup to disguise scars from his recent car accident to an entire scene in which Chewbacca’s father, Itchy (Paul Gale), watches—on primetime TV the week before Thanksgiving, no less—a holographic adult film.

Lucasfilm Ltd.

Nov. 17, 1978: ‘Star Wars Holiday Special’ premieres

With a plot full of holes and a handful of celebrities begrudgingly taking part, the “Star Wars Holiday Special” made its debut. For his part, Lucas was mortified and successfully halted the show’s broadcast in most territories outside of the U.S. and Canada. At one Star Wars convention, Lucas famously said, “If I had the time and a sledgehammer, I would track down every copy of that show and smash it.”

Lucasfilm Ltd.

Ratings nosedive halfway through

The “Star Wars Holiday Special” drew in roughly 13 million viewers nationwide, failing to rate among Nielsen’s Top 10 for the night and losing out to shows including “The Love Boat” and a Pearl Harbor miniseries called “Pearl.” Nielsen data further shows that the largely plotless special hemorrhaged ratings about an hour into the show and immediately following Boba Fett’s debut.

The show was never rebroadcast.

Lucasfilm Ltd.

Decades later, the special is the stuff of legend

For all of Lucas’ attempts to buy and destroy every master copy of the production, and the ongoing embarrassment of almost every actor who took part in the production, nothing could stop the “Star Wars Holiday Special” from living on in infamy.

Modern-day plugs—from podcasts like “Stuff You Should Know” to Disney+’s adoption of “The Story of the Faithful Wookiee” interlude cartoon featuring Boba Fett—have contributed to enshrining the “Star Wars Holiday Special” into our cultural fabric. Interviews with cast members have only added to the intrigue: In 2006 as a guest on “Conan O’Brien,” Harrison Ford claimed to have never seen the special and wouldn’t admit it ever happened.

Meanwhile, “The Empire Strikes Back” was released May 21, 1980; it stands as the 11th-most successful of the “Star Wars” movies.

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