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Netflix co-founder Reed Hastings is leaving the streaming service he co-founded 29 years ago, as the company regains its footing after losing a $72 billion deal for Warner Bros Discovery to Paramount Skydance.In a letter to investors released on Thursday, Netflix said Hastings will not stand for re-election at its annual meeting in June and plans to focus on philanthropy and other pursuits.The company's stock plunged about 8 percent on the news of Hastings's departure. The co-founder is credited with helping to revolutionize how movies and television shows are delivered in homes, upending Hollywood's business model.“Netflix is growing revenues double-digits, expanding margins in 2026 and gushing free cash flow,” said LightShed Partners media analyst Richard Greenfield. “While the Q1 was uneventful financially, the departure of Reed Hastings has spooked investors.”Netflix reaffirmed in a 14-page shareholder letter that its mission remains “ambitious and unchanged” – to entertain the world, providing movies and series for many tastes, cultures and languages. The company’s full-year outlook remained unchanged.The company did not say how it plans to spend the $2.8 billion termination fee it received after losing the Warner Bros movie studio and HBO, and lifted its earnings per share to $1.23 in the first quarter compared with 66 cents per share in the same quarter last year.Revenue rose to $12.25 billion, an increase of 16 percent from the year-ago period, modestly exceeding analyst forecasts of $12.18 billion.Netflix, which long told investors that a Warner Bros acquisition was a “nice to have, not need to have” proposition, highlighted areas of future growth.The company said its investment in expanding its entertainment offerings, with video podcasts and live entertainment – such as the World Baseball Classic in Japan – is driving engagement.It plans to use technology to improve the user experience and improve monetization, as advertising revenue remains on track to reach $3 billion in 2026 – a twofold increase from a year ago.

Reed Hastings, the co-founder of Netflix, is leaving the streaming service's board of directors after 29 years. Hastings will not stand for re-election at the company's annual meeting in June and plans to focus on philanthropy and other pursuits.In a letter to investors, Netflix said Hastings' decision to step down is not a result of any disagreement with the company. The company's stock dropped about 8% on the news of Hastings' departure.Hastings co-founded Netflix in northern California and led it through its pivot from a mail-order DVD company to a leading streaming TV service. He stepped down as CEO in 2023.Netflix reaffirmed its mission to entertain the world, providing movies and series for many tastes, cultures, and languages. The company's full-year financial outlook remained unchanged. Revenue rose to $12.25 billion, an increase of 16% from the year-ago period, modestly exceeding analyst forecasts.The company plans to use technology to improve the user experience and monetization, with advertising revenue on track to reach $3 billion in 2026, a twofold increase from a year ago. Netflix also highlighted areas of future growth, including video podcasts and live entertainment.

In a bid to regain control over their digital lives, people are attending 'cybersecurity disguised as a party' events, where they learn how to mitigate their vulnerability to surveillance through major tech services.Imani Thompson, a 26-year-old cybersecurity organizer, leads these events, which include activities like DJ sets and dancing, to make learning about digital security more approachable and fun. The events, organized by groups like the New York City-based tech organizing coalition Cypurr Collective, aim to help attendees understand how to protect their personal data and break free from the grip of big tech companies.61% of Americans are concerned about their digital security, but only 33% are actively doing something about it, according to a YouGov poll. These tech privacy-focused conferences, workshops, and meetups are giving people the support and agency to protect their information without giving up the tech that underpins modern life.The services people rely on to message their friends, shop, or navigate a new city can make our lives easier and more connected, but they also leave us extraordinarily exposed. The data that tech companies sweep up from our online activities allows them to infer precise details about us, which is then broadcast to thousands of companies worldwide through real-time bidding auctions.To combat this, activists are teaching communities how to regain agency over their digital lives by using more secure, transparently run platforms or even building their own digital tools. Organizations like Resist Tech Monopolies (RTM) in Seattle and Co-op Cloud, an international tech federation, are part of this movement.RTM has seen an explosion of interest recently, with a growing number of people from political and grassroots groups wanting to train their members or community on digital security. The group offers community events like book clubs, movie nights, and open office hours, as well as regular 'discover tech' events that introduce community members to tech concepts.By using libre software and open-source projects, people can contribute to building and sharing tools that are democratically designed and communally maintained. This approach not only protects users from surveillance but also allows them to collaborate on new tools that are transparent, sustainable, and free from corporate control.

Warner Bros' new take on The Mummy, directed by Lee Cronin, has been met with criticism for its grandiose approach and lackluster execution. The film's attempt to distance itself from Universal's upcoming return to the franchise and capitalize on the current trend of auteur-driven horror films has been seen as unearned and indulgent. Cronin, an Irish filmmaker with only two previous films under his belt, has been praised for his visual talent, but his Mummy has been criticized for being absurdly overlong at 134 minutes and tonally unsure. The film's attempt to blend elements of classic monster movies with modern horror tropes has resulted in a messy and unoriginal product. The film's plot, which revolves around a creepy kid who returns from the dead with a malevolent presence, has been compared to other horror films such as The Exorcist and The Omen. However, the execution falls short, with rubbery prosthetics and an exhaustingly loud finale that fails to deliver scares. Despite its bold ambition and stunning visuals, the film ultimately feels like a lesser imitation of other horror films. The lack of character development, suspense, and logic makes it difficult to become invested in the story. The Mummy is set to release in Australian cinemas on April 16 and in the US and UK on April 17.

The Blue Trail, directed by Gabriel Mascaro, is a captivating and thought-provoking film that defies easy categorization. Set in the remote north-west of Brazil, the movie follows Tereza, a 77-year-old widow played by Denise Weinberg, as she navigates a dystopian future where older citizens are forced into 'colonies'. This chilling premise serves as the backdrop for a film that explores themes of rebellion, freedom, and the patronization of older people.The film's narrative is characterized by its meandering pace, reminiscent of a road movie or river movie, as Tereza encounters a series of characters who aid her in her escape. These encounters are woven together with fascinating visual compositions, showcasing the Amazonian landscape in a way that is both breathtaking and haunting.One of the most striking aspects of The Blue Trail is its exploration of gerontocide and the dehumanizing treatment of older citizens. The 'wrinkle wagon', a special prison vehicle for errant oldsters, and the humiliating, compulsory adult diapers issued to those being transported to 'colonies' are potent symbols of this theme.Tereza's journey is marked by moments of defiance and resilience, as she forms connections with a riverboat captain, Cadu (played by Rodrigo Santoro), and a woman named Roberta (played by Miriam Socarras), who becomes her friend and potential love interest.The film's use of symbolism adds depth to its narrative, particularly in the form of the 'blue drool snail', whose ecstatic visions offer a glimpse into a world beyond the dystopian reality. This blend of tones, from the bittersweet to the subversive and disquieting, makes The Blue Trail a generic mashup that is both captivating and thought-provoking.The Blue Trail is set to release in UK and Irish cinemas on April 17, making it a must-watch for fans of dystopian fiction and those interested in exploring the complexities of ageism and rebellion.

The Bridget Jones statue in Leicester Square, London, has been made a permanent fixture, joining other iconic characters like Harry Potter, Mary Poppins, and Batman. Originally intended to stay for three years, the statue has become a beloved landmark.149 days without vices have passed since its unveiling, and the statue's fast is set to continue indefinitely. The statue depicts Bridget Jones clutching her diary and pen, wearing a gaping cardigan exposing her navel.Kirsty Tullett-Jones, director of marketing and communications for Discover Leicester Square, said: “For 25 years, Bridget has made Londoners laugh, cry and feel seen. The reaction to her arrival in Leicester Square has been incredible, showing just how much she continues to resonate with audiences today.”The statue was unveiled by stars of the film, including Renée Zellweger and Sally Phillips, alongside Helen Fielding, who created the character. The Bridget Jones series of novels has been published in over 40 countries, and the four films have a combined box office of $900m (£683m).The news coincides with the return to cinemas of the first film, Bridget Jones’s Diary, released 25 years ago. The fourth film, Mad About the Boy, was the second highest-grossing movie in the UK last year and was nominated for an Emmy and a Bafta.

After a 90‑year blackout, MGM’s 1932 melodrama Letty Lynton is set for its first legal public screening. The film, starring Hollywood icon Joan Crawford, was withdrawn in 1937 following a plagiarism lawsuit and pressure from the Hays Office, which deemed its risqué themes “unfit for adaptation”.The controversy began when MGM attempted to acquire the rights to the Broadway hit Dishonored Lady, a play notorious for its depictions of booze, drugs and sexual intrigue. After the playwrights demanded $30,000—a sum the studio balked at—MGM settled for the cheaper novel by Marie Belloc Lowndes for $3,500. The resulting film, inspired by the 1857 murder trial of Scottish socialite Madeleine Smith, shocked contemporary censors with scenes such as Crawford’s character watching her ex‑lover sip poisoned champagne.Legal battles intensified when playwrights Edward Sheldon and Margaret Ayer Barnes sued MGM for plagiarism, alleging the movie copied their work rather than the novel. The protracted case forced MGM to pull the film from circulation in 1937, and a year later Crawford herself was labeled “box‑office poison”. Yet both the actress and the film survived, resurfacing in cultural memory through fashion and later adaptations.Beyond cinema, Letty Lynton left an indelible mark on 1930s style. Costume designer Adrian created a white organdy dress with exaggerated sleeves for Crawford; the design was mass‑produced for Macy’s and sparked a nationwide craze. Edith Head later called the dress “cinema’s single biggest influence on fashion”.The film’s revival is largely credited to Crawford’s grandson, Casey LaLonde. In an Instagram post, he announced that the play’s copyright would expire on 31 December 2025, clearing the legal path for a public showing. Warner Bros., which now holds the rights to many pre‑1986 MGM titles, restored the picture in 4K and arranged for its debut at the TCM Film Festival in Los Angeles on 1 May 2026. The movie will also be issued on Blu‑ray and DVD through the Warner Archive.LaLonde thanked Warner Bros. and library historian George Feltenstein for making the restoration possible, noting that without their effort “we wouldn’t have this fabulous film to see again on big and small screens.”Fans of classic Hollywood can finally experience a piece of cinema history that was once deemed too daring for the silver screen, offering a fresh look at Joan Crawford’s daring performance and the era’s bold storytelling.

The film 'Truth & Treason' presents a compelling narrative centered around Helmuth Hübener, a German Mormon teenager from Hamburg who played a significant role in the German resistance during World War II. Initially a member of the Hitler Youth, Hübener's perspective shifted dramatically after his Jewish friend Salomon Schwarz was sent to Auschwitz. This pivotal event inspired Hübener to take a stand against the Nazi regime by distributing leaflets that denounced their actions.Despite being backed by faith-based outfit Angel Studios, known for producing content that can be perceived as promoting certain ideologies, the film manages to convey its anti-fascist message effectively. The acting, particularly by Ewan Horrocks as Hübener and Rupert Evans as Gestapo officer Erwin Mussener, has been praised for its quality. A climactic conversation between Horrocks and Evans characters stands out for its intensity and persuasive dialogue.The film's portrayal of Hübener's actions and the consequences he faced is both timely and impactful, especially in today's world. With its anti-fascist message, 'Truth & Treason' feels relevant and necessary. Although considered flawed, the movie is commended for having its heart in the right place. It is now available on Prime Video from April 20th.

Itch! thrusts viewers into a nightmarish scenario where a hyper‑contagious disease forces victims to scratch themselves to death. The film’s most striking moment features a woman literally tearing her own skin, a set‑piece that showcases the director’s knack for visceral body‑horror despite a shoestring budget. The narrative then shifts to a cramped department store, where a rag‑tag group of uninfected shoppers must endure a claustrophobic dialogue‑driven showdown. While the premise echoes classic confinement thrillers such as John Carpenter’s The Thing and Assault on Precinct 13, the limited resources prevent the film from fully capitalising on these influences. Critics note that a larger budget could have amplified the already effective practical effects, and a tighter script would have deepened the human drama. The ensemble includes a widowed father (played by director‑screenwriter Bari Kang) juggling single‑parenthood, a cantankerous customer (portrayed by Douglas Stirling) who complains about price‑matching on Amazon, and several other archetypal figures. However, the screenplay struggles to give each character a distinct emotional arc, leaving audiences at a distance. Despite these shortcomings, the film’s core concept—an epidemic of fatal itching—offers a fresh angle for the under‑served eczema community and delivers moments of genuine horror. Itch! becomes as much a character study as a genre piece, though the balance tilts unevenly. The movie is available on UK digital platforms from 20 April 2026 and on US digital platforms from 21 April 2026.