Cannes' Record Market Attendance Is The Countercase To American Retreat
Hollywood may be cautious, but Cannes proved the film market still has buyers, sellers and a crowd.
Camille Beaumont
Bureau: Los Angeles
Drake's ICEMAN Has A Spotify Receipt, Not Just A Rollout Myth
Drake's rollout is no longer just fandom lore because Spotify and chart accounts put receipts on the shelf.
Noam Bettan's Second Place Keeps the EBU Inside the Israel Problem
Eurovision's Israel argument did not end with the final; the result made the EBU own the post-show audit.
Hamaguchi's Cannes Film Already Has Its Distributor
Cannes prestige is not floating above the market when Neon is already attached to Hamaguchi's competition bid.
Lionsgate's May 21 Print Has A Monimus Receipt Before Earnings
The May 15 Monimus filing remains the pre-earnings receipt; May 21 is still the real test.
Bulgaria's First Eurovision Win Is A Public-Broadcaster Receipt
Dara's 516 points made Bulgaria's broadcaster the cleanest institution in a messy Eurovision final.
A24's Club Kid Buy Gives Cannes A Distributor Receipt
A24's Club Kid buy gives Cannes a real market answer to the American-retreat story.
Cannes' AI Lennon Film Needs A Rights-Holder Answer
An AI Lennon film is controversy only when the estate, rights holders, or distributors answer.
Starz Is The Drag Line In The Lionsgate Separation Story
The Lionsgate studio thesis needs to be read beside Starz, not above it.
Drake's Number Is Also A Streaming-Distribution Story For Labels
Drake's next receipt is not gossip but proof that platform-native rollouts can replace the old label press machine.