The Cary, North Carolina-based video game publisher said in a memo to employees that the job cuts are not related to artificial intelligence. Rather, they stem from industry-wide challenges such as slower growth, weaker spending and tougher cost economics. Games like Fortnite are also competing for people’s attention against social media and other forms of online entertainment.

In addition, Epic said it's had its own company-specific hurdles, for example, it is “only in the early stages of returning to mobile” after court battles with Apple and Google over app store payments.

“This isn’t our first time being here. Epic survived upheavals in 1990s with the move from 2D to 3D with Unreal 1; in the 2000s building console games with Gears of War; and in 2012 moving to online gaming with Paragon and Fortnite,” CEO and founder Tim Sweeney said in the memo.

“Market conditions today are the most extreme we’ve seen since those early days, with massive upheaval in the industry accompanied by massive opportunity for the companies that come out as winners on the other side,” he added.

Epic said it has 4,000 employees after Tuesday's layoffs, which amount to about 20% of the company's workforce.

The company's last large-scale layoffs were in 2023, when it cut 830 jobs. This amounted to about 16% of Epic's workforce at the time.

A week after “One Battle After Another,” “Sinners” and “KPop Demon Hunters” all triumphed at the Academy Awards, Phil Lord and Chris Miller’s “Project Hail Mary” notched the biggest non-franchise opening weekend since “Oppenheimer.” In the first three months of 2026, the two biggest hits in theaters are it and the Pixar original “Hoppers.”

All of these successes came at considerable expense. “Project Hail Mary,” based on the Andy Weir bestseller, cost close to $200 million to make. But its $80.5 million debut vindicated Amazon MGM’s big bet, and gave the studio its largest box-office hit yet.

“They made a tremendous investment and it’s going to pay off,” Lord said in an interview alongside Miller last week. “How exciting to reward the people that took a shot.”

“Project Hail Mary,” despite its title, isn’t anyone’s idea of a long shot. It stars one of the most widely liked actors in Ryan Gosling. Its source material, Weir’s novel, is beloved. And it trades on much of the same science-first sci-fi appeal of 2015’s best picture-nominated “The Martian,” from an earlier book by Weir. Lord and Miller, the filmmakers of the “Spider-Verse” movies and “The Lego Movie,” have a long track record of success with both audiences and critics.

But the recent run for originality — at the Oscars and the multiplex — suggests audiences may be more eager for something different from the same old. At the least, the potentially cascading rewards of an original hit are freshly apparent at a time when a lot of big bets — like the $130 million-plus that Paul Thomas Anderson’s best picture winner “One Battle After Another” cost Warner Bros. to make — have paid off so massively.

“People go to the movies to see a new experience,” Miller said. “They don’t go to see a thing they’ve already seen. Originality has value, especially as AI gets into the picture. The value that we can bring as filmmakers is to bring something that can’t be AI because it hasn’t been thought of before.

“So it’s good business.”

Franchise domination

Franchises have hardly been displaced. They will, no doubt, largely control the box office for the rest of year, beginning with Universal's “The Super Mario Galaxy Movie” next month, followed by anticipated releases like “Toy Story 5,” “Avengers: Doomsday” and “Dune: Part Three.” Last week, the 11th “Spider-Man” movie this century, Sony Pictures' “Spider-Man: Brand New Day,” set a new trailer record with 718.6 million views in its first 24 hours.

So, yes, franchises still very much rule the day. But waves upon waves of sequels, reboots and remakes have made the few big-budget originals that manage to get made all the more singular.

“If we don’t continue to do originals, we’re going to run out of stuff,” Pete Docter, Pixar chief creative officer, earlier told The Los Angeles Times.

Since its founding, Pixar has clung to a belief that original movies are part of its mission, though that quest has grown more arduous in recent years. During the pandemic, “Soul,” “Luca” and “Turning Red” were diverted to Disney+. “Elemental” seemed like a disappointment at first but it just needed time to catch hold, eventually collecting $496 million.

“Hoppers,” directed by Daniel Chong, is hoping to follow that trajectory. So far, in three weeks of release, it’s grossed $242.6 million worldwide for The Walt Disney Co. — good business, to be sure, but a far cry from the pace of the 2024 blockbuster sequel “Inside Out 2.” It grossed $1.7 billion.

Such economics are tough for original movies to compete with, plus non-franchise films take more effort, and money, to market. For a $200 million movie, marketing costs can come to nearly rival production budgets.

Though some of Timothée Chalamet’s showmanship, complete with a blimp and a trip to the Sphere, might have cost him an Oscar, his promotional efforts were surely necessary to help lift “Marty Supreme,” A24’s most expensive movie ever — with a budget of $70 million — to $179.3 million in ticket sales.

An ambitious marketing campaign also accompanied “Project Hail Mary.” Gosling was everywhere from hosting “Saturday Night Live” to doing the “La La Land” dance with his alien co-star, Rocky. But the movie always rested on the appeal of the comic sensibilities of its filmmakers, Weir’s book and Gosling.

“We’re all united by the fact that we’ve spent the last two decades having people ask us: What genre is this?” says Drew Goddard, who scripted both “The Martian” and “Project Hail Mary.” “We’re constantly hard to classify because we love existing in those strange places. We like drama, we like comedy. We like heartbreak, we like terror. We like silliness.”

Streaming economics change the calculus

In matching broad-appeal material with the right filmmakers and stars, “Project Hail Mary” relied on not just old-school studio moviemaking but the sometimes overlooked lessons of “Barbenheimer.” Both Christopher Nolan's “Oppenheimer” and Greta Gerwig's “Barbie” showed what can happen when the right filmmakers are given free rein on a big canvas. There is a definite downside, though. Warner Bros.' “The Bride!” by Maggie Gyllenhaal seemed like a compelling, filmmaker-driven concept but its losses might approach $100 million.

Aside from having Gosling in common, “Project Hail Mary” also shared the producer of “Barbie” in Amy Pascal. Before the studio’s acquisition by Amazon, it was greenlit by then-MGM chiefs Mike De Luca and Pam Abdy. They later moved on to Warner Bros., where they made both “One Battle After Another” and Ryan Coogler's much-celebrated “Sinners” ($370 million in ticket sales against a budget of $90 million).

As much as Amazon’s $8.5 billion purchase of MGM was motivated by capturing some of the richest IP in movies, James Bond, it’s also true that studios can establish themselves with homegrown hits. The opening for “Project Hail Mary” was Amazon MGM’s biggest ever.

In fact, three of the biggest original hits of the past year have come from streaming companies: Apple with “F1,” Netflix with “KPop Demon Hunters” and Amazon with “Project Hail Mary.” For these studios, box-office performance is only part of the win; Netflix didn't even publicly record the chart-topping theatrical weekend of “KPop Demon Hunters.”

These companies are sometimes willing to take greater risks because breaking even in theatrical isn’t the end-all-be-all goal. Driving attention to their streaming platforms is just as vital. “KPop” was developed and produced by Sony Pictures, but, sensing the potentially perilous road to opening it theatrically, the company sold it to Netflix. There, it became the streamer's most-watched movie ever.

“It shouldn’t be lost on anyone that three of the biggest original hits over the past year have come from the biggest streamers: Netflix, Amazon and Apple,” says Paul Dergarabedian, head of marketplace trends for Comscore. “What the streamers are finding is that they can parlay their small-screen successes into the big screen, and vice versa.”

As much as franchises will soon take back the multiplex, a number of high-profile movies will try to continue the winning streak for original films, among them Steven Spielberg's “Disclosure Day,” Alejandro G. Iñárritu's “Digger,” J.J. Abrams' “The Great Beyond” and, if you count one of world's oldest stories, “The Odyssey,” by Nolan.

But even in the celebration for “Project Hail Mary,” the pull franchises exert on the movie business was implicit. Amazon MGM, in reporting the movie's performance, included a nod to its marquee IP, 007, in the figures: $80,506,007 in 4,007 theaters.

The approximately 27 swimmers, led by members including Luke Pugh, Noam Kulbak, and Duncan Salmen, arrived in the stands wearing civilian clothes like striped overalls for the first half before changing into their minimal swimwear during the second half. Their sudden rush down the stairwell behind the backboard during SMU forward Corey Washington's free-throw attempt elicited an explosive crowd reaction, with the arena noise peaking as the shirtless group waved arms to disrupt focus.

Washington missed the foul shot, a moment RedHawks head coach Travis Steele directly attributed to the distraction. "I know if I was distracted, I know the young man at the line was distracted. Obviously, it worked. He missed a free throw," Steele said post-game. Miami capitalized, securing an 89-79 victory and advancing to face Tennessee in Philadelphia, their first NCAA Tournament win since 1999.

The stunt built on a tradition the swimmers had established at home games in Millett Hall, where they received university permission to replicate it in Dayton, about an hour from their Oxford, Ohio campus. Initially around 20 team members attended early games, but participation grew with the RedHawks' success, including their 31-0 regular-season record. Swimmer Luke Pugh noted the viral impact: "We didn't expect to blow up like we did... When we were running downstairs to get behind the goal, the arena erupted. I feel like the energy changed for the rest of the game."

Duncan Salmen described the crowd's reaction: "The building gets really loud to help distract the other team from shooting. When we were running down the stairs, though, the noise just erupted." Noam Kulbak recounted warning a nearby fan, who reacted with disbelief and later handed him $20 in amusement after the reveal. The moment quickly went viral, appearing in national coverage and social media clips, amplifying Miami's underdog story as a No. 16 seed.

RedHawks players appreciated the support. Guard Eian Elmer said, "That’s pretty awesome how they support us all the time. They’re very effective. We’ll make sure we return the favor and show up to some swim meets." Steele dismissed critics, emphasizing team confidence: "I told our guys if we’re not asking for opinion about our team, I’m not calling them for advice... We know how good we are."

While the event celebrates athletic camaraderie and fan creativity, it has sparked conversations in sports media about body positivity and male athletic expression, with outlets like Outsports highlighting the bare-chested fans' role in the "March Madness run." No official statements from LGBTQ+ organizations were reported in coverage, but the stunt's emphasis on fit, confident male bodies in minimal attire aligns with broader discussions on inclusive representations of masculinity in sports. Fewer swimmers are expected at the next game due to spring break.

The discussion arose while reflecting on lead character Miley Stewart's popstar alter ego, Hannah Montana, played by Miley Cyrus, and her stylist Fermine, portrayed by actor Matt Winston. Lieblein described Fermine as a "cartoon" and "two-dimensional," stating, "No offence to the actor but the way he played that part was a cartoon." He emphasized the primary issue: "the thing that bothered me most… we were so afraid to create a gay character on a kid’s television show."

Lieblein continued, highlighting the reliance on stereotypes for humor: " 20 years ago, just remember the world we lived in. So the mistake that was made that I think bugged me the most is that we made him a stereotype. All of his humour came from his gay and swishiness, which I think is horrific to me. It’s like the biggest mistake you can make. And it is just an insult." This reflection underscores the challenges faced by LGBTQ+ representation in early 2000s children's programming, where networks often avoided explicit gay characters due to perceived risks.

To contrast, Lieblein referenced the recurring character Albert Dontzig, played by twin actors Paul and Peter Vogt, an obnoxious neighbor who visited the Stewart family's Malibu beach house. He noted, "Dontzig, who wasn’t a gay character but I always thought was gay in my head – he plays that character and the humour of Dontzig comes from his persnicketiness, and not his gayness." Earles praised Dontzig as "one of the best guest casts in the entire run of the show," while Lieblein added, "But it’s also written different." This comparison illustrates Lieblein's view that effective character humor should derive from personality traits rather than sexual orientation stereotypes.

The podcast episode has sparked discussions on evolving standards for LGBTQ+ visibility in media aimed at youth. At the time of "Hannah Montana"'s production around 2006, Disney Channel operated in a cultural landscape cautious about overt queer representation, often relying on subtext or coded traits. Lieblein's on-the-record remorse highlights a broader industry reckoning with past practices that marginalized gay and queer characters through caricature.

No official statements from Disney or Miley Cyrus have been reported in response to these comments as of March 23, 2026. Community responses in LGBTQ+ media outlets have noted the remarks as a valuable acknowledgment, contributing to ongoing conversations about authentic representation for transgender people, gay individuals, and other LGBTQ+ identities in family entertainment. The event, occurring via podcast in early 2026, reflects how retrospective analyses of popular media continue to influence perspectives on media responsibility toward LGBTQ+ communities.

Keoghan explained the impact in candid terms: "It's made me really go inside myself, not want to attend places, not want to go outside... It's becoming a problem." He noted that despite deactivating his Instagram account over a year ago, he occasionally encounters negative comments online due to curiosity about public reactions to his appearances or events. This follows a pattern of harassment that intensified after his split from singer Sabrina Carpenter in late 2024, when he publicly addressed "absolute lies, hatred, disgusting commentary about my appearance, character, how I am as a parent."

The actor, who shares a son named Brando—born in 2022—with former partner Alyson Sandro, has previously spoken about the broader emotional strain. In a November 2024 episode of "The Louis Theroux Podcast", Keoghan recounted trolls making videos saying, "I don’t like his face, he looks weird, or he looks evil," and judging his parenting without context. He deactivated Instagram shortly after, citing messages "no person should ever have to read," including attacks on his late mother, false claims of being a "deadbeat dad," and even incidents like people knocking on his grandmother's door.

Keoghan expressed concern that his withdrawal could harm his professional life, warning, "When that starts leaking into your art, it becomes a problem, because then you don't want to even be on screen anymore." He also voiced disappointment for his son, saying it is "disappointing that my little boy has to read all of this stuff when he gets older." Despite the negativity, he praised his supporters: "People are so lovely out there... That is the good side of it."

This incident underscores the pervasive issue of online harassment faced by public figures, particularly those whose unconventional looks defy traditional Hollywood standards. While Keoghan does not identify as part of the LGBTQ+ community, his experience with body-shaming and appearance-based abuse resonates with challenges transgender people and others in the community often face online, where affirming language and person-first respect are crucial to counter toxic commentary. LGBTQ+ advocates have long highlighted how such abuse can lead to isolation, mirroring Keoghan's account, though no specific community statements on this event were immediately available.

Keoghan's candor on "The Morning Mash Up" comes amid promotion for "Peaky Blinders: The Immortal Man", where his performance has drawn acclaim. He admitted lacking places to feel "normal" due to fame and harassment, stating, "I actually don't go to places because of these things." Entertainment Weekly reported similarly, noting the abuse's role in his decision to "hide away." Cross-referencing confirms the interview's timing and quotes align across outlets, with no conflicting details.

The actor's history of resilience shines through; he credited his "tough skin" from a challenging upbringing for sustaining him. As online platforms grapple with moderation, Keoghan's story highlights the human cost of unchecked trolling, urging respect in digital spaces.

Cyrus reunited with cast members of “Hannah Montana” in Los Angeles Monday evening for the premiere of the “Hannah Montana 20th Anniversary Special.”

Cyrus told The Associated Press that the milestone has given her a chance to see the character and series from “a new perspective.” Cyrus, who began the Disney Channel show at age 13, played Miley Stewart, a tween and middle-schooler hiding her secret life as a famous pop singer.

“Getting to be on the outside now, getting to be grown and be a part of it in a way that I couldn’t when I was in the middle of it before, and all the chaos and the schedule and the performing of it all,” Cyrus said, “now it just gets to be a celebration. So it is a new perspective. I love that.”

The anniversary special, which started streaming Tuesday on Disney+ and Hulu, celebrates 20 years since the show’s premiere. Filmed in front of a live audience, it features archival footage and is centered on an interview with Cyrus — now 33 and a genuine pop star — conducted by podcast host Alex Cooper.

It includes several musical numbers, starting with the series anthem “The Best of Both Worlds” and ending with a new song dedicated to Cyrus' younger self. It also includes appearances by friends and family members, including father Billy Ray Cyrus, with whom Miley Cyrus tries to recreate their handshake from the series. Selena Gomez, who played a rival, makes an appearance, as does singer-songwriter Chappell Roan, who speaks to Miley Cyrus' influence on her career.

Addressing the audience at the premiere, Miley Cyrus paid tribute both to fellow cast members and fans. “Without you all, this show would have never been what it is, and I love saying what it is, not what it was,” she said.

“Tonight isn’t about looking back into the past, but it’s about what it means to us still tonight,” she said.

Jason Earles, who played Miley’s brother Jackson, told the AP that watching the show now highlights how much time has passed.

“I think if you go back and you watch the episodes, there’s enough dated references like old flip phones and stuff that you go, ‘Oh no, no, this show was a little while ago,'” he said.

Cody Linley, who played Miley’s on-and-off boyfriend Jake Ryan, reflected on the impact of portraying a teen heartthrob.

“It’s hard to believe that there were girls that had pictures of me with my shirt off in their locker and they would have me sign it,” Linley said. “And it’s hard not to let it go to your head, because you have to remember that it’s an image that they are seeing. It’s not you.”

Also attending the premiere was country singer Lainey Wilson, who recalled working as a “Hannah Montana” impersonator early in her career.

“From 8th grade to 12th grade, five years of my life, I would open up the show as Lainey Wilson, I would run behind a tree and put on my ‘Hannah Montana’ get-up,” the singer said. “I did birthday parties, fairs, festivals … I was hitting the roads.”

After a nearly two-week trial in Santa Monica, jurors found Cosby, 88, liable for the sexual battery and assault of Donna Motsinger. They awarded her $17.5 million in past damages and $1.75 million for future damages, including “mental suffering, loss of enjoyment of life, inconvenience, grief, anxiety, humiliation, and emotional distress.”

Then in a second phase of the trial Monday afternoon, they awarded an additional $40 million in punitive damages.

Cosby’s attorney, Jennifer Bonjean, said in an email after the initial award earlier Monday that they are disappointed and fully intend to appeal the verdict. She did not immediately respond to a request for comment on the punitive damages.

Deliberations lasted about two days.

The decision came nearly five years after Cosby was freed from prison in Pennsylvania when the state Supreme Court threw out a criminal conviction based on similar allegations. He has settled some similar lawsuits and has been ordered to pay in others, but Monday's award is likely the most he has had to pay in a case.

“This verdict is not just about me – it’s about finally being heard and holding Mr. Cosby accountable,” Motsinger said in a statement. “I have carried the weight of what happened to me for more than 50 years. It never goes away. Today, a jury saw the truth and held him accountable. That means everything. I hope this gives strength to other survivors who are still waiting for their moment to be heard.”

Motsinger had been a server at a restaurant in Sausalito near San Francisco who said in her lawsuit, filed in 2023, that Cosby had invited her to his stand-up comedy show at a theater in nearby San Carlos. Both were in their 30s at the time. She said Cosby gave her wine and two pills that she believed were aspirin, and that she was going in and out of consciousness as two men put her in a limousine.

“She woke up in her house with all her clothes off, except her underwear on – no top, no bra, and no pants,” the lawsuit said. “She knew she had been drugged and raped by Bill Cosby.”

In court filings, Cosby's lawyers argued that the allegations rested almost entirely on speculation and assumption, saying Motsinger “freely admits that she has no idea what happened.”

Motsinger's lawsuit moved with surprising quickness through the California courts, taking just 2 1/2 years from filing until verdict while other lawsuits against him stalled.

“We are grateful to the jury for their careful attention to the evidence and to Ms. Motsinger for the extraordinary courage it took to come forward,” said Jesse Creed, one of her attorneys from the Panish Shea Ravipudi law firm that represented her.

Cosby did not testify at the trial, whose witnesses included Andrea Constand, the Temple University sports administrator he was convicted of sexually assaulting in a Pennsylvania criminal court in 2018. The state's Supreme Court threw out the verdict and Cosby was freed from prison after serving nearly three years of a three- to 10-year sentence.

Motsinger first made her allegations anonymously in a 2005 lawsuit filed by Constand.

The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly and consent to be named, as Constand and Motsinger have.

In 2022, a jury in Santa Monica awarded $500,000 to a woman who said Cosby sexually assaulted her at the Playboy Mansion when she was a teenager in 1975.

Motsinger's lawsuit echoed allegations of rape, sexual assault and sexual harassment made by at least 60 women against Cosby, all of which he has denied.

The former stand-up comedy and television superstar once widely known as “America’s Dad” became the first celebrity tried and convicted in the #MeToo era before his conviction was permanently thrown out when appeals court found he gave incriminating testimony in a deposition only after believing he had immunity from prosecution.

Cyrus Stark, who also performs in the adult industry and is Peterson's fiancé, shared the news late Saturday on Peterson's official X account . In the emotional post, Stark wrote, “It is with a heavy heart that I share the passing of my Fiance and best friend Seth. I’m truly at a loss for words, and my heart is broken.” The post included a link to a GoFundMe page set up in Peterson's memory.

The GoFundMe description states that Peterson “was found in our home earlier today. He was deeply loved and will be profoundly missed,” with proceeds aimed at covering funeral expenses. No cause of death has been announced at this time.

Peterson launched his career in the adult film industry in early 2020 as an exclusive model for Helix Studios. He worked with the studio for four years before branching out in 2024 to perform for other major studios, including Falcon | NakedSword, Men.com, and ASGmax. During his time in the industry, he became a recognized figure, earning multiple award nominations.

News of Peterson's passing has prompted an outpouring of grief from fans and followers within the LGBTQ+ community and the adult film industry. One commenter wrote, “I’m so so sorry. Seth was so amazing and smart and just beautiful all around.” Another shared, “Oh no, I’m so sorry for your loss. My heart and hugs go out to you and everyone he loved. RIP Seth.” A third added, “Very sorry for your loss. Sending you love and strength. I adored Seth and he always came across as such a beautiful and caring man. Rest in peace Seth.”

Peterson's death comes at a time when the LGBTQ+ adult film community continues to navigate visibility, support, and health challenges. As a gay performer who built a dedicated following, his career highlighted the talents and personal stories of LGBTQ+ individuals in the industry. Fans have emphasized his kindness and professionalism, reflecting the close-knit nature of these professional circles.

While official statements from studios like Helix Studios or Falcon | NakedSword have not yet been reported, the rapid organization of the GoFundMe underscores the immediate community response to support Stark and Peterson's loved ones. Coverage from LGBTQ+-focused outlets has centered on affirming Peterson's impact, with PinkNews describing him as a "well-known figure" whose loss resonates widely.

The event has sparked discussions online about mental health and wellness resources for performers in the adult industry, though no specific community statements from organizations like GLAAD or the Human Rights Campaign were available at the time of reporting. Peterson's X account, where the announcement was posted, remains a point of connection for those paying tribute.

As more details emerge, the LGBTQ+ community mourns the loss of a performer whose work and persona brought joy to many. Updates will be provided as official information becomes available.

In a recent interview with "GQ Hype", Combs elaborated on the song's universal message, saying, “Look, I’d love my kids to be super into deer hunting and go with me all the time. But if my kid wants to live in SoHo and be an abstract painter, then hey, that sounds great too — can’t wait to come up and go to the gallery.” He further clarified, “I don’t need my kids to be anything. I’m not trying to fill some hole in myself with them.” These comments underscore a message of unconditional acceptance, which Combs hopes resonates with all parents, including those supporting transgender or other LGBTQ+ children.

The song's emotional depth was evident during a performance at the Newport Folk Festival last summer, where Combs became visibly moved after singing the lyric, “But you ain’t gotta change the world to make your daddy proud.” He paused, wiped his face with a towel, and told the audience, “Sorry. That got me a little bit,” before adding with a laugh, “I remember why we don’t play that one very much.” This moment highlights the personal significance of the track for Combs, a father whose family life continues to influence his music.

Combs' remarks come amid the release of his new album, "The Way I Am", on March 20, 2026, which may feature additional themes of fatherhood. His wife, Nicole Combs, and their growing family provide the backdrop for these reflections, with Chet Wiley's recent arrival adding fresh context to discussions of parental love.

Within LGBTQ+ communities, Combs' statements have been noted for their potential to foster dialogue in country music, a genre sometimes critiqued for limited representation of queer perspectives. Advocates for transgender people and other queer families have highlighted the song's lyrics as a model for person-first acceptance, emphasizing that parental pride should not hinge on conformity. While no formal statements from major organizations like GLAAD or the Human Rights Campaign were immediately available in coverage, the story's appearance in LGBTQ+-focused outlets signals community interest.

Country music has seen evolving conversations around LGBTQ+ inclusion, with artists like Combs bridging traditional themes of family and rural life with broader messages of support. His direct affirmation that the song "absolutely applies to queer kids" addresses concerns about conditional love in conservative-leaning spaces, offering reassurance to parents navigating their children's coming out.

Combs' career trajectory, from independent releases to chart-topping hits, positions him to influence wide audiences on these topics. Fan reactions, captured in live performance videos and online discussions, reflect appreciation for his vulnerability. As *The Way I Am* rolls out, the song's message continues to gain traction, potentially encouraging more parents of LGBTQ+ youth to embrace unconditional support.