Matthew Loeb has been reelected as the international president of the International Alliance of Theatrical Stage Employees (IATSE) without opposition, a process known as "by acclimation." The election took place during the union's 70th Quadrennial Convention in Honolulu, where other key leaders, including General Secretary-Treasurer James B. Wood and several vice presidents, were also reelected.

Editor’s Note: This story matters because IATSE represents thousands of workers in entertainment and stagecraft, and leadership continuity can signal stability for the union. Loeb's reelection suggests confidence in his leadership, especially as the union navigates ongoing industry challenges like contract negotiations and workplace conditions. For workers and the entertainment industry, this decision could shape labor relations in the coming years.

NBCUniversal is dominating summer TV with its hit unscripted shows Love Island USA and America’s Got Talent, drawing massive audiences across both broadcast and streaming. Love Island USA’s seventh season has been a standout, pulling in a staggering 1.9 billion minutes viewed on Peacock alone.

Editor’s Note: NBCU’s success with these shows highlights the growing power of unscripted TV in keeping viewers engaged, especially during the summer slump. It also shows how streaming platforms like Peacock are becoming key players in the battle for eyeballs, proving that reality TV still has serious pull.

Matthew Loeb has been re-elected as president of IATSE (International Alliance of Theatrical Stage Employees) for a fourth term after running unopposed. The union, representing over 150,000 members, also re-elected General Secretary-Treasurer James B. Wood and 13 other leaders. Loeb has led the union for 17 years and will continue in his role.

Editor’s Note: This story matters because IATSE is a major force in the entertainment industry, representing behind-the-scenes workers in film, TV, and theater. Loeb's continued leadership signals stability for the union, which has been involved in high-profile labor negotiations, including recent strikes and contract disputes. While the unopposed re-election suggests internal confidence, it also raises questions about leadership turnover and union democracy. For workers and the industry, this means business as usual—for now.

Canadian media company Blue Ant Media has finalized its reverse takeover of Boat Rocker Media, a deal first announced in March. The merged company, still under Blue Ant's ownership, will start trading on the Toronto Stock Exchange next week under the ticker symbol "BAMI."

Editor’s Note: This merger is a big deal in Canada's media landscape, combining two major players under one publicly traded entity. While it doesn't signal immediate changes for consumers, it could mean more resources for content production and potential shifts in the competitive media market. Investors and industry watchers will be keeping an eye on how this plays out.

A TV union (Bectu) and a women's rights group (Fawcett Society) are urging the BBC to cancel this year's season of MasterChef, arguing that airing it would upset those who filed complaints against former hosts Gregg Wallace and John Torode. The BBC is under growing pressure to scrap the show following the presenters' dismissal.

Editor’s Note: This isn’t just about a cooking show—it’s a reflection of how workplaces handle misconduct allegations and public backlash. If the BBC caves to pressure, it could set a precedent for how networks respond to controversies involving on-air talent. If they don’t, they risk alienating viewers and advocacy groups. Either way, it’s a messy situation.

Major networks like CBS and NBCU have pulled the plug on several TV shows in 2025, leaving fans disappointed as some beloved series won't be returning for another season. The article lists which fan favorites got axed and which networks made the cuts.

Editor’s Note: For TV lovers, cancellations can be a big deal—especially when it’s a show they’re invested in. This update matters because it gives viewers closure (or frustration) and hints at where networks might be shifting their focus next.

The Corporation for Public Broadcasting (CPB), which distributes federal funding to major public media outlets like NPR and PBS, has closed its doors after facing significant budget cuts. The organization has been a frequent target of Republican lawmakers, leading to its eventual shutdown.

Editor’s Note: This isn't just about losing a government agency—it’s a major blow to public broadcasting, which relies heavily on federal support to keep stations running and programs accessible. Without CPB, local PBS and NPR stations, especially in rural or underserved areas, could struggle to stay afloat, potentially shrinking access to educational and non-commercial news. For many Americans, this means fewer trusted sources of information and cultural programming.

Killer Films, the iconic New York-based independent production company co-founded by Christine Vachon and Pamela Koffler, is celebrating its 30th anniversary with a special Metrograph screening series showcasing its diverse filmography—from cult hits like Hedwig and the Angry Inch to provocative dramas like Happiness and One Hour Photo. The company has thrived in a challenging industry, producing nearly 150 films, including recent successes like Celine Song’s Materialists.

Editor’s Note: Killer Films has been a powerhouse in indie cinema for three decades, championing bold, unconventional stories. This retrospective not only honors their legacy but also highlights the importance of independent producers in shaping innovative filmmaking—especially in an era dominated by big-budget franchises. For film lovers, it’s a reminder of how indie voices keep the art form vibrant.

The BBC is under increasing pressure to cancel the upcoming season of MasterChef after a contestant claims she was removed from the show for requesting that the series not air.

Editor’s Note: This story highlights growing concerns about how reality TV shows handle contestants' requests and ethical editing practices. If true, it could damage trust in popular programs like MasterChef and spark debates about fairness in the industry.