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28 Sept 2026Casting

International Casting News: Netflix’s The Roman and Cross Court Continue Searching for Talent

September 28, 2026 | ACCA International Casting News

Two U.S. productions currently have casting opportunities open for performers. Netflix’s upcoming casino drama The Roman is seeking talent in New York City, while the streaming series Cross Court is recruiting actors nationwide ahead of production in Los Angeles.

Netflix’s The Roman Continues Casting in New York

Netflix’s upcoming eight-episode drama The Roman is continuing its search for performers as production moves through 2026.

The series stars Oscar Isaac and is produced by Martin Scorsese alongside the creators of Billions. The story is set around the high-stakes world of the modern Las Vegas casino business.

Casting is being handled by Roman Candle Casting, with filming taking place in New York City through December 2026. Current listings include casino gamblers, clubgoers and featured child roles, with opportunities covering performers roughly 8–75 years old, depending on the specific role.

Current advertised rates range from approximately $187 to $231 for an eight-hour workday, depending on the role and applicable agreement. Both union and non-union performers are listed as eligible for the production.

Why it matters

For emerging performers, major productions do not only cast principal characters. Background and featured-background roles can provide professional set experience and an opportunity to work within a large television production.

The current Backstage listing is scheduled to remain open until October 16, 2026, although individual roles and shooting dates may close earlier.

Source: Backstage — The Roman casting listing

Cross Court Searches Nationwide for Young Actors

A new streaming series titled Cross Court is preparing to begin production in the Greater Los Angeles area.

Produced by Vanishing Point Entertainment, the 10-episode project combines romantic comedy, body-swap drama and college sports romance. An earlier Backstage casting announcement sought a quartet of lead performers aged 18–28 from across the United States.

Production is scheduled to begin October 10, 2026, in the Greater Los Angeles area. Current Backstage listings show the project has expanded to dozens of roles, including supporting and day-player parts. The latest production information describes approximately 35 shooting days within a 40-day production period.

Current listings include younger college-age characters as well as older supporting characters and production-world roles, making the search broader than only the original lead quartet.

Why it matters

Cross Court is particularly relevant for young actors because its original casting search was nationwide rather than limited only to Los Angeles talent. It also demonstrates how a project can begin by searching for principal performers and later open additional supporting and day-player opportunities as production approaches.

Actors interested in applying should carefully check each individual listing for age range, character requirements, compensation, availability and filming dates before submitting.

Source: Backstage — Cross Court casting report

Cinema Industry Updates: Three New Projects Secure Funding in Utah while Germany Launches Advanced Virtual Studio

Productions

Oct 15, 2026

Cinema Industry Updates: Three New Projects Secure Funding in Utah while Germany Launches Advanced Virtual Studio

Two key developments in film production have been announced across the US and Germany: Funding in Utah (USA): The Utah Film Commission announced on October 14, 2026, the approval of three new film projects (A Totally Awesome Christmas, The Woman I Forgot to Be, and These Little Ones). These projects are projected to create over 120 jobs and generate $2.2 million in local economic impact. Virtual Production Studio in Germany: VG Media Studio near Stuttgart has developed a cutting-edge virtual production studio featuring over 100 square meters of LED walls and advanced camera tracking technology for commercials, shorts, and feature films. Source: Official Press Releases

Music

Oct 15, 2026

YouTube Music Introduces Clear Labeling for AI-Generated Songs

YouTube Music has begun tagging songs primarily created using artificial intelligence (AI) to enhance platform transparency. Mechanism: The platform relies on data from music distributors and AI-content detection technologies. Future Outlook: These indicators are expected to expand to the main YouTube platform soon. Significance: A major step toward increasing transparency in the music industry. Source: Music Business Worldwide Major streaming companies have submitted their proposed mechanical royalty rates for songwriters and music publishers covering 2028 through 2032. Platform Stance (Spotify, Apple, Google, Pandora): Proposing to maintain the current main rate at 15.35%. Amazon's Stance: Proposing a reduction of the rate to 13.4%. Songwriters' & Publishers' Stance: Requesting an increase to 20%. Impact: The final decision will directly dictate revenue distribution for songwriters in the US market for years to come. Source: Music Business Worldwide

Kurdistan Film Commission and TorinoFilmLab Launch Professional Program for Kurdish Filmmakers

Casting

Oct 15, 2026

Kurdistan Film Commission and TorinoFilmLab Launch Professional Program for Kurdish Filmmakers

The Kurdistan Film Commission, in collaboration with TorinoFilmLab, has launched a professional development program designed for Kurdish filmmakers working on fiction feature film scripts. Organizers: Kurdistan Film Commission & TorinoFilmLab Focus: Script and story development for fiction feature films. Key Benefits: Mentorship from international experts, tailored one-on-one sessions, and professional script development. Source: Kurdistan Film Commission — Open Call

Netflix lands exclusive 2030 FIFA World Cup broadcast rights in Spain and Andorra

Distribution

Oct 15, 2026

Netflix lands exclusive 2030 FIFA World Cup broadcast rights in Spain and Andorra

The streaming service will show all 104 matches of the centenary tournament across both territories while sublicensing key fixtures including the final and national team games to free-to-air television. Netflix has secured exclusive live broadcasting rights across Spain and Andorra for all 104 matches of the centenary 2030 FIFA World Cup, according to reporting by Variety. The tournament will be co-hosted by Spain, Morocco, and Portugal, with Spain entering as reigning world champions following their victory earlier in 2026. To comply with sports broadcasting mandates, the agreement includes a sublicensing framework ensuring free-to-air coverage in Spain. One match per matchday will be aired free of charge, while a package featuring every fixture played by the Spanish national team, both semifinals, and the final will be provided to a domestic terrestrial broadcaster. Netflix has not yet named its television partner, with details expected closer to the competition. Financial terms of the transaction were not revealed. The platform plans live programming featuring pre-match, half-time, and post-match broadcasts created for Spanish audiences, alongside daily matchday highlight shows and preview coverage. Netflix chief content officer Bela Bajaria said the agreement builds on the company's football portfolio, which includes rights to the 2027 and 2031 Women's World Cup tournaments in the United States and Canada. Spain will co-host the competition after lifting their second men's world title in July 2026, when Ferran Torres scored a 106th-minute winner against Argentina. That extra-time triumph completed an undefeated run following their UEFA Euro 2024 win and ended a 16-year wait since their first World Cup title in 2010. Source: aninews.in

Skydance completes acquisition of Warner Bros. Discovery to form media giant

Distribution

Oct 15, 2026

Skydance completes acquisition of Warner Bros. Discovery to form media giant

The merged powerhouse will trade under the SKYD ticker, targeting 30 theatrical features annually and at least $6 billion in cost savings while uniting networks such as HBO, CBS, and CNN. The newly combined media conglomerate Skydance, previously known as Paramount Skydance Corporation, has finalized its acquisition of Warner Bros. Discovery. The transaction brings together two historic film studios, broadcast and cable networks including CBS, HBO, and CNN, and sports networks under one corporate roof. Warner Bros. Discovery stock has ceased trading on Nasdaq, with shareholders receiving $31.01666668 per share in cash, while Skydance Class B common stock commences trading on the New York Stock Exchange under the ticker symbol SKYD. Generating nearly $70 billion in revenue, the combined business is controlled by the Ellison family and RedBird Capital Partners, who together hold 100 percent of voting shares. The buyout included $47 billion of new Class B equity priced at $12.00 per share backed by investors such as the Public Investment Fund, L'IMAD, Qatar Investment Authority, and LionTree. Leadership is targeting more than $6 billion in run-rate synergies over three years, while aiming for over $10 billion in free cash flow by 2030 and a net leverage target of 3.0x by late 2029. On the distribution front, Skydance has committed to releasing at least 30 movies theatrically each year, with each feature receiving a minimum theatrical window of 45 days. The company's operations also encompass more than 180 television series and over 200 million streaming subscribers. Over time, Skydance plans to unify its direct-to-consumer platforms into a single service, while continuing to license material externally and commission work from independent production studios. David Ellison, chairman and chief executive of Skydance, called the closing a historic milestone that creates a stronger competitor with the resources to produce stories across all formats. Board director and RedBird founder Gerry Cardinale stated that applying an owner-operator framework to their library of franchises, programming, and sports rights would help navigate broader industry shifts. The acquisition concluded after securing regulatory approvals across nearly 70 jurisdictions worldwide. Source: skydance.com

Music

Oct 14, 2026

DistroKid Takedowns and Gunna’s New Label: Two Changes in the Music Business

The music business is changing quickly as distributors, artists and major music companies adapt to new technology and new business models. Two recent developments highlight very different sides of this transformation. DistroKid has confirmed that some recordings were removed from streaming services following Universal Music Group’s legal action involving unauthorized and AI-generated content. At the same time, some independent artists have reported that legitimate, non-AI music was also removed. Separately, rapper Gunna has launched SB THE LABEL, a new record label created in partnership with Atlantic Music Group, giving the artist a direct leadership role in developing new talent. The two stories are separate, but both raise important questions about how artists operate in today's music industry: How can legitimate music be protected in an increasingly automated distribution system, and how much control can successful artists have over the next generation of talent? DistroKid Takedowns Raise Questions About Artist Protection Why Did DistroKid Remove Some Music? DistroKid confirmed that it removed a small number of recordings from streaming platforms following Universal Music Group's lawsuit concerning the distribution of unauthorized and AI-generated material. The dispute has brought increased attention to how music distributors identify potentially problematic content and how they respond when rights concerns are raised. According to The Verge, several independent musicians said that legitimate, non-AI recordings were also removed, with some artists reporting that they received little or no warning before their music disappeared from streaming services. DistroKid has disputed the scale of the issue, describing the number of affected recordings as small and saying it is working to minimize disruption to artists. Can Legitimate Music Be Caught in Anti-Fraud or AI Enforcement? The reports from independent musicians suggest that this can happen. When distributors and streaming services increase enforcement against unauthorized or AI-generated content, they need to distinguish between different types of recordings. A legitimate recording might be: Completely human-created. AI-assisted but legally distributed. Fully AI-generated with appropriate rights. Licensed from another rights holder. Uploaded by the legitimate owner. Uploaded without the necessary authorization. These categories can become difficult to distinguish at scale. As millions of recordings are distributed through digital platforms, automated detection systems are increasingly important. But when those systems make mistakes, legitimate artists can be affected. Why Are Takedown and Appeal Systems Important? For an independent artist, a distributor can be the gateway to Spotify, Apple Music, YouTube Music and other digital services. If a track is removed, the impact can extend beyond losing access to the recording. A takedown can potentially affect: Streaming revenue. Playlist placements. Release campaigns. Audience growth. Artist momentum. Promotional partnerships. Royalty reporting. Fan access to the music. This is why a strong appeal system matters. If an artist believes their music was incorrectly removed, they need a clear process through which they can explain their ownership, provide evidence and request a review. What Documentation Should Artists Keep? The DistroKid situation highlights the importance of keeping documentation that proves your rights. Artists and labels should consider maintaining: Proof of Ownership Keep records showing who owns the master recording and composition. Master Documentation Maintain original recordings, session files and other evidence of how the recording was created. Contracts and Agreements Keep producer agreements, artist agreements, licensing contracts, sample clearances and other relevant documents. Metadata Make sure artist names, songwriter information, ISRCs and other metadata are accurate and consistent. Licensing Evidence If your music contains samples, licensed material or third-party content, keep documentation showing that you have permission to use it. Good documentation does not guarantee that a takedown will never happen, but it can make it easier to demonstrate legitimate ownership when a dispute occurs. Gunna Launches SB THE LABEL With Atlantic Music Group While DistroKid's story concerns the relationship between distributors, rights holders and artists, another development shows an artist taking a more direct role in the business side of music. Atlanta rapper Gunna has launched SB THE LABEL, a new record label in partnership with Atlantic Music Group, part of Warner Music Group. Gunna will serve as the label's CEO. The label's first three signings are Casper Bluff, Nechie and Dracc. The partnership was announced on October 9, 2026, alongside the release of Gunna's single pop it. Financial terms of the partnership have not been disclosed. What Is an Artist-Led Record Label? An artist-led label is a business structure in which an established artist takes an active role in discovering, developing or managing other artists. Instead of remaining solely focused on their own recording career, the artist becomes part of the executive and talent-development side of the music business. In Gunna's case, SB THE LABEL gives him a formal leadership position while Atlantic Music Group provides the major-label partnership and infrastructure. This is different from simply having an artist launch a personal imprint for branding purposes. Gunna is officially serving as the label's CEO and is directly involved in building its roster. Who Has Gunna Signed? SB THE LABEL's first three artists are: Casper Bluff Nechie Dracc All three are Atlanta artists. Nechie previously appeared on Gunna's music, including the track i can't feel my face from his 2025 album The Last Wun, while Dracc is known for the track P Star, according to the announcement. The first signings therefore have an existing connection to Gunna's artistic world and Atlanta's music scene. Why Partner With a Major Label? An artist-led label can give a successful musician greater involvement in artist development while allowing a major company to provide infrastructure and resources. Atlantic Music Group can bring capabilities such as: Distribution. Marketing. Promotion. International reach. Industry relationships. Commercial infrastructure. Label services. Gunna, meanwhile, brings his experience as an artist and his understanding of the creative environment in which the new artists are developing. This creates a partnership between artist-led creative direction and major-label infrastructure. Is This a New Model? Artist-led labels and joint ventures are not new. However, major music companies have increasingly entered partnerships with independently operated labels and artist-founded businesses. Atlantic Music Group, for example, has recently entered other partnerships involving independent labels and artist-led companies. In April 2026, Atlantic Music Group announced a multi-level partnership with Fader Label that included a 50/50 joint venture focused on signing and developing artists. The Gunna deal fits into this broader industry movement toward partnerships where major companies work with entrepreneurial artists and independent label founders rather than simply operating through traditional label structures. What Does Gunna's CEO Role Mean? Gunna's position gives him responsibility beyond performing. As CEO, his role can involve decisions around: Artist recruitment. A&R. Artist development. Creative direction. Label branding. Release strategy. Building the company's roster. This means he is moving from being only an artist to becoming an artist and music-business executive. His success as an artist may also provide insight into the realities faced by emerging musicians, although running a label requires a different set of skills from performing and recording. What Do These Two Stories Tell Us About the Music Business? The DistroKid and SB THE LABEL stories represent opposite sides of artist control. The DistroKid story demonstrates how artists can become dependent on distribution infrastructure and platform enforcement systems to reach audiences. Gunna's new label demonstrates how a successful artist can attempt to gain greater control over the development of other artists and the business surrounding their music. One story is about protecting access to distribution. The other is about expanding control over artist development. Both are increasingly important in today's music industry. What Should Independent Artists Learn From the DistroKid Situation? Artists should not assume that uploading music is the end of their administrative responsibilities. They should also maintain: Ownership records. Master files. Contracts. Licences. Metadata. ISRC information. Evidence of legitimate samples. Distributor correspondence. Understanding your distributor's takedown, dispute and appeal procedures is also important. If something goes wrong, having the right documentation can make it much easier to explain your position. What Can Artists Learn From Gunna's Label? Gunna's move demonstrates that artists can build careers beyond recording and performing. Successful musicians can potentially expand into: Record labels. Publishing companies. Management. Artist development. Production. Brand partnerships. Investments. Music technology. However, starting a label also creates new responsibilities. A label needs systems for contracts, accounting, royalty reporting, A&R, marketing, distribution, rights management and artist relationships. Being a successful artist does not automatically mean someone knows how to operate a record company. That is why partnerships with experienced music companies can be valuable. What Is the Future of Artist Control? The modern music industry gives artists more tools than ever to distribute music independently. At the same time, artists are increasingly dependent on large digital platforms and distribution systems. This creates an interesting tension: Artists have more access to the market, but they also need to understand the systems controlling that access. At the same time, successful artists increasingly have opportunities to become entrepreneurs, investors, label founders and executives. The result is a music industry in which the traditional relationship between artist, label and distributor is becoming less rigid. Artists can be creators, business owners, label executives and rights holders at the same time. The Bigger Picture The DistroKid situation highlights one of the industry's biggest challenges in the AI era: How do you protect music from fraud and unauthorized content without incorrectly removing legitimate artists? Gunna's SB THE LABEL demonstrates another important development: How can artists use their success to gain greater influence over the next generation of musicians? Both questions point toward a broader transformation in the music business. Technology is changing distribution. AI is changing content creation. Streaming is changing how music generates revenue. And artists themselves are increasingly becoming business operators. For independent musicians, understanding these changes is becoming just as important as creating the music itself. Your music is your creative work — but understanding your rights, your documentation, your distributor and your business structure is what helps protect the career built around it. Art City follows developments across music distribution, copyright, royalties, AI, artist development and the global music industry.

Marketing

Oct 14, 2026

Quick Commerce is Evolving into a Giant Advertising Channel; Brand Spend Surges by 50%

«Quick delivery platforms are no longer just a place to shop; they have become a massive advertising channel positioned exactly where the consumer is only minutes away from a purchase decision!» Platforms like Blinkit, Zepto, and Swiggy Instamart are rapidly becoming major players in the advertising market. According to a new report by Datum Intelligence, brands are expected to spend approximately ₹2,200 crore on Quick Commerce advertising during the 2026 festive season in India, marking a 50% increase compared to last year. This channel alone accounts for nearly 19% of total Commerce and Retail Media budgets this season. Currently, these platforms boast over 60 million users and drove 22% of the online retail Gross Merchandise Value (GMV) in the first half of 2026. However, there is a catch: driven by high demand and limited in-app ad inventory, advertising costs on these platforms have surged by 30% to 40% during the festive season. While some analysts project a Return on Ad Spend (ROAS) of 5x to 6x, this is merely an estimate and not a guaranteed outcome for every brand. Why is this important for the marketing industry? Because Retail Media is breaking out of the Amazon and supermarket website monopoly, migrating to a space where "Discovery" and "Purchase" are just minutes apart. Especially for Fast-Moving Consumer Goods (FMCG), Quick Commerce shifts advertising from "building awareness" to directly influencing the buying decision in real time. The most fascinating takeaway is that only 20% of brands are responsible for 80% of total sales on these platforms. This means the explosive growth of the channel does not guarantee equal success for everyone; the real winners will be those who deploy the smartest strategy.

Marketing

Oct 14, 2026

When AI Becomes Part of Brand Art and Identity; The Rebirth Story of RÆBURN

«AI is no longer just a tool for speeding up workflows and cutting costs; it has evolved into a powerful storytelling medium and a core part of a brand's artistic identity!» To announce its comeback under the banner "RÆBURN, REBORN," the London-based design brand RÆBURN has launched a striking video campaign that relies extensively on Artificial Intelligence. The campaign's concept is inspired by the incredible true story of William Rankin, a pilot who, in 1959, was forced to eject from his aircraft directly into a severe storm cloud, enduring violent winds and hail for a prolonged period before safely reaching the ground. RÆBURN uses this survival story as a metaphor for the brand's own rebirth—navigating through turbulence and difficult transitions to emerge with a brand-new identity. Produced by Belief Studio, the campaign utilizes a blend of AI tools and techniques (including Google Nano Banana and Seedance). The critical distinction here is that AI wasn't merely used to generate aesthetically pleasing visuals; rather, the distinctive visual style of the video itself is an integral part of the brand's message of transformation and rebirth. What is the message for the future of marketing? This campaign demonstrates that AI is shifting from a simple production utility to a primary storytelling tool. However, this raises a major strategic question: If all brands have access to the same tools to create stunning videos and images, what will actually set them apart? The answer isn't the AI technology itself; it's the idea, the narrative, and the Human Vision that directs the AI. In the future of marketing, a successful brand won't be one that merely knows it should use AI, but one that deeply understands why and how to deploy it in service of its core message.

UK film distributor True Brit files for administration in major industry shift

Distribution

Oct 13, 2026

UK film distributor True Brit files for administration in major industry shift

The producer-financier founded by Zygi Kamasa has formally submitted the filing, marking a significant development for the broader UK film distribution landscape. UK film distributor and producer-financier True Brit has filed for administration, marking a significant development for the British film distribution sector. The business was established by industry executive Zygi Kamasa to operate across both distribution and project financing. The insolvency filing marks a major development within the UK independent film landscape, with further details regarding the business yet to be disclosed. Source: Screen Daily

Marketing

Oct 13, 2026

AI is No Longer Just a Marketing Trend; It’s a Revenue Engine for Agencies

«Everyone is talking about AI, but who is actually making money from it? Publicis Groupe has proven with financial data that client demand for AI-powered marketing is now a primary driver of business growth.» According to its Q3 2026 results, the advertising giant Publicis Groupe recorded a 5% organic revenue growth, surpassing market expectations (4.8%). Meanwhile, the company's net revenue rose by 7.9% to reach €3.81 billion. The company officially stated that a key driver of this success is the growing demand from brands for marketing strategies powered by AI and Consumer Data. During this period, Publicis also managed to secure $2.2 billion in New Business. Furthermore, the company's media division, which accounts for roughly 62% of its total revenue, recorded notable high-single-digit growth. Why is this important for the marketing industry? Because the proof of AI's success here isn't just a Usage Survey—it's actual Revenue. This data is a powerful signal that artificial intelligence in marketing has moved beyond the "testing" phase and solidified into a proven, profitable Business Model.

Big Shot Pictures acquires film rights to Cookie Run video game franchise

Distribution

Oct 13, 2026

Big Shot Pictures acquires film rights to Cookie Run video game franchise

The production banner led by former Paramount chief Brian Robbins plans a global theatrical release in 2029 to align with the property's twentieth anniversary. Big Shot Pictures has secured the film rights to develop a feature adaptation based on the Cookie Run video game franchise. The production banner was launched by former Paramount chief executive Brian Robbins. A feature film adaptation is planned for a worldwide release in 2029, timed to coincide with the twentieth anniversary of the gaming property. Source: vertexaisearch.cloud.google.com

Alyla Browne and Elsa Pataky Lead Star-Studded Cast of Australian Film Chiquita

Casting

Oct 12, 2026

Alyla Browne and Elsa Pataky Lead Star-Studded Cast of Australian Film Chiquita

Australian family adventure film Chiquita has announced its leading cast, featuring Alyla Browne, Elsa Pataky, Michael Caton, Stephen Peacocke, Martin Sacks and Aswan Reid. Production has officially begun in Byron Bay, Australia. Written and directed by Kiah Roache-Turner, the upcoming film tells the story of a rebellious teenage girl and a rescued horse who develop an unexpected friendship. Set against the Australian countryside, the story explores trust, personal growth and the world of endurance horse riding. Alyla Browne, known for Furiosa: A Mad Max Saga and Sting, leads the ensemble alongside internationally recognized actress Elsa Pataky. The cast also brings together experienced Australian performers and emerging young talent. The film is produced by Bronte Studios and First Option Pictures, with a planned Australian theatrical release in 2027 through Umbrella Entertainment. Why It Matters for Casting Chiquita demonstrates how casting directors bring together established performers and rising actors to build a strong ensemble. Family films, especially those centered on young characters, require careful casting to create believable relationships and emotional performances. The combination of experienced actors and emerging talent highlights the importance of balancing screen experience, character suitability and on-screen chemistry. Source: FilmInk — Australian Film Chiquita Announces Cast

Marketing

Oct 12, 2026

A Dangerous Shift in Marketing; 38% of Executives Approve AI Decisions Without Review

«AI is evolving from a simple writing and image-generation tool into a strategic manager! Are you ready to put the fate of your brand in the hands of an algorithm without reviewing it?» A new study by Bench Media in Australia, surveying over 70 senior marketing executives, has revealed a shocking statistic. According to the results, 48% of participants say using AI has given them confidence in decision-making, and when facing risky or difficult decisions, 41% consider AI a crucial decision-making source. But the most fascinating point is this: 38% of these executives are willing to approve AI's strategic recommendations without any human review! When it comes to budget allocation and creative ideas, this percentage even rises to 45%. This data signals a massive paradigm shift. The question in the job market is no longer "Should we use AI?", but rather: "How much decision-making power should we hand over to AI?" It is true that artificial intelligence can analyze data and generate recommendations at an astonishing speed, but that doesn't mean it is always right. Strategic decisions require a deep understanding of the market, culture, human psychology, and brand sensitivities—nuances that cannot be blindly handed over to an algorithm. In the future of marketing, a marketer's core competency won't be how well they write prompts for AI; rather, it will lie in their ability to evaluate, question, and even reject AI proposals when they don't align with reality. (Note: Although this statistic only represents a specific group of executives in Australia and shouldn't be viewed as a global benchmark, it serves as a major wake-up call regarding the direction the profession is heading).

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