movies
UFC, WWE Parent TKO Sees Solid Q2, Raises Full-Year Guidance
TKO Group, the home of UFC and WWE, saw revenue jump 18% to $1.5 billion for the three months ended in June, beating Wall Street forecasts.
The stock, which has been taking its knocks this year, jumped in late trading after the earnings report, which included higher 2026 forecasts for full year revenue and adjusted ebidta, key metrics for investors.
“Despite a challenging global environment, TKO delivered solid results in Q2, with strong momentum heading into the back half of the year,” said executive chair and CEO Ariel Emanuel. “Premium live content and experiences are heating up in an increasingly AI-driven world, and our businesses are well positioned to fully capitalize on societal secular tailwinds.”
At UFC, revenue rose by $120 million to $536 million. Higher UFC media rights fees reflected the impact of a distribution agreement with Paramount that began in January. The league also saw new partners and an increase in fees from renewals vs the year before largely driven by the UFC Freedom 250 event held at the White House in June. Ticket sales fell, since none were sold for the high-profile event, and there was one less numbered event in the quarter from the year earlier.
At WWE, revenue rose by $64.7 million to $621 million.
TKO’s IMG segment saw sales up by $48 million to $354.7 million.
TKO net income grew $31 million to $304 million on higher revenue partly offset by increased expense, including $98 million of legal fees and settlement costs associated with stockholder litigation related to WWE.
The company’s adjusted ebitda rose 23% to $649.9 million. Free cash flow of $349.6 million fell by $25.3 million
TKO shares closed up 1.2% ahead of earnings and are about 2% after, at $187.
“From UFC Freedom 250 to the FIFA World Cup, TKO continues to deliver on the biggest stages and this quarter reinforced our 2026 execution story,” said TKO president and COO Mark Shapiro, saying its move to raise full-year guidance reflects “both our performance to date and our confidence in TKO’s multi-year trajectory,”
“Our global fan base is expanding, and we are capitalizing on the commercial promise across ticketing, premium hospitality, marketing partnerships, and financial incentive packages. The demand in the experience economy is undeniable and positions us well for multi-year growth, margin expansion, and overall value creation.”
Execs are hosting a call with analysts at 5 pm ET.
More to come
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movies
CBS Greenlights ‘Hilda! (In Lights!)’ Comedy Pilot About 70-Year-Old Pursuing Broadway Dream
In keeping with its long-term development strategy, CBS is the first broadcast network to order a pilot for 2027-28 consideration. The network has greenlighted the single-camera comedy Hilda! (In Lights!), from CBS Studios, which had been in advanced development.
Written by Abbey Caldwell (Laid), Hilda! (In Lights!) is described as one of those classic shows about a plucky small-town optimist who moves to the big city to pursue her life-long dream of starring on Broadway. There’s just one teeny, tiny, totally inconsequential difference… our hero Hilda is a 70-year-old woman from Nebraska with absolutely no experience.
Caldwell executive produces with Will Graham, Max Linsky and Tonia Davis for Invitation Media.
Hilda! (In Lights!) was among the first three projects in development at CBS that were identified as 2027-28 contenders with a move to the next stage after a pilot script as announced during the network’s fall 2026 schedule reveal in April.
Two of them, Hilda! (In Lights!) and forensic drama I Know Who You Are, received an order for two addition scripts each while CBS commissioned a development room for the third, cop drama Flint, starring and executive produced by Matt LeBlanc.
Additionally, CBS confirmed at the time that a medical spinoff in the world of Fire Country and Sheriff Country was in early development.
The Edgewater medical drama, I Know Who You Are and Flint — all from CBS Studios — remain active and in contention for the 2027-28 season, with a Sheriff Country planted spinoff episode for the first one considered likely.
With Hilda! (In Lights!), CBS is further pulling away from multi-camera comedy, a hallmark of the network for decades. In what is believe to be a first, CBS has more single-camera than multi-camera sitcoms on the schedule in the upcoming 2026-27 season with Ghosts and Eternally Yours vs. Georgie & Mandy’s First Marriage.
If the pilot goes to series, it would give CBS a comedy and a drama with a female lead in her 70s as Hilda! (In Lights!) would be looking top join hit Matlock staring Kathy Bates.
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movies
As Merger Hangs In The Balance, Paramount And WBD Step Into Quarterly Earnings Spotlight
In an alternate timeline, Paramount would be reporting quarterly earnings this week as Warner Bros. Discovery, one of its subsidiaries, would no longer be releasing its own separate financials.
As it stands now, however, both companies are due to report – Paramount on Tuesday afternoon and WBD before the market opens Thursday. An antitrust challenge of the companies’ planned $110 billion merger by the attorneys general of 12 states along with the Writers Guild of America has put the deal on hold, with a judge soon to set a trial date.
On their second-quarter earnings conference calls with Wall Street analysts, both companies are likely to pre-empt any merger-related questions, as they did in May when reporting first-quarter results. They also may choose to reiterate their prior statements about the transaction being pro-competitive, or possibly even nod to the unfolding legal process.
Even if Wall Street manages to put the merger to one side, the spotlight on the two separate businesses may not be especially flattering for either of them this quarter. The companies’ stock prices reflect the deal’s slowdown in momentum. After a huge runup during the months when it was pursued by Paramount, Comcast and Netflix, WBD stock has slipped 7% from the time of the Paramount deal in late-February. Paramount shares, meanwhile, have plunged 40% (to near $8) in that period as the once-breezy regulatory process has become a grind.
Analysts expect Paramount’s revenue to come in flat at around $6.9 billion, according to consensus estimates, with earnings per share dropping to 17 cents from 46 cents a year ago. WBD is projected to post revenue of $9.2 billion, down from $9.8 billion in the NBA-free April-to-June quarter, with a loss of 10 cents a share reversing year-earlier earnings of 63 cents a share.
On the bright side for both companies, Paramount+ and HBO Max are both showing growth, but the question for both will be about their remaining upside. Paramount+ added 700,000 new subscribers, slightly below internal forecasts despite the launch of UFC programming, to reach 79.6 million. HBO Max, aided in large part by a rollout to key international markets, topped 140 million subscribers in the first quarter and will end 2026 at 150 million or higher, the company projects.
More of a concern for both companies is ongoing declines in their linear TV operations, though the combined company would rely on it to pay down debt after the merger. (Alleged over-concentration of cable networks, interestingly, has surfaced as one of the core arguments made in the AGs’ lawsuit.)
Hollywood appears to be divided between those adamant that the merger will destroy a legacy studio and harm workers and others (including inside the companies) fearing a potentially worse fate if the deal is blocked. WBD initially had recourse in its prior plan to split into two companies as Comcast is in the midst of doing for a second time. In theory, that split could unlock greater value through more focused M&A deals centered on networks and Warner Bros/HBO, but it also is a process that takes time. For Comcast, its Versant split took about a year to complete, which is the timeline it has given for the NBCUniversal spin-off from the company’s cable and broadband holdings.
Whatever storm clouds may be gathering overhead, expect mostly blue skies in the remarks of executives. Paramount CEO David Ellison, speaking on the company’s first-quarter call last May, sounded optimistic notes that the company has often reiterated throughout the saga.
“We remain guided by our strong conviction that the combination of these two iconic companies and their extraordinary teams will create a leading global media and entertainment company powered by storytelling and accelerated by technology that strengthens competition, better serves the creative community and delivers even more compelling stories to audiences worldwide,” he said.
In an uncanny bit of timing, this week (Friday, to be exact) is also the one-year anniversary of Paramount’s merger with Skydance. Just weeks after that long-sought deal was consummated and executives held court at bicoastal press conferences to talk about synergies and future plans, reports emerged that Ellison had his eyes on a much bigger prize.
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movies
Chris Distefano Signs With CAA (EXCLUSIVE)
EXCLUSIVE: CAA has signed Chris Distefano for representation.
A New York comic who broke onto the scene as a standout on MTV’s talking-head series Guy Code and Girl Code, Distefano made waves in 2023 when he became the first stand-up comedian to sell out Radio City Music Hall and Madison Square Garden in New York City on consecutive nights.
Distefano released his latest special, It’s Just Unfortunate, as the fourth installment of Hulu’s stand-up Hularious series in February 2025. Prior to that, he released Speshy Weshy on Netflix and Size 38 Waist on Comedy Central in 2022 and 2019, respectively.
When not performing stand-up, Distefano can be seen on his podcasts History Hyenas with Yannis Pappas and Chrissy Chaos. He continues to be represented by manager James Dixon and attorney Seth Horowitz.
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