Latest news with #Film4
See - Sada Elbalad
03-07-2025
- Entertainment
- See - Sada Elbalad
Bella Ramsey to Star in Daisy Haggard's Thriller Series "Maya"
Yara Sameh Bella Ramsey (Game of Thrones, The Last of Us) has landed her next TV role. The Brit is set to co-lead opposite BAFTA and International Emmy nominee Daisy Haggard ('Back To Life,' 'Breeders') in the upcoming thriller series 'Maya'. Haggard has written and created the show through which she is making her directorial debut. She co-directs the original Two Brothers ('The Tourist,' 'Fleabag,' 'Boat Story') series alongside Jamie Donoughue ('Doctor Who,' 'The Last Kingdom'). In the six-part series, Ramsey plays the titular, Maya, the teenage daughter of Anna (Haggard). The official logline for the series reads: "Forced into a witness protection programme to escape a life-threatening danger, Anna and Maya leave their London lives behind, taking on new identities and relocating to a small rural town in Scotland. As they try to adjust to their new reality, the trauma of their past continues to haunt them in the form of two hitmen intent on tracking them down. As the walls close in, it becomes clear that a dangerous figure from their past is still a looming threat." 'This story and these characters Daisy has created are so alive, nuanced, wickedly funny and scarily dark,' said Ramsey. 'Every character jumps off the page, the dialogue is incredibly witty and I'm so excited to get to play Maya opposite Daisy's Anna.' The show is billed by producers as 'darkly comedic, and shot through with Haggard's trademark warmth and humour,' the a series that 'explores themes of predatory male behaviour, family and love, but, above all, is a warm and witty celebration of the special, unbreakable bond shared between mother and daughter.' It will be filmed entirely on location in Scotland later this year, with further casting announced in due course. 'Ever since I first dreamt up this show, there has only ever been one Maya… I wrote the part with Bella so clearly in my head and I honestly still can't believe they want to be part of it,' said Haggard. 'Bella is pure magic, just insanely talented, and I can't wait for us to work together. I'm also thrilled to be taking the leap into directing, and excited to have the opportunity to co-direct the series alongside the brilliant Jamie Donoughue.' 'Maya' was commissioned for Channel 4 by Ollie Madden, director of Film4 and Channel 4 Drama and Gemma Boswell, commissioning editor, drama. It is a Two Brothers Pictures (an All3Media company) production, in association with All3Media International. It was written and created by Daisy Haggard who will also serve as executive producer, with Harry and Jack Williams, Sarah Hammond, Alex Mercer and Daisy Mount serving as executive producers for Two Brothers Pictures. Kenny Tanner is producer, while Donoughue will co-direct and serve as co-executive Producer and Shaheen Baig is casting director. read more New Tourism Route To Launch in Old Cairo Ahmed El Sakka-Led Play 'Sayidati Al Jamila' to Be Staged in KSA on Dec. 6 Mandy Moore Joins Season 2 of "Dr. Death" Anthology Series Don't Miss These Movies at 44th Cairo Int'l Film Festival Today Amr Diab to Headline KSA's MDLBEAST Soundstorm 2022 Festival Arts & Culture Mai Omar Stuns in Latest Instagram Photos Arts & Culture "The Flash" to End with Season 9 Arts & Culture Ministry of Culture Organizes four day Children's Film Festival Arts & Culture Canadian PM wishes Muslims Eid-al-Adha News China Launches Largest Ever Aircraft Carrier Sports Former Al Zamalek Player Ibrahim Shika Passes away after Long Battle with Cancer Videos & Features Tragedy Overshadows MC Alger Championship Celebration: One Fan Dead, 11 Injured After Stadium Fall Lifestyle Get to Know 2025 Eid Al Adha Prayer Times in Egypt Business Fear & Greed Index Plummets to Lowest Level Ever Recorded amid Global Trade War News Flights suspended at Port Sudan Airport after Drone Attacks Videos & Features Video: Trending Lifestyle TikToker Valeria Márquez Shot Dead during Live Stream News Shell Unveils Cost-Cutting, LNG Growth Plan Technology 50-Year Soviet Spacecraft 'Kosmos 482' Crashes into Indian Ocean News "Tensions Escalate: Iran Probes Allegations of Indian Tech Collaboration with Israeli Intelligence"
Yahoo
05-06-2025
- Business
- Yahoo
Channel 4 Strategy Boss Exiting After Five Years
EXCLUSIVE: Channel 4 strategy chief Khalid Hayat is exiting after five years. The news was revealed yesterday in an all-staff email seen by Deadline from interim CEO Jonathan Allan, who also set out a temporary change in reporting structure as CEO Alex Mahon gets set to exit. Hayat will leave in September and succession plans will be announced in due course. More from Deadline Channel 4 Says It Doesn't Use NDAs, But Documents Reveal Company Is Curbing Free Speech Of Aggrieved Ex-Employees Ollie Madden Exiting Film4/Channel 4 To Join Netflix As Director Of UK Film; Farhana Bhula & Gwawr Lloyd Upped At UK Broadcaster Channel 4 Boss Alex Mahon Hits Back At "Excitable" Wayne Garvie's Criticism Of In-House Plan Allan said Hayat, Channel 4's Director of Strategy & Consumer Insight who has been with the broadcaster since 2020, is exiting 'to explore new challenges and I'd like to thank him for all the sterling work he has down for C4 through the many challenges that have presented themselves.' During his tenure, Hayat, who used to work for ITV, has been part of a nations and regions relocation, successful battle to avoid privatization, digital strategy and a Fast Forward plan. He told Deadline it had 'been a privilege to do my bit to contribute to Channel 4's digital transformation over recent years,' as he flagged successes like a 'refresh of strategic direction through Future4 and Fast Forward, navigating the complexities of the privatisation debate and securing a new licence that positions Channel 4 confidently for the next decade.' 'I'm confident Channel 4 is in a strong place to take on whatever comes next,' he added. 'When I do depart, I'll leave as a friend and admirer of Channel 4 – and I'm honoured to have spent five fantastic years here.' Interim CEO Allan is about to take over temporarily from the departing Mahon and he set out a reorganization of reporting lines 'on a temporary basis until a new CEO arrives' in his all-staffer, noting that he would 'just have too many direct reports to manage the business effectively' if things remained the same. Changes include Film4's Farhana Bhula and Director of Equity and Inclusion Marcia Williams reporting to Chief Commercial Affairs Officer Martin Baker, Chief Commercial Officer Rak Patel taking responsibility for 4Ventures and nations and regions boss Sinead Rocks taking on policy and public affairs. Allan said he will hold Q&A sessions in all Channel 4 offices over the next month. The news comes at a time of change for Channel 4, which has also lost chair Ian Cheshire and Film4/TV drama boss Ollie Madden. Best of Deadline 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out? 'Stick' Release Guide: When Do New Episodes Come Out?
Yahoo
05-06-2025
- Entertainment
- Yahoo
Netflix Hires Ollie Madden, Director of Film4 and Channel 4 Drama, to Oversee U.K. Film
Ollie Madden, director of Film4 and Channel 4 drama, will be leaving the U.K. broadcaster in October to become director of U.K. film at Netflix. Madden will be joining the Anne Mensah-led U.K. content team as of early October. More from The Hollywood Reporter Ben McKenzie on His Crypto Doc 'Everyone Is Lying to You for Money': A "Human Story About Trust" "NATO for News": Is a Joint Effort by Media Companies the Way to Go in the Age of AI? Netflix EMEA Content Boss Touts 'Adolescence,' Debunks a "Myth," Talks Ted Sarandos' Acting Debut He will lead the streamer's U.K. film slate and act as the primary U.K. contact for films on Dan Lin's slate where the intellectual property, talent, and production are based in the U.K., 'with the exception of family films for the U.S./Canada, including Narnia and Dahl, which will continue to be overseen by Racheline Benveniste,' Netflix said. He will also develop a select portfolio of filmmaker-led series. Madden has worked as both an executive and producer across film and high-end drama. 'I'm very excited to work with Anne and Dan to build Netflix's film business in the U.K.,' he said about his future role. 'I've been incredibly proud to spend the past eight years with Film4 and, more recently, Channel 4 Drama, and it's very hard to say goodbye to all my wonderful colleagues and projects,' Madden said in a Channel 4 statement. 'The independence, distinctiveness and mark of quality that Film4 and Channel 4 represent is a precious thing, and I'm confident it will continue to thrive long after my departure.' Farhana Bhula, Film4's head of creative and deputy director, will take over as interim director of Film4, effective from July 1. Gwawr Lloyd, commissioning editor, drama, will become interim head of drama at Channel 4, reporting to Ian Katz. Channel 4 said in a staff memo obtained by THR: 'We are writing to let you know that after a remarkable eight years at the channel Ollie Madden, Director of Film4 and Channel 4 Drama, will be leaving us in October. Under Ollie's leadershi,p Film4 has backed a string of critical and commercial hits from many of the most exciting directors working today. He has overseen scores of award-winning films, including 9 Oscar wins for The Favourite, The Father, Poor Things, and The Zone of Interest, and 24 BAFTA wins for Beast, The Favourite, The Father, Rocks, Poor Things, The Zone of Interest, and Earth Mama.' It added: 'Ollie's commitment, passion and reputation for nurturing talent has seen Film4 not only work with some of the best-known writers and directors in the UK and Ireland but also cement our industry reputation as a huge champion of new talent, backing over 27 debut films and five series by debut writers throughout his Film4 tenure, including Molly Manning-Walker's How to Have Sex and Rose Glass' Saint Maud.' The memo also lauded Bhula. 'Farhana has worked alongside Ollie to create a culture of ambition, collaboration and artistic excellence, enhancing Film4's reputation as one of the most pioneering and dynamic teams in the business,' it said. 'With a current slate that epitomizes everything Film4 stands for, the team will go from strength to strength under Farhana's leadership.' Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
Yahoo
05-06-2025
- Entertainment
- Yahoo
‘Lost in Starlight' Director Han Ji-won on Blending Romance and Sci-Fi for Netflix's Breakthrough Korean Animated Feature
Lost in Starlight marks a defining moment for 36-year-old filmmaker Han Ji-won — and a rare breakthrough for Korean animation on the world stage. A vividly realized sci-fi romance set in Seoul in the year 2050, the film is Netflix's first original animation produced in South Korea, and it has won praise from none less than the country's most decorated director. In statements accompanying the film's global release on May 30, multi-Oscar winner Bong Joon Ho hailed the feature as 'a visual masterpiece that takes you around the universe,' highlighting Han as a new talent to watch while signaling a long-awaited coming-of-age moment for the country's animation sector. More from The Hollywood Reporter Netflix Hires Ollie Madden, Director of Film4 and Channel 4 Drama, to Oversee U.K. Film Ben McKenzie on His Crypto Doc 'Everyone Is Lying to You for Money': A "Human Story About Trust" "NATO for News": Is a Joint Effort by Media Companies the Way to Go in the Age of AI? South Korea has long been known as an animation powerhouse, but mostly for behind-the-scenes work. For decades, local studios quietly toiled as production subcontractors on Japanese anime and Hollywood features — cranking out clean-up, in-betweening, and digital compositing for global franchises — while Korean-made animation rarely reached an international audience under its own banner. Lost in Starlight's success hints at the outlines of a coming animated chapter in the ever-breaking Korean cultural wave. A genre-fluid imagining of Seoul in the not-so-distant future, Lost in Starlight follows two young dreamers separated by 140 million miles. Nan-young (voiced in Korean by actress Kim Tae-ri), a space-bound astro-botanist, departs on a mission to terraform Mars, leaving her quiet, music-obsessed boyfriend Jay (voiced by Hong Kyung) behind on Earth. The film unfolds as a lyrical meditation on long-distance love, personal ambition, and the delicate emotional gravity that holds people together. Visually, it is suffused by luminous, hologram-filled cityscapes, soft water colors and interstellar dreamscapes — a highly accomplished style that blends some of the grounded warmth of Studio Ghibli's hand-drawn character design work with the cosmopolitan shimmer of a Makoto Shinkai sunset. Shortly after Lost in Starlight's debut, The Hollywood Reporter connected with Han to discuss her journey of bringing Lost in Starlight to screen, her animation influences, what Bong's praise has meant to her and the unbridled potential of Korean animation. How did begin? What was the original inspiration behind the project? Some years ago, I worked on a branded film — Beautiful Moments, for the Korean jewelry company StoneHenge — and for that project I was given a lot of creative freedom. I was able to explore ideas I'd had been interested in for a long time — things like the female dream, astronauts, family stories, childhood, space, and music. That film incorporated all of those elements, and it ended up getting a lot of attention. Based on that, Climax Studio contacted me, and I had the chance to expand on those themes. At the time, I was dating, so I was very interested in love, and I wanted to incorporate that into my storytelling. Luckily, the production company was interested in letting me explore all of these things, and that's how the story began to take shape. is set in a futuristic version of Seoul, and there are so many imaginative visual details throughout the film's world. How did you approach depicting Seoul in 2050? It felt to me like a clean, fresh version of That's actually a quite accurate way to describe it — a clean version of Blade Runner. I set it against a realistic backdrop as well. In Korea, there's an area of Seoul called Eulji-ro, which is popular right now with both tourists and artists. It has this very cyberpunk, retro-industrial vibe. It used to be full of manufacturing workshops, metal shops, garages — very gritty — but now a lot of indie artists do performances and collaborative projects there. Jay, in the animation, works around there. And there's also Sewoon Arcade, where his record shop is based — that's a real location in Seoul too. So I started with those realistic backdrops and added imagination to create this future landscape. You mentioned the 'cleanliness'— that really resonates with what I wanted to express. I didn't want to depict a dark or apocalyptic future. I imagined a future where we've done our best to protect the environment and things turned out okay. I wanted the setting to feel like a place that's good to live in. So blending that retro charm with futuristic optimism, rooted in real locations, was very intentional. I also appreciated the way female empowerment is expressed in the film. The two lead characters each go on parallel journeys of self-overcoming, but there's such a striking contrast: Nan-young goes all the way to Mars to uncover the mystery of her mother's disappearance, braving storms and mortal danger. Jay, meanwhile, is mostly just shy, trying to work up the courage to sing in public. That's a fair point, but I don't necessarily think Nan-young's achievement is bigger than Jay's. Visually, of course, Nan-young's journey seems more dramatic—going to Mars and confronting her inner trauma—but I believe that revealing your voice in front of a large audience is also an act that requires great bravery. As a female creator, I did want to show how women overcome barriers and achieve things, but I think the contrast you noticed might just have more to do with their professions — astronaut versus musician — rather than a hierarchy of bravery. What I really wanted to show is that growth can come from epic journeys, but also from the small, intimate challenges. Korea has a long history of doing skilled contract work for international studios, but relatively few original Korean animated features have broken through globally. Could you describe the Korean animation scene right now? Should viewers expect more exciting original work to come? As you said, Korean studios have long taken on outsourced work from the U.S. and Japan, mostly in the production stage, rather than pre-production. But in recent years, more companies are building dedicated teams to work on design and story development. There's a real push now to create original IP. Some companies are even forming in-house story and webtoon teams. Globally, most animated works are based on existing webtoons, comics, or games, rather than original IP. So a film like ours — based on an original story — is still relatively rare. But there are some recent examples, like The Exorcism Chronicles (2024) and King of Kings (2025). These are good signs for both studios and creators. My own background is in independent animation, and I believe Korea is quite strong in that area. So the potential for synergy in this moment between indie animators and Korean studios is really exciting. But animation takes time, and long-term support is essential — so that's something we still need more of before the scene can really take off. Do you think Korean animation has any specific qualities — visual or thematic — that noticeably set it apart from Japanese anime and the U.S. studio animation that viewers around the world know so well? It's hard to generalize, because it's been a long time since Korean feature animation was active in a big way, and even the works that exist are quite diverse in style. My film is 2D, whereas most commercial work recently has leaned toward 3D. So even within Korea, there's a visual gap depending on the technique. But I didn't want Lost in Starlight to look like Japanese anime. I wanted it to reflect how young Korean people today look, dress, and do makeup. That Korean-ness was important to me. At the same time, I incorporated some Western-style drawing elements. It's a blend. Rather than speaking for all of Korean animation, I just hope this work can offer a new kind of reference point for global audiences to understand what Korean animation can be. During the long, five-year process of making this film, what were some of the biggest moments of doubt for you? This film is quite unique. It blends sci-fi with grounded emotion, and it's not confined to a single genre. That meant we had to maintain a very delicate balance — across story, music, visuals, production, everything. We worked with both in-house and external teams, and the outside partner had their own production pipeline, which we had to adjust to fit our vision. That required extensive communication. Sometimes we'd ask ourselves, 'Do we really have to go this far?' But in the end, we're proud we did, because that attention to detail is what made the final product satisfying. Acheiving that delicate genre balance was the hardest part — but also what made it special. There was something subtly fresh in the character design for me — perhaps that came from seeing Korean fashion and contemporary culture in this medium for the first time, as you mentioned. The color palette and the handling of light and landscapes also reminded me a lot of Makoto Shinkai. Where do you identify your influences? Like most animators, I've been influenced by the works I loved growing up—and Makoto Shinkai is definitely in there. But when it comes to character expression and storytelling, I've also drawn from others — like Hayao Miyazaki, who really inspired me to pursue animation in the first place. I was also deeply influenced by Isao Takahata's Only Yesterday, which focuses on very realistic, fully dimensional characters. Satoshi Kon also had a strong impact on me, especially with his realistic visual style. For Lost in Starlight, I worked with a character designer. I shared my artistic preferences and early drafts, and his style aligned closely with mine. That collaboration really helped create the unique, realistic look we achieved. Netflix has shared a quote from Bong Joon Ho calling your film 'a visual masterpiece that takes you around the universe.' How did that come about? Our production company showed him the film and asked for his thoughts. Of course, director Bong is someone I respect enormously, so it was a huge honor to receive that praise from him. I heard that he also remarked on how well the film captured the feeling of contemporary life in a futuristic setting, and he appreciated the drawing style. I was very humbled and honored to hear that. It's been that Bong is actually at work on a feature animation himself — an adult animation titled , which will be his next film. Given how the Korean Wave has impacted so many areas of global culture — pop music, fashion, cinema, TV drama — do you think animation could be the next frontier? Someone of Bong's statures jumping into the arena could give the Korean animation industry a big boost, no? Absolutely. It's been a long-standing dream for many of us in animation for Korean works to go global. For years we said the industry was struggling and that our breakthrough would probably be a long ways off — but then webtoons became globally successful, proving our creative capacity. If someone like Bong Joon Ho gets involved in animation, of course that would give us a huge boost. That said, 2D and 3D animations operate under different business models — the investment and marketing strategies totally differ — so we can't treat them exactly the same. But I believe we're ready to show the world that Korean animation has a rich tradition, high standards, and strong creative voices. If we're given time and support, I truly believe we can build another K-wave — this time in animation. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
Yahoo
04-06-2025
- Business
- Yahoo
Channel 4 Says It Doesn't Use NDAs, But Documents Reveal Company Is Curbing Free Speech Of Aggrieved Ex-Employees
EXCLUSIVE: Channel 4 once described itself as the 'sponsor and defender of free speech,' but a cache of documents seen by Deadline reveals it is restricting what aggrieved former staffers can say about the company. Deadline has analyzed 61 settlement deals signed by former staff members who exited Channel 4 amid an employment dispute between 2017 and 2021. Channel 4 paid out nearly £5M ($6.7M) to these ex-employees to prevent complaints escalating, but in doing so, stipulated that they do not discuss matters relating to the company. More from Deadline Jury In Harvey Weinstein Rape Retrial Set To Start Deliberations Wednesday - Update Ollie Madden Exiting Film4/Channel 4 To Join Netflix As Director Of UK Film; Farhana Bhula & Gwawr Lloyd Upped At UK Broadcaster Channel 4 Boss Alex Mahon Hits Back At "Excitable" Wayne Garvie's Criticism Of In-House Plan All but two of the 61 settlement deals contained confidentiality and non-disparagement clauses that transparency campaigners consider to be non-disclosure agreements (NDAs). This is despite Channel 4 repeatedly saying that it never uses NDAs to cover up wrongdoing. Details about the settlement deals, disclosed by Channel 4 under Freedom of Information laws, comes as concern about the entertainment industry's use of NDAs has been raised by UK lawmakers amid the drafting of a new Employment Rights Bill. Zelda Perkins, the former assistant to Harvey Weinstein, who has become a vocal critic of NDAs after breaking her own agreement during the #MeToo movement, accused Channel 4 of 'playing legal God' in what it allows former employees to express about the broadcaster, which screens shows including The Great British Bake Off. She told Deadline that non-disclosure agreements do not come with the letters 'NDA' signposted at the top of a document. Perkins noted they can be used legitimately to protect commercially sensitive information or client confidentiality, but are open to abuse when used to restrict disclosures around employment issues. A former Channel 4 staffer, who signed a settlement deal after making a misconduct complaint, told Deadline that their agreement was an NDA 'in all but name.' Speaking on the condition of anonymity, they said Channel 4's brand is 'completely at odds' with the agreements and that fearful employees are 'one truthful comment away from being silenced.' Twenty-four of the 61 Channel 4 settlement agreements reference 'discrimination' as being among the claims that led to the deals being signed. One of the documents referenced 'pregnancy' discrimination after an employee returned from maternity leave. Channel 4's position is that it used standardized language in agreements, which does not necessarily indicate that a discrimination issue had been settled in all cases. A common confidentiality clause contained in the Channel 4 settlements forbids former employees from making 'any statement or comment concerning the terms of this agreement, the termination of your employment or any other matter concerning the company.' Channel 4's agreements go further in stipulating that former employees must not publish or communicate 'any derogatory or defamatory' statements about the network or its workforce, even if unrelated to their grievance. Perkins argued that these broad non-disparagement clauses can have the same effect as an NDA. C4 Denies Using NDAs Channel 4 has consistently denied that its settlement agreements are tantamount to NDAs, arguing that its confidentiality clauses 'never prevent individuals from raising issues of serious wrongdoing.' In emails seen by Deadline, CEO Alex Mahon has said Channel 4 'does not use and has not used NDAs' to 'cover up wrongdoing.' Perkins said this was Channel 4 simply 'adhering to the law' in Britain, which protects individuals who make disclosures in the public interest, such as reporting a potential criminal offence. In meetings with Mahon, Perkins has called on Channel 4 to ditch the clauses and sign her Can't Buy My Silence Pledge. Deadline can reveal that Channel 4 quietly made changes to its settlement agreements in 2022, stripping back blanket confidentiality clauses so they only reference specific matters, such as details of payoffs. Channel 4 continues to stand by non-disparagement clauses. The company's position is that these clauses protect people at all levels and are sometimes requested by departing employees who do not wish to be disparaged by former colleagues. It has signed four settlement agreements since 2021, paying out a combined £383,261 to ex-employees. Channel 4's commitment to the clauses puts it out of step with other industry players. The BBC removed so-called gagging orders from contracts in 2013, including non-disparagement clauses and those that stop individuals from discussing a settlement agreement or the circumstances of their departure. A Channel 4 spokesperson said: 'As a matter of course, Channel 4 does not use non-disclosure agreements, except in relation to commercial matters only and never in respect to staff. Our standard settlement agreements have always had a confidentiality clause in them, but we have always been clear that this does not and should never prevent individuals from raising issues of serious wrongdoing that require investigation. We would reiterate that again. 'Our CEO Alex Mahon has had several constructive meetings with Zelda Perkins and we support her work and the ambition to ensure all employees can speak freely and openly. In 2022, following very useful discussions with Zelda, we made changes to our template settlement agreement – which was also previously used to document some Channel 4 redundancies – to move away from comprehensive confidentiality provisions to narrowly defined clauses designed to protect legitimate interests for both parties to the agreements. We took the view that these confidentiality provisions are limited to cover things we think are justified, such as details of payment terms or where we have a duty of care to other employees.' The cache of settlement agreements was obtained by Ed Ryland, a producer who has worked on shows including Have I Got News For You. Ryland has been campaigning for transparency and accountability from Channel 4 since he made a complaint via its Speak Up facility in 2021 after working on unscripted series Joe Lycett's Got Your Back. Ryland accused Channel 4 of making 'misleading statements' about its use of NDAs. He told Deadline: 'We largely don't know what these NDAs are hiding. My attempts to establish the nature of the allegations they cover through further Freedom of Information requests have faced extremely strong legal resistance and so far have been unsuccessful. Channel 4 won't even confirm or deny whether any of these agreements relate to allegations of sexual misconduct. What are they trying to hide?' Channel 4's spokesperson said: 'Channel 4 has a zero-tolerance approach to bullying and harassment, and we actively encourage reporting of unacceptable behaviour. We are taking a leading role in challenging unacceptable behaviour in our industry.' Channel 4 has declined to sign Perkins' Can't Buy My Silence Pledge, but said it supports the ambition behind the statement. The broadcaster's position is that signing the pledge could prevent it from offering settlement agreements, even when they are requested by a departing employee. NDAs are in the spotlight in the UK. ITN, which produces Channel 4 News, has been entangled in the debate after being accused by lawmakers of using NDAs to cover up workplace misconduct. ITN said it now longer uses confidentiality clauses in settlement agreements that 'prevent anyone from talking freely about their experiences.' MPs are also calling on the government to ban NDAs after criticizing their misuse in the music industry. Kienda Hoji, who sits on the board of the Creative Industries Independent Standards Authority, told BBC Radio 4 on Wednesday that settlement agreements do not need to contain clauses that mean people are 'silenced for life.' He added: 'This idea that somehow an NDA is inextricably linked to a settlement is a misnomer.' Best of Deadline 2025 TV Series Renewals: Photo Gallery 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More Everything We Know About 'Nobody Wants This' Season 2 So Far
