Scarlett Johansson is suing Disney for breach of contract after it streamed her superhero film Black Widow at the same time as its cinema release.
The film set a box office record for the Covid-19 pandemic, grossing $218m (£157m) in its first weekend.
But box office receipts then fell sharply and Ms Johansson argues she was deprived of potential earnings.
In response, Disney said it had “fully complied” with her contract and that her case had “no merit whatsoever”.
Ms Johansson said she was promised by Marvel Studios, which is owned by Disney, that Black Widow would be a “theatrical release”.
She said she had understood this to mean a “window” of time would pass before it would be streamed – a period that has traditionally lasted 90 days.
During the pandemic a number of Hollywood studios opted to bypass cinemas, many of which had been closed, and release their films online instead.
Now that most cinemas have reopened, Disney, along with fellow giant Warner Bros, has chosen to maintain a dual release strategy for their major films.
On its first weekend, Black Widow took some $80m in ticket sales in North America and $78m internationally, plus at least $60m in Disney+ Premier Access rentals.
Sources close to the actor, whose salary was based on the box office performance of the film, project that she lost $50m, according to media reports.
Disney countered by claiming that the dual release strategy had “significantly enhanced [Johansson’s] ability to earn additional compensation on top of the $20m she has received to date”.
‘A real bait and switch’
Before the pandemic, Hollywood film fans would typically have to watch new releases at the cinema or wait three months to have them streamed to their devices.
Major studios have recently been mixing cinema releases and streaming in different ways as cinemas battle to win back viewers wary of catching the virus in confined spaces.
Yet the move has not proved popular with some of the film industry’s leading talents, among them Tenet and The Dark Knight director Christopher Nolan.
Last year the British film-maker criticised Warner Bros over its plans to release major movies on HBO Max, describing the situation as “a real bait and switch”.
“Warner Bros had an incredible machine for getting a film-maker’s work out everywhere, both in theatres and in the home, and they are dismantling it as we speak,” he told the Hollywood Reporter.
“Their decision makes no economic sense and even the most casual Wall Street investor can see the difference between disruption and dysfunction.”
Nigerian emerging artist Druppythekid is set to release his new two-track pack, No Love and LA LA LA (Serenade), on November 13, 2026, delivering a message of ambition, self-belief, and defiance in the face of criticism.
Originally from Kwara State and based in Lagos, Druppythekid developed a love for rap, hip-hop, and pop music as a teenager. Introduced to poetry in high school, he found a natural connection between words and rap, eventually joining a rap group before exploring music production at university. After graduation, he began rapping over his own beats, turning his passion into a growing musical pursuit.
On “No Love,” Druppythekid speaks to the determination required to chase dreams despite doubt and opposition. “LA LA LA (Serenade)” takes a more unapologetic approach, dismissing the opinions of those who never believed in him.
Together, the two records reflect one central message: keep pursuing your vision and never let the opinions of others define your journey.
No Love and LA LA LA (Serenade) arrive on major digital streaming platforms on November 13, 2026.
Chinwe Zoe, a Nigerian gospel singer and songwriter, began recording music in December 2025 after years of singing in church and at home. Less than a year later, she has released three singles, including “Chinwendum”, featuring gospel singer Frank Edwards, “Undeniable” and “Jesus Don Win”, her October 2026 release produced by Masterkraft.
For Zoe, the decision to record was connected to a personal experience that changed how she viewed her life and faith. She has described it as a near-death experience that left her with a renewed sense of gratitude. “In that moment, when I thought it was over, God showed me mercy,” she said. “He gave me victory. And that victory was too loud to keep inside.”
Her debut, “Chinwendum”, was released in December 2025 with Frank Edwards featured on the record. She followed it with “Undeniable” on May 7, 2026. The song’s official video has recorded more than 460,000 views on YouTube. In October, she released “Jesus Don Win”, produced by Masterkraft, with a video directed by Avalon Okpe.
Zoe’s approach to songwriting draws on personal experiences and scripture. She has said that she does not begin the process by searching for a melody, but by waiting for a message that she can develop into a song. She describes a process in which an experience or scripture stays with her until it takes musical form. The melody follows, and she hums it before committing anything to writing.
Her guiding principle is that a gospel song should be accessible to listeners while remaining suitable for congregational worship. “It should be simple enough for a child to sing and strong enough for a choir to carry,” she said.
Zoe has identified CeCe Winans, Nathaniel Bassey and Dunsin Oyekan among the musicians whose work has influenced her. She sings in English and Igbo, and occasionally in Pidgin, drawing on the worship tradition in her musical expression.
“Every song I sing comes from a place I have lived,” she said. “My pain taught me how to worship, my joy taught me how to praise.”
Her music has also begun attracting an online audience. Her YouTube channel has recorded more than 627,000 views across nine videos, while her Spotify monthly listeners have been reported at approximately 6,500. Her Audiomack profile is verified. Zoe records under her own imprint, H2 Records, with distribution through ONErpm. She made her first public performance at the 2026 Annual Virtuous Women Network conference in Enugu, where she performed “Undeniable”.
Outside music, she has spoken about her interest in soul winning and described it as connected to her musical work. She has also said that she wants her songs to encourage listeners facing difficult circumstances. “I want my songs to shift mindsets from worry to worship,” she said. “Whenever anxiety comes, whenever life tries to make you feel small, I want you to hear my sound in your spirit and declare victory over your life.”
Nigerian artist N8TAN is set to unveil his highly anticipated ‘UPRISING EP’, a body of work that chronicles his journey from the streets to the heights of his musical ambition.
Built around themes of struggle, resilience, ambition, survival, and triumph, UPRISING captures the realities of an artist determined to turn adversity into momentum. The project reflects N8TAN’s experiences, the challenges that shaped him, and the relentless drive that continues to push him forward.
More than a collection of songs, UPRISING is presented as a story of transformation—from navigating the streets and confronting uncertainty to finding purpose, embracing growth, and rising toward the top.
With its blend of raw storytelling, infectious energy, and personal perspective, the EP offers listeners an intimate look into N8TAN’s world while reinforcing his determination to carve out his own place in the music industry.
‘UPRISING EP’ is a statement of elevation: a reminder that where you start does not have to determine where you finish.
As N8TAN continues to build his musical identity, UPRISING marks another significant chapter in his journey—and an invitation for listeners to rise with him.
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