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STX Entertainment
STX Entertainment
STX Entertainment
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STX Entertainment is an American independent entertainment and media company. Founded in March 2014 by film producer Robert Simonds and TPG Growth managing partner Bill McGlashan, the studio produces film, television, and digital media projects.

Key Information

In April 2020, STX announced that it would merge with the Indian studio Eros International. The merger was completed in July 2020, and STX became a division of ErosSTX. In December 2021, Jahm Najafi announced his intention to acquire STX from the merged company for $173 million–a sale completed in April 2022. Eros remains a minority, non-voting shareholder.[1]

History

[edit]

In 2012, Simonds and McGlashan began work on conceptualizing a media company based on the idea of producing medium-budget star-driven projects, a method that had gone out of style with Hollywood studios. The conversation led to the launch of STX Entertainment in 2014 (the "S" standing for Simonds, the company's founder; the "T" standing for TPG Growth, whose managing partner McGlashan helped launch the company; and the "X" standing for "secret project"),[2] with the mission to finance, develop, produce, market, and distribute star-driven content around the world.[3][4] Investors in the company included Hony Capital, Tencent, PCCW, TPG Growth, RTL Group and Liberty Global. Individual investors include Gigi Pritzker, Beau Wrigley, and Dominic Ng.[5][6][7]

In September 2017, it was reported that STX was considering an initial public offering on the Hong Kong Stock Exchange (SEHK). It was reported that a listing on the SEHK could bring STX closer to Chinese investors and audiences.[8] The Wall Street Journal stated that the company could be valued at $3.5 billion, after raising an additional $500 million following the IPO.[8][9] In April 2018, the company filed for an IPO on the Hong Kong Stock Exchange.[10]

STX called off its IPO in October 2018, citing the China–U.S. trade war, and conditions having deteriorated in Hong Kong due to turbulence in the mainland Chinese equity market.[11] An overall co-funding agreement with Chinese company Huayi Brothers Media lapsed at the end of 2018,[12] and in April 2019, co-founder Bill McGlashan was fired due to his being indicted in the college admissions bribery scandal.[13]

In April 2020, STX announced that it would merge with the Indian film and television studio Eros International plc. Simonds stated that the merger would create "the first independent media company with the expertise and creative cultures of Hollywood and Bollywood, while also leveraging the important inroads both companies have made into the Chinese market." The combined company would be publicly traded, inheriting Eros' listing on the New York Stock Exchange.[14] The merger was closed on July 30, 2020;[15] the combined company unveiled a new logo and branding as ErosSTX in September.[16][17] The combined entity raised $125 million of new equity funding and received $350 million in credit led by JPMorgan.[18]

In December 2021, amid financial shortcomings following the merger, Jahm Najafi's Najafi Companies announced that it had reached an agreement to acquire STX Entertainment from ErosSTX for $173 million.[19] However, in late January 2022, Lionsgate also emerged as a potential suitor, looking to absorb either part or whole of STX, but the deal was later rejected, leaving only Najafi as a potential suitor.[20][21] In April 2022, Najafi Companies completed its acquisition of STX Entertainment. Eros Media World will retain a 15% non-voting stake in the company.[22][23] In July 2022, shortly after STX's motion picture chairman Adam Fogelson departed for the studio, Deadline reported that STX was in talks with Lionsgate over a potential film distribution deal.[24] Shortly after, it was reported that STX Entertainment's U.K. offices, including the London office housing STXinternational's headquarters, were gradually shutting down.[25] Following the departure of STXinternational head John Friedberg to join Black Bear Pictures' international division, it was announced the latter company was nearing a deal with STX to handle part of its slate internationally.[26] In November 2022, It was reported that STX's distribution and marketing operations would be shuttered and that Operation Fortune: Ruse de Guerre would go to a streaming service domestically, alternatives being considered for The Marsh King's Daughter, Lionsgate possibly taking over distribution for Ferrari and Greenland 2: Migration being packaged to other distributors.[27] By February 2023, It was reported that Lionsgate had already taken domestic rights from Operation Fortune: Ruse de Guerre with plans to release it theatrically on March 3, 2023. In July 2023, Neon bought the distribution rights for Ferrari with Neon releasing it on December 25, 2023.

STX Films

[edit]

Distribution

[edit]

At launch, the film division of STX focused its efforts on creating a new model. Rather than pursuing the traditional distribution process, the company secured direct distribution agreements with North American theater chains AMC, Regal, Cinemark, Goodrich, Marcus Theatres, and Carmike Cinemas.[28] In early 2015, the company signed a multiyear television output agreement to release films exclusively to Showtime Networks and its channels Showtime, The Movie Channel, and Flix during the premium television window. The deal covers STX Films theatrical releases through 2019.[29] In April 2015, the company entered into a multiyear partnership with Universal Studios Home Entertainment for Universal to handle marketing, sales, and distribution services for Blu-ray, DVD, and VOD platforms for STX Films theatrical titles in North America.[30] Film distribution was transferred to Studio Distribution Services, LLC., a joint venture between UPHE and Warner Bros. Home Entertainment. That same month, STX Films closed a three-year slate deal with Huayi Brothers, one of China's largest film studios, enabling the companies to co-produce and co-distribute 12 to 15 films annually.[31][32][33] In January 2017, STX Films signed a marketing and distribution agreement with Luc Besson's EuropaCorp Films USA to release their upcoming slate of films in the US.[34][35] In February 2018, STX Films announced it would distribute Netflix and Martin Scorsese's mob drama The Irishman in China along with Media Asia Entertainment Group.[36]

In May 2018, it was reported that STX would distribute and oversee production on Tencent Pictures and Free Association's film adaptation of the digital comic book Zombie Brother, to be directed by David Sandberg.[37] In July 2018, STX Films acquired domestic distribution rights to the civil rights drama The Best of Enemies; it stars Taraji P. Henson and Sam Rockwell, is directed by Robin Bissell, and was released on April 5, 2019.[38]

In August 2023, STX formed a domestic distribution partnership with Lionsgate to handle distribution of their upcoming slate of films and their current film library, starting with The Marsh King's Daughter.[39]

Film projects

[edit]

In line with its mission to make medium-budget, star-driven content, STX Films projects have included Hustlers starring Jennifer Lopez and Constance Wu,[40] I Feel Pretty starring Amy Schumer,[41] Second Act, a romantic comedy starring Lopez and directed by Peter Segal,[42] Bad Moms starring Mila Kunis, Kristen Bell, Kathryn Hahn and Christina Applegate;[43] Molly's Game, written and directed by Aaron Sorkin and starring Jessica Chastain;[44] The Gift, written, co-produced and directed by Joel Edgerton and starring Jason Bateman and Rebecca Hall;[45] The Edge of Seventeen starring Hailee Steinfeld;[46] The Foreigner starring Jackie Chan and Pierce Brosnan;[47] Secret in Their Eyes starring Chiwetel Ejiofor, Nicole Kidman and Julia Roberts;[48] The Boy starring Lauren Cohan;[49] and Free State of Jones starring Matthew McConaughey.[50] In 2015, STX Films acquired its first feature at the Toronto International Film Festival, purchasing the worldwide rights to the sci-fi, action adventure Hardcore Henry for US$10 million.[51]

In 2017, STX Films announced its expansion into animation and family content with a partnership with the Uglydoll brand. The UglyDolls film was produced by Robert Rodriguez, director of the Spy Kids film franchise, and it features the voices of Pitbull, Kelly Clarkson, Nick Jonas, Blake Shelton, and Janelle Monáe.[52][53] It performed poorly at the box office, and received a lot of bad reviews from the critics.[54][55] In January 2019, it was reported that STX is planning an animated UglyDolls television series with Hulu.

In January 2018, STX Films and Tencent Pictures announced a co-development deal with Jason Statham targeting the Chinese film market. Statham starred in Furious 7 and The Fate of the Furious, China's two highest-grossing imported films ever.[56] In February 2018, STX Films signed a deal with Alibaba Pictures to co-develop and co-produce the action-sci-fi film Steel Soldiers, produced by Robert Zemeckis. Under the deal, STX Films will handle US and international distribution with Alibaba Pictures retaining rights in Greater China.[57]

In January 2019, STX Films had their first number one box office opening with The Upside, which stars Kevin Hart, Bryan Cranston and Nicole Kidman, and earned $19.59 million in its opening weekend,[58] and went on to earn over $100 million at the domestic box office.[59] STX earned praise for its efficient marketing of the film, and for trimming The Upside from an R to PG-13 rating to widen its audience.[58] That month, it was reported that Hart is partnering with STX Films to produce and star in two comedies: a body switch comedy called Black Friday, and an untitled international romantic comedy.[60]

Hustlers had its world premiere at the 2019 Toronto International Film Festival, and was theatrically released in the US on September 13, 2019. It grossed $105 million in the US and Canada, and $157.6 million worldwide.[40][61] The Gentlemen, written, directed and produced by Guy Ritchie and starring Matthew McConaughey, was released theatrically in January 2020. It grossed $115.2 million at the box office worldwide.[62] As of July 2020, upcoming STX films include Greenland starring Gerard Butler, Run Rabbit Run starring Elisabeth Moss, The Godmother starring Jennifer Lopez, Night Wolf starring Kevin Hart, and Muscle starring Vin Diesel.[15][63]

Awards and recognition

[edit]

In 2016, STX Films became the fastest studio ever to hit $100 million at the domestic box office with the R-rated comedy Bad Moms. The film has earned more than US$180 million worldwide,[64] was the first R-rated comedy since The Hangover to get an A on CinemaScore and was the most profitable film of the year (by net profit).[65] The film also earned a People's Choice Award for Best Comedy.[66] The 2017 American crime drama Molly's Game was nominated for an Academy Award for Best Adapted Screenplay[67] along with BAFTA,[68] WGA,[69] and Golden Globe nominations.[70] The Edge of Seventeen was nominated for an MTV Movie Award for Movie of the Year,[71] a Directors Guild Award for Outstanding Achievement in a First-Time Feature[72] and a Golden Globe Award for Hailee Steinfeld.[73] On review aggregator website Rotten Tomatoes, the film has an approval rating of 95%.[74]

Genre films have also received recognition. The psychological horror-thriller The Gift was nominated for a Directors Guild Award for Outstanding Achievement in a First-Time Feature[75] and won a Sitges Film Festival[76] and Fangoria Chainsaw Award.[77] The Space Between Us starring Gary Oldman was nominated for Choice Sci-Fi Movie and Choice Sci-Fi Movie Actor at the 2017 Teen Choice Awards.[78] The horror thriller The Bye Bye Man overperformed industry expectations with a US$13.5 million domestic opening weekend.[79] The Foreigner, a co-production with Jackie Chan's Sparkle Roll Media, crossed $100 million in global box office revenue in October 2017. The film is one of the most successful U.S. and China co-productions, being classified as "a clear winner given that it cost just $35 million" and "a fine example of how a Chinese co-production can work."[47][80][81]

In 2019, Hustlers earned Jennifer Lopez the Los Angeles Film Critics Association Award for Best Supporting Actress[82] and award nominations including the Golden Globe Award for Best Supporting Actress,[83] Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role,[84] Critics' Choice Movie Award for Best Supporting Actress,[85] and the Independent Spirit Award for Best Supporting Female.[86]

STX Films strives for female diversity in front of and behind the camera.[44] More than 20 films have featured women in leading roles or were directed by women.[87]

STX Television

[edit]

The television division's first project was the 2014 drama-thriller State of Affairs, starring Katherine Heigl and Alfre Woodard. The 13-episode series was developed by STX TV (as it is stylized) and sold to NBC.[88][89] In 2015, STX TV produced the NBC pilot Problem Child, based on the 1990 film of the same name.[90]

In April 2016, STX TV expanded into unscripted and reality content, hiring veteran TV producer Jason Goldberg. A few months later, the variety show Number One Surprise launched, which was the first TV series created by a US-based company specifically for broadcast in China. The series premiere in November 2016 on Hunan TV, a Chinese TV station, along with digital platforms Mango TV and PPTV, was viewed nearly 300 million times, and by January 2017 it was the #1 show in China with over 1 billion views.[91][92]

In May 2017, STX TV announced it had acquired the first TV project from Kevin Kwan, author of Crazy Rich Asians.[93] In August 2018, Amazon Studios gave a script-to-series order for the untitled project, a globe-hopping drama set in Hong Kong, about a powerful family and their business empire.[94] In July 2017, E! greenlit the reality series The Platinum Life, produced by STX TV and Tower 2 Productions.[95] In November 2017, STX TV announced its first scripted show Valley of the Boom, a six-part docudrama series about the 1990s tech boom from showrunner and director Matthew Carnahan and executive producer Arianna Huffington. The show airs on NatGeo, with STX distributing in China.[96] It premiered on January 13, 2019.[97] STX Television produced season 23 of True Life, which aired on MTV in 2017. The company also produced the docuseries A Little Too Farr, following American country singer-songwriter Tyler Farr, which premiered on Verizon's go90 streaming service. In February 2018, Fox and STX TV announced that it is developing an unscripted series based on its film Bad Moms.[98] In April 2018, Mother Media Group, founded by former Endemol Shine and 20th Century Fox executives, signed a first-look deal with STX TV. Under the pact, the companies will collaborate to create, produce and distribute unscripted and hybrid series.[99]

In 2018, it was reported that Netflix gave a six-episode series order to STX TV's hybrid docudrama miniseries Ottoman Rising, which tells the story of Mehmed the Conqueror;[100] later retitled Rise of Empires: Ottoman, it premiered on Netflix on January 24, 2020.[101] It was also announced that YouTube Red will produce a TV spinoff based on STX's 2016 film The Edge of Seventeen, with an entirely new cast.[102]

STX Alternative

[edit]

The digital division of STX Entertainment focuses on digital programming, partnerships and distribution, which includes live events and virtual reality (VR). In August 2016, STX acquired the VR creator and distributor Surreal, renaming it STX Surreal.[103] In its first year (2015), Surreal produced over 70 immersive VR experiences[103] featuring Gordon Ramsay, Snoop Dogg, Jon Hamm, Jimmy Kimmel, Wolfgang Puck and Wiz Khalifa among others.[104]

In 2017, STX Surreal was nominated for an interactive Daytime Emmy Award for the Nickelodeon short Nickelodeon's Ultimate Halloween Haunted House 360 Challenge[105] and won a Shorty Award for Best Use of 360 Video for their 360° production of the 68th Emmy Awards, in collaboration with the Academy of Television Arts & Sciences and Facebook.[106] In June 2017, STX Surreal announced a partnership with media services agency Horizon Media to develop and produce VR and immersive content for the brand's new UNCVR unit.[107] In 2018, STX Surreal announced a slate of original projects including New Tricks, directed and produced by Ed Helms;[108] The Kiev Exchange, a spin-off of STX Films' Mile 22;[108] Jay and Silent Bob VR, written, produced, and directed by Kevin Smith;[108] and untitled projects from Dave Bautista and Derek Kolstad.[108]

Robert Rodriguez's live-action short-form VR film The Limit, starring Michelle Rodriguez, was released by STX Surreal on major mobile headsets and on Android phones with cardboard viewers in November 2018. It is also going to be released on iOS, PlayStation VR, and Windows Mixed Reality.[109][110] The Academy Award-winning visual effects studio DNEG worked on the film in post-production.[111]

In December 2017, Dick Clark Productions sold Chinese distribution rights to the Golden Globe Awards and Dick Clark's New Year's Rockin' Eve to STX Digital.[112][113] STX partnered with Tencent Video to be its distribution partner for both programs, including the production of a Chinese-language red carpet program for the Chinese feed of the Golden Globes.[114]

In December 2018, it was reported that the renamed division, now called STX Alternative, signed a first-look development and production deal with Tracey Edmonds, to co-produce and co-develop scripted and unscripted content for traditional and alternative platforms. The first project, Games People Play, based on the book Games Divas Play by Angela Burt-Murray, premiered on BET on April 23, 2019.[115][116]

STX International

[edit]

In April 2016, a dedicated international division opened to further expand global production and distribution capabilities; it was called STX International. Headquartered in London, the division is led by former Film4 head David Kosse.[117] The division launched with a slate of six films that included Andy Serkis's directorial debut Breathe (which opened the 2017 London Film Festival),[118] Home Again starring Reese Witherspoon, and the thriller Wind River starring Jeremy Renner and Elizabeth Olsen.[119] Additional titles on the slate include Ridley Scott's All the Money in the World, Neil Burger's thriller The Marsh King's Daughter and Bart Layton's heist film American Animals, along with titles from the main STX Films slate.[120] STX bought the international distribution rights to The Irishman for $50 million. Renamed ErosSTX International following the merger of Eros International and STX in 2020, the company reverted to its former name in April 2022 following STX's sale to Najafi Companies.

In July 2022, it was reported that STX Entertainment's U.K. offices, including the London office housing STXinternational's headquarters, were gradually shutting down.[121]

Film library

[edit]

Film

[edit]
Main article: List of STX Entertainment films

Television and digital

[edit]
Title Channel Year Comment
State of Affairs NBC 2014–15 Co-produced with Universal Television, Abishag Productions, and Aardwolf Productions
True Life MTV 2016 Co-produced the episode True Life: We Are Orlando
Number One Surprise Hunan TV/Mango TV/PPTV 2016–present Co-produced with XG Entertainment
A Little Too Farr go90 2017 Co-produced with Tower 2 Productions
The Platinum Life E!
75th Golden Globe Awards Red Carpet Show Tencent Video 2018 Co-produced with Tencent
Alex Strangelove Netflix 2018 Originally meant to be distributed by STX, but ended up producing the film.
The Limit STX Surreal 2018 VR film directed by Robert Rodriguez
Valley of the Boom National Geographic Channel 2019 Co-produced with Matthew Carnahan Circus Productions
Games People Play BET 2019–2021 with Edmonds Entertainment
Flip It Like Disick E! 2019 with Tower 2 Productions, Disick Industries, Jenner Communications and Ryan Seacrest Prods.
Work It Netflix 2020 Streaming film
FBOY Island HBO Max/The CW 2021–present
The Gentlemen Netflix 2024 with Moonage Pictures, Toff Guy Films and Miramax Television
Lovers and Liars The CW 2024–present with TheYearOfElan Productions
Jay and Silent Bob VR[122] STX Surreal TBA Co-production with View Askew Productions
Untitled Dave Bautista Series[122]
Untitled Derek Kolstad Project[122]
New Tricks[122] Co-production with Pacific Electric Picture Co.
The Kiev Exchange[122] Co-production with Film 44 and Film 45
Untitled Kevin Kwan and David Sangalli Scripted Series[123] TBA
Untitled Bad Moms reality series[124] Fox TBA Co-produced with Fox Alternative Entertainment

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

STX Entertainment

View on Grokipedia
from Grokipedia
STX Entertainment is an American and founded in March 2014 by film producer and TPG Growth managing partner . The company focuses on producing, financing, acquiring, and distributing mid-budget, star-driven films and series targeted at global audiences, with an emphasis on genres including , and action. Its debut release, The Gift (2015), exemplified early success with a $5 million yielding nearly $44 million in North American receipts. Subsequent hits like (2016), which grossed over $180 million worldwide and marked the studio's first R-rated comedy to receive an "A" since , underscored its strategy of leveraging profitable mid-tier films with average profit margins around 24 percent—roughly double typical studio returns. Other notable releases include Hustlers (2019), (2020)—a premium video-on-demand success amid pandemic restrictions—and The Gentlemen (2019). Despite these achievements, STX has faced financial challenges, including box-office underperformers like UglyDolls (2019) and Poms (2019), mounting debt, and a turbulent 2020 merger with Eros International that led to operational strains. In 2022, following the merger's unwind, STX was acquired by an investor group led by The Najafi Companies, with Simonds retaining the chairman role and Noah Fogelson elevated to CEO; the studio has since produced over 70 films. Controversies include a 2018 lawsuit from Sesame Workshop alleging that The Happytime Murders tarnished the Sesame Street brand through profane content featuring Muppet-like puppets.

Founding and Early Development

Inception and Initial Funding

STX Entertainment was established on March 10, 2014, by veteran film producer Robert Simonds in collaboration with Bill McGlashan of TPG Growth, with the goal of creating an independent studio specializing in mid-budget, star-driven films to exploit gaps in the Hollywood market left by major studios' emphasis on blockbuster tentpoles. Simonds, whose prior production credits included successful comedies such as What Women Want (2000) and The Wedding Singer (1998), sought to apply lessons from independent filmmaking to prioritize repeatable, profitable projects over high-overhead prestige endeavors. The venture launched with a $1 billion capital commitment co-led by China's Hony Capital, TPG Capital, and investor , providing the financial foundation to produce up to 10 films annually at budgets of approximately $40 million each. This funding structure emphasized a lean operational model, utilizing data analytics to assess script viability and market potential, thereby minimizing the risks associated with unproven franchises or excessive marketing spends typical of legacy studios. By focusing on genres with demonstrated profitability in the $20–80 million range—such as event comedies and targeted audience films—STX aimed to generate consistent returns through domestic and international distribution without relying on the volatility of $200 million-plus spectacles. This approach reflected a calculated response to industry trends, where empirical data indicated higher success rates for contained, talent-led projects amid majors' shift toward IP-driven blockbusters.

Launch of Core Operations

STX Entertainment initiated its core operations in 2014, shortly after its founding in March of that year by film producer and TPG Growth managing partner , with initial backing from including TPG Capital. The company prioritized the creation of STX Films as its primary division, tasked with financing, developing, producing, marketing, and distributing mid-budget, star-driven motion pictures both domestically and internationally. This structure enabled STX to handle multiple stages of the filmmaking process in-house, aiming for operational efficiencies through reduced reliance on external intermediaries typical of legacy studios. In September 2014, STX recruited Adam Fogelson, former chairman of , as chairman of the Motion Picture Group to lead STX Films and shape its strategic direction. The company established its headquarters in , building a compact in the area focused on essential functions like content acquisition and release planning, with an emphasis on low-overhead operations to support vertical control over production and distribution costs. By August 2015, STX had expanded to around 65 employees, reflecting a deliberate scaling to handle an initial output of 12 to 15 films annually without the expansive bureaucracy of major studios. Early operational efforts included securing key partnerships to underpin slate development, such as a multi-year premium television output deal with in January 2015, covering theatrical releases through 2019 for post-theatrical windows. STX also closed financing arrangements, including a three-year slate deal with China's in April 2015, enabling up to $1 billion in production spending to fund mid-range projects. These moves supported an initial focus on commercially viable genres, informed by market gaps in audience preferences for accessible, event-level entertainment outside blockbuster franchises. In April 2015, STX appointed Horizon Media as its agency of record for advertising, allocating $350 million to $400 million annually for marketing to promote its debut releases. This setup positioned STX as an agile independent player, leveraging targeted data on underserved segments like R-rated comedies to differentiate from risk-averse major studio slates dominated by sequels and IP extensions.

Expansion Phase

Key Film Releases and Commercial Hits

STX Entertainment achieved its initial commercial breakthrough with the release of on July 29, 2016, a low-budget R-rated that grossed $113.3 million domestically against a $20 million production budget, yielding substantial profitability through extended theatrical legs driven by word-of-mouth. The film targeted an underserved demographic of adult women, with 82% of its opening weekend audience female and 48% over age 34, earning an A that reflected strong audience approval and defied industry skepticism toward female-led comedies lacking broad critical acclaim. This success validated STX's model of prioritizing market-driven appeal over prestige, as became the fastest studio film to reach $100 million domestically in its debut year, outpacing expectations for mid-budget releases. Follow-up releases demonstrated versatility: The Gift (2015), a with a $5 million , earned $43.8 million domestically and $59 million worldwide, succeeding via tense narrative and Jason Bateman's star draw despite modest . Similarly, (2017), Aaron Sorkin's directorial debut drama budgeted at $30 million, generated $28.8 million domestically and $59 million globally, breaking even through international performance and appeal to viewers interested in high-stakes biographical stories over mainstream blockbusters. These hits underscored causal factors like targeted demographics and empirical ROI—Bad Moms delivered over 5x its budget domestically—prioritizing audience resonance with relatable, counter-cultural themes amid Hollywood's focus on franchise extensions. STX's approach favored films with grades signaling repeat viewership (A for Bad Moms) over aggregates, aligning with data showing adult female viewers as a reliable, under-served revenue driver.
FilmRelease DateBudget (USD)Domestic Gross (USD)Worldwide Gross (USD)
The GiftAug 7, 20155 million43.8 million59 million
Jul 29, 201620 million113.3 million183.9 million
Dec 25, 201730 million28.8 million59 million

Strategic Partnerships and International Push

In 2017, STX Entertainment advanced its international expansion through strategic alliances focused on accessing high-growth markets, particularly , where it utilized existing investor relationships with Hony Capital to facilitate distribution and co-production opportunities. This built on a agreement with Media to co-finance and co-produce up to 18 films over three years, enabling Huayi to manage Chinese theatrical releases and tailoring content for local audiences to capitalize on the region's potential. By 2017, expressed intent to deepen these ties, including potential co-financing for additional projects amid 's burgeoning demand for Hollywood-style entertainment. STX International, launched in April 2016 under president David Kosse, handled overseas rights and partnerships, securing deals such as the May 2017 acquisition of international distribution rights to the Ridley Scott-produced thriller All the Money in the World for territories outside . This division emphasized self-distribution and co-productions to broaden revenue streams beyond U.S. reliance, with examples including pre-sales of foreign rights to offset production costs. To hedge financial risks in volatile markets, STX employed co-financing arrangements and pre-sales of international territories throughout 2017-2019, a pragmatic approach that reduced upfront capital exposure while leveraging global demand. In March 2019, the company secured $700 million in funding, including over $100 million in equity led by TPG Growth and Hony Capital, specifically to fuel further international development and distribution . These efforts prioritized economic diversification, with international pre-sales covering a significant portion of budgets for mid-tier films targeted at multiple territories.

Financial Struggles and Restructuring

Box Office Setbacks and Debt Accumulation

In 2019, STX Entertainment encountered significant disappointments with releases such as UglyDolls and Poms, which highlighted vulnerabilities in its expansion strategy amid genre saturation and mismatched marketing efforts. UglyDolls, an animated feature with a production budget of $45 million, grossed only $32 million worldwide despite ambitions to launch a franchise, resulting in a substantial net loss estimated at over $20 million after marketing and distribution costs. Released on May 3, 2019, the film opened to $8.5 million domestically but faced poor critical reception and competition from established animated properties, limiting its appeal. Similarly, Poms, a low-budget comedy-drama about elderly cheerleaders released on May 10, 2019, opened to $5.1 million and earned just $13.6 million globally, marking it as one of the year's most severe underperformers relative to expectations for counterprogramming in a superhero-dominated market. These setbacks compounded fiscal pressures from STX's aggressive slate financing, where rapid scaling of mid-budget productions outpaced reliable revenue streams, leading to accumulating by late 2019. In March 2019, STX secured $700 million in equity and refinancing led by TPG Growth and Hony Capital to support ongoing film development, but subsequent flops eroded and intensified repayment obligations on existing facilities. The company's overreliance on high-volume output—targeting 12-15 films annually—exposed it to volatility in theatrical returns, with net pressures manifesting in urgent capital needs by mid-2019, as shortfalls failed to offset production expenditures. To address emerging liquidity crunches, STX pursued foreign investment, including negotiations in July 2019 for financing from , reflecting a market-driven pivot toward non-U.S. capital amid domestic constraints. This approach underscored the risks of dependency on geopolitically sensitive funding sources, as STX sought to stabilize operations post-flops without diluting core ambitions, though it highlighted broader industry challenges in sustaining independent studios through variable hits.

Merger with Eros International

In July 2020, Plc completed its all-stock merger with STX Entertainment, forming Eros STX Global Corporation as a publicly traded entity aimed at leveraging combined content libraries, distribution networks, and international markets spanning Hollywood, Bollywood, and . The transaction, initially announced in 2020, positioned the new company with access to diversified talent pools and projected $50 million in operating cost savings within two years through synergies in financing and infrastructure. However, the integration revealed operational redundancies in content production and distribution channels, complicating across U.S.- and India-based teams accustomed to distinct market dynamics. Post-merger, the entity faced acute pressures, including $150.1 million outstanding under a JPMorgan credit facility originally backed for STX operations and an additional $22.7 million in mezzanine , which strained amid cross-border mismatches between the partners. These obligations underscored risks in the deal structure, where limited pre-merger scrutiny of Eros's financial health—despite STX's focus on U.S. mid-budget films—amplified vulnerabilities in global financing arrangements, contributing to NYSE compliance warnings over delayed filings and low stock prices by August 2021. The $350 million senior credit facility arranged by JPMorgan to support the merger further highlighted dependency on external lenders, exposing the combined entity's to demands without immediate revenue offsets from integrated operations. To mitigate fallout on individual assets, Eros STX employed proceedings for specific projects, such as filing Chapter 11 for a holding distribution rights to the thriller The Contractor (starring and Ben Foster) in March 2022, allowing isolation of liabilities while facilitating sales like to Showtime for an estimated $15 million. Similar tactics were applied to rights for a sequel, demonstrating a strategy of ring-fencing distressed titles to preserve value amid broader corporate distress, though financiers like contested these moves in court as evasive of payment obligations. This approach prioritized short-term asset protection over holistic integration, reflecting empirical challenges in merging disparate entertainment pipelines under financial duress.

Sale to Najafi Companies and Independence

In December 2021, ErosSTX Global Corporation, formed through the prior merger of and STX Entertainment, entered a definitive agreement to divest STX Entertainment to an affiliate of The Najafi Companies, a Phoenix-based private investment firm, for $173 million subject to adjustments for transaction expenses and debt repayment. This transaction facilitated the repayment of STX's outstanding indebtedness, estimated at approximately $148 million at the time, thereby eliminating a key financial overhang from the merger and restoring STX's operational under new ownership. The Najafi Companies partnered with The Forest Road Company as lender to refinance STX's debt and inject , enabling the studio to sever structural ties with ErosSTX while Eros retained a minority stake of about 15 percent post-adjustments. The agreement, announced on December 7, 2021, emphasized STX's preservation as an independent entity focused on mid-budget film production, contrasting with the merger's integration challenges that had diluted its U.S.-centric model. The sale closed on April 22, 2022, at a final adjusted of roughly $157-158 million, including $6 million in direct purchase consideration plus debt assumption. This divestiture stabilized STX's by clearing legacy obligations, allowing leadership—including founder —to prioritize sustainable operations in the competitive mid-market segment rather than expansive global mergers. By mid-2022, the restructured ownership underscored a pragmatic shift toward financial realism, curtailing prior growth-at-all-costs pursuits amid industry volatility.

Corporate Divisions

STX Films

STX Films operates as the core division of STX Entertainment dedicated to the full spectrum of activities, encompassing development, production, financing, , and distribution. This integrated model enables the division to manage projects from through release, with a strategic emphasis on mid-budget features typically budgeted between $20 million and $50 million. By concentrating on commercially viable genres such as comedies and action-thrillers, STX Films seeks to produce star-driven content that maximizes while mitigating the financial risks inherent in higher-budget spectacles. The division's operational strategy prioritizes efficiency and profitability, contrasting with the scale-driven approaches of major studios by employing leaner structures that reduce overhead and accelerate decision cycles. Internal data analytics play a central in curation, guiding selections toward scripts and talent packages demonstrating empirical appeal and potential based on historical performance metrics. This data-informed supports nimble adjustments to market trends, fostering a portfolio balanced for consistent output rather than blockbuster dependency. To optimize reach without expansive proprietary networks, STX Films pursues targeted distribution alliances with established players. Early partnerships included multi-year home entertainment deals with , handling North American physical and digital releases to leverage existing infrastructure. More recently, domestic theatrical distribution has shifted to collaborations like the 2023 agreement with Lionsgate, which covers marketing and exhibition for upcoming slates, underscoring a preference for cost-effective, alliance-based over .

STX Television

STXtelevision operates as a studio within STX Entertainment, specializing in the development of content drawn from non-mainstream intellectual properties to amplify underrepresented voices, primarily through limited series, pilots, and formats as a means of hedging against theatrical market instability. This niche emphasis emerged alongside the company's early expansion into around 2014-2016, prioritizing genre-bending narratives and adaptations over broad network commitments. Early projects included pilots adapting existing IPs, such as the 2015 NBC comedy pilot Problem Child, derived from the 1990 film, and the 2018 half-hour pilot , expanding on the coming-of-age film. The division also ventured into content in April , launching a dedicated unit to produce reality series amid broader TV diversification efforts. Output remained constrained, with resources largely allocated to feature film priorities, limiting full series commissions and favoring exploratory pilots with cross-media potential from film libraries. Under the post-2022 ownership structure following The Najafi Companies' acquisition of STX Entertainment for $173 million, the television arm has shifted toward scalable digital platforms, producing reality dating series like FBoy Island, which premiered on HBO Max in July 2021 and achieved viewership success across two seasons before renewal at Peacock. Recent developments include the announced limited series adaptation of Pussy Riot founder Nadya Tolokonnikova's memoir, focusing on the Russian activist group's punk-feminist origins and political defiance, underscoring continued emphasis on provocative, voice-amplifying content over expensive broadcast deals. This strategy aligns with streaming tie-ins, such as Amazon Studios' drama pilot Once Upon a Time in Aztlan led by actors Jesse Garcia and Annie Gonzalez, exploring Chicano cultural themes under George Lopez's involvement.

STX International and Alternative Ventures

STXinternational, STX Entertainment's dedicated global division, managed international sales of theatrical rights, co-productions, and distribution partnerships to diversify revenue streams beyond domestic markets. Established with a headquarters and led by industry executive David Kosse, the unit focused on securing foreign distribution deals, such as a 2020 exclusive output agreement with for multi-territory releases of upcoming films. This arm handled rights licensing and co-financing arrangements, contributing to STX's amid volatile core theatrical performance by leveraging regional partnerships. Pre-2018 U.S.- trade tensions, STXinternational generated substantial international revenue through China-focused co-productions, notably via a 2015 pact with to jointly finance, produce, and distribute 12-15 films annually, with Huayi retaining rights outside the U.S. and . The 2017 action thriller The Foreigner, co-produced with Jackie Chan's Sparkle Roll Media under similar Sino-U.S. frameworks, exceeded $100 million in global , underscoring early ROI viability from such ventures before regulatory hurdles curtailed access. Subsequent shifts emphasized pragmatic regional strategies, pivoting from expansive ambitions to European and selective Asian markets via London-based operations and targeted deals. Complementing these efforts, STXalternative explored non-theatrical formats as a hedge against uncertainties, venturing into unscripted television, reality programming, and digital content. Launched in 2016 with overseeing the non-scripted unit, it produced series like the 2021 HBO Max reality show FBoy Island, hosted by and executive-produced by alumni from The Bachelor and Love Is Blind. These initiatives targeted streaming platforms and , yielding diversified output but with ROI assessments revealing mixed results—early unscripted deliveries boosted TV revenue by over 299% in fiscal 2017, though broader evaluation highlighted dependency on platform partnerships amid industry-wide streaming disruptions. Overall, these arms represented STX's empirical pivot toward resilient, non-traditional revenue models, prioritizing co-production efficiencies and format flexibility over high-risk global theatrical expansions.

Content Library and Output

Film Productions

STX Entertainment initiated its film production slate in with mid-budget features emphasizing original concepts and star attachments, amassing a of primarily owned intellectual properties by 2022. The company's output totaled around 25 theatrical releases over this period, spanning comedies, action thrillers, and dramas, with budgets typically ranging from $10 million to $80 million. These productions formed the backbone of STX's content holdings, distinct from licensed adaptations, as the studio avoided acquiring pre-existing libraries and instead relied on self-generated IP for perpetual revenue via sales, remakes, and international licensing. In the founding years of 2015–2016, STX released foundational titles including The Gift (2015, directed by Joel Edgerton, starring Jason Bateman and Rebecca Hall, budget approximately $5 million), an original psychological thriller; Desierto (2015, directed by Jonas Cuarón, starring Gael García Bernal); The Boy (2016, directed by William Brent Bell, starring Lauren Cohan); Free State of Jones (2016, directed by Gary Ross, starring Matthew McConaughey, budget $50 million), a historical drama based on original research; The Edge of Seventeen (2016, directed by Kelly Fremon Craig, starring Hailee Steinfeld and Woody Harrelson); and Bad Moms (2016, directed by Jon Lucas and Scott Moore, starring Mila Kunis, Kristen Bell, and Kathryn Hahn, budget $20 million), launching an owned comedy franchise. These early efforts established STX's pattern of original IP development, with sequels like A Bad Moms Christmas (2017, directed by Lucas and Moore, budget $28 million, starring Kunis, Bell, and Christine Baranski) extending proprietary assets. From 2017 to 2019, production volume increased, yielding action-oriented originals such as The Foreigner (2017, directed by Martin Campbell, starring Jackie Chan and Pierce Brosnan, budget $35 million); Father Figures (2017, directed by Lawrence Sher, starring Owen Wilson and Ed Helms, budget $18 million); 12 Strong (2018, directed by Nicolai Fuglsig, starring Chris Hemsworth, budget $40 million); Peppermint (2018, directed by Pierre Morel, starring Jennifer Garner, budget $10 million); Gringo (2018, directed by Nash Edgerton, starring David Oyelowo); The Happytime Murders (2018, directed by Brian Henson, starring Melissa McCarthy, budget $40 million); I Feel Pretty (2018, directed by Abby Kohn and Marc Silverstein, starring Amy Schumer, budget $32 million); Hustlers (2019, directed by Lorene Scafaria, starring Jennifer Lopez and Constance Wu, budget $20 million); and The Gentlemen (2019, directed by Guy Ritchie, starring Matthew McConaughey and Charlie Hunnam). Limited licensed adaptations appeared, including UglyDolls (2019, directed by Kelly Asbury, starring voices of Kelly Clarkson and Nick Jonas, budget $45 million, based on toy IP) and Playmobil: The Movie (2019, directed by Lino DiSalvo, budget $75 million, toy adaptation), but originals dominated, bolstering the owned library's stability. The 2020–2022 period featured pandemic-impacted releases like (2020, directed by , starring , budget estimated $40 million), an original disaster thriller; (2021, directed by , starring ); (2021, directed by David Mackenzie, starring Stephan James); (2021, directed by , starring ); (2022, directed by , starring , remake of Swedish original but STX-owned U.S. rights); and Marry Me (2022, directed by , starring and ). This era underscored STX's reliance on proprietary content for diversification, though financial pressures led to maneuvers affecting projects like the sequel, placed under bankruptcy protection in March 2022 to facilitate restructuring and acquisition, redirecting its development outside core operations.

Television and Digital Projects

STX Television, established as the company's dedicated arm for scripted and unscripted programming, pursued limited diversification into episodic content starting in 2014. Its debut series, the CIA thriller State of Affairs starring , co-produced with and Abishag Productions, premiered on on November 17, 2014, and ran for one season comprising 13 episodes. In formats, STX advanced approximately 12 projects into development or sales deals across U.S. and Asian networks, including , , , , and Oxygen, as part of an early expansion into announced in April 2016. Subsequent scripted efforts included the docudrama miniseries Valley of the Boom, which chronicled the 1990s dot-com era and premiered on National Geographic on January 13, 2019, executive produced by STXtv alongside creator Matthew Carnahan. The drama Games People Play, adapted from Angela Burt-Murray's novel Games Divas Play, debuted on BET on April 23, 2019, and aired for two seasons until December 21, 2021, focusing on professional basketball agents and personal intrigues. In digital realms, STX partnered with Toronto-based The Young Astronauts in October 2016 to co-produce short-form videos and interactive content tailored for online influencers, celebrities like and , and corporate clients, aiming to extend brand reach through platforms beyond traditional television. These initiatives contributed modestly to STX's portfolio, with short-form outputs serving primarily as extensions rather than standalone revenue drivers, numbering in targeted campaigns but lacking the volume of releases. Following the 2020 merger with and ensuing financial restructuring, including separation in 2021 and acquisition by Najafi Companies, STX Television narrowed its scope to boutique pilots and IP adaptations. Notable developments included the George Lopez-led drama pilot Once Upon a Time in Aztlan ordered by Amazon Studios and an English-language adaptation of the Belgian series Team Chocolate acquired for production with Reel One Entertainment. A limited series on , backed by movement founder , entered development in December 2023, prioritizing existing activist narratives over broad original scripting. This pivot underscored constraints in scaling television output, with efforts centering on high-profile but selective leverages of acquired or partnered amid broader corporate refocus on core film assets.

Recognition and Impact

Awards and Critical Reception

STX Entertainment's films have earned select accolades, primarily in acting and screenplay categories. For the 2019 film Hustlers, received the Award for Best Supporting Actress, recognizing her portrayal of Ramona Vega amid a field of nominees including for The Farewell. The studio's 2017 release , directed by , garnered an Academy Award nomination for Best Adapted Screenplay, alongside nods from the British Academy of Film and Television Arts, , and Golden Globes. Earlier entries like The Gift (2015) secured a win at the and a nomination for first-time feature achievement. Critical reception of STX's output has been mixed, with aggregate scores reflecting genre-specific patterns where comedies often fare better with audiences than dramas or thrillers. Performances in films like Hustlers drew praise for Lopez's "tour de force" energy, contributing to positive notices despite broader ensemble critiques. In contrast, animated ventures such as (2019) elicited largely negative reviews for lacking originality and musical coherence, underscoring challenges in diversifying beyond live-action fare. Analysts have characterized STX's slate as pragmatically formulaic, emphasizing mid-budget crowd-pleasers over groundbreaking narratives, which yields consistent but rarely exceptional critical acclaim. Comedies including Bad Moms (2016) resonated with viewers for relatable humor, though critics noted reliance on tropes over depth. This approach prioritizes broad appeal, evident in variances where genre films like action-thrillers (The Gentlemen, 2019) receive middling scores for stylistic flair amid plot inconsistencies, balancing empirical recognition against innovation shortfalls.

Commercial Performance Metrics

STX Entertainment's films have collectively grossed over $1.5 billion worldwide at the , driven primarily by a select number of mid-budget hits that offset losses from underperformers in its portfolio of $20–60 million productions. This aggregate reflects the studio's distributor earnings from theatrical releases between 2015 and 2022, with top performers accounting for a disproportionate share of ; for instance, Valerian and the City of a Thousand Planets (2017) earned $215 million, (2016) $180 million, Hustlers (2019) $150 million, The Foreigner (2017) $145 million, and (2017) $128 million. The studio's has exhibited high volatility inherent to the mid-budget model, where production costs typically range from $20–40 million per film, excluding , necessitating domestic grosses exceeding $60–80 million for after theater splits and ancillaries. Outliers like , produced on an estimated $20 million and grossing $113 million domestically alone, generated substantial net profits through word-of-mouth-driven and international appeal, enabling STX to fund subsequent projects amid flops such as Playmobil: The Movie (2019, $15 million worldwide) and (2019, $53 million worldwide). This hit-dependent dynamic underscores the causal risks of avoiding blockbuster-scale dependencies, as consistent underperformance in non-hits erodes capital without diversified revenue streams.
FilmWorldwide GrossEst. BudgetKey Financial Note
(2016)$180M$20MFirst STX film over $100M domestic; profitable outlier offsetting early slate losses.
Hustlers (2019)$150M$20MStrong ancillary potential from awards buzz, aiding ROI.
The Foreigner (2017)$145M$35MInternational-heavy earnings stabilized mid-tier output.
Following its April 2022 acquisition by the Najafi Companies for $173 million, STX shifted to a leaner operation with 4–5 annual releases in the same budget tier, reflecting contraction in theatrical ambitions amid post-pandemic market shifts. Recent output, including Operation Fortune: Ruse de Guerre (2023, approximately $50 million worldwide), has yielded modest grosses, prioritizing library monetization via streaming and licensing deals for older titles like the Bad Moms franchise to ensure cash flow stability over aggressive expansion. This approach has sustained operations without reported insolvency, though it highlights reliance on evergreen assets rather than new breakout successes for financial viability.

Controversies and Criticisms

In January 2020, Samantha Barbash, a former exotic dancer who orchestrated a scheme to drug and defraud wealthy clients at New York strip clubs, filed a $40 million lawsuit in the U.S. District Court for the Southern District of New York against STX Films, Nuyorican Productions (Jennifer Lopez's company), and Gloria Sanchez Productions. Barbash alleged that the 2019 film Hustlers, distributed by STX and inspired by a 2015 New York Magazine article about her criminal activities, invaded her privacy, defamed her, and misappropriated her likeness without consent by portraying a character (played by Lopez as Ramona Vega) based on her life story. She had pleaded guilty in 2015 to conspiracy, assault, and grand larceny related to the scheme, receiving five years' probation rather than prison time, and claimed the film's depiction exaggerated her role and personality traits, such as portraying her as concocting the scam and being violent toward clients. Barbash's attorneys argued that producers had approached her for life rights, which she refused, yet proceeded with the project, violating New York Civil Rights Law sections prohibiting unauthorized commercial use of one's name, portrait, or personality. However, the court dismissed the case on November 10, 2020, ruling that Barbash qualified as a limited-purpose due to extensive pretrial publicity about her crimes, requiring proof of for claims, which she failed to substantiate. The judge further held that the film sufficiently fictionalized events—disclaiming literal accuracy and altering details—to qualify as protected expressive work under the First Amendment, rather than , and that no specific false statements were identifiable as directly attributing criminal acts to Barbash beyond her admitted conduct. This outcome aligns with broader industry practices in biopics and dramatizations, where producers often rely on public-domain facts and fictional composites to depict real events without securing life rights, prioritizing narrative license for commercial appeal over verbatim accuracy. Courts have consistently upheld such approaches when underlying facts are verifiable and transformations serve artistic purposes, as of emotional harm rarely override free speech protections absent provable falsehoods or direct endorsement of the portrayal as factual. The Hustlers ruling underscores how public admissions of wrongdoing, like Barbash's guilty plea, limit recourse for plaintiffs, reinforcing that fictionalized accounts of criminal enterprises—common in thrillers and true-crime adaptations—face low liability thresholds when drawing from reported events rather than fabricating identities. No settlement occurred, and the dismissal without prejudice on some counts did not revive the suit, highlighting the rarity of successful challenges to such portrayals.

Management and Financial Scrutiny

Following a series of box-office disappointments, including the animated film (2019) and Poms (2019), STX Entertainment's management under founder and CEO drew investor skepticism regarding project selection and financial sustainability. These flops contributed to executive turnover, with STX actively recruiting senior talent amid doubts about its viability as an independent studio. Leadership decisions were further questioned after the company abandoned a planned (IPO) in in October 2018, citing adverse market conditions that limited access to capital. STX's funding model relied heavily on backers, including TPG Capital and Hony Capital, exposing it to dependencies on international investors amid geopolitical tensions. The U.S.- trade war exacerbated these vulnerabilities by disrupting STX's access to the Chinese market, a key revenue source for its films, and clouding IPO prospects. In response to liquidity strains, management pursued alternative financing, such as nearing a deal for Saudi in , while critiques highlighted potential overleveraging in a high-risk independent production environment. Debt restructurings emerged as pragmatic measures for continuity rather than indicators of inherent mismanagement, aligning with survival strategies common among mid-sized studios facing volatile box-office returns. In , following a merger with , the combined entity extended STX-related debt and entered exclusive talks to sell the STX subsidiary, culminating in a $173 million acquisition by an investor group led by Najafi Companies in that repaid $148 million in obligations. Specific assets, like rights to The Contractor (2022), were placed into Chapter 11 proceedings to facilitate the broader sale, reflecting tactical asset isolation amid competitive pressures rather than systemic failure. External factors, including trade disruptions and pandemic-era market shifts, amplified these challenges, underscoring entrepreneurial risks inherent to indie financing over isolated executive errors.

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  96. https://www.revolt.tv/article/2020-01-07/82440/woman-who-inspired-hustlers-filed-40m-lawsuit-against-j-los-production-company
  97. https://www.loeb.com/en/insights/publications/2020/11/barbash-v-stx-financing-llc
  98. https://law.justia.com/cases/federal/district-courts/new-york/nysdce/1:2020cv00123/529581/44/
  99. https://people.com/movies/jennifer-lopez-beats-40-million-lawsuit-from-woman-who-inspired-hustlers/
  100. https://www.hollywoodreporter.com/business/business-news/will-court-rulings-endanger-future-biopics-documentaries-1048277/
  101. https://ijoc.org/index.php/ijoc/article/download/21265/4402
  102. https://deadline.com/2018/10/stx-hong-kong-ipo-lapses-1202490000/
  103. https://escholarship.org/uc/item/9tj5n3jx
  104. https://www.businesswire.com/news/home/20211116005849/en/ErosSTX-Enters-into-Exclusive-Negotiations-for-the-Sale-of-its-STX-Entertainment-Subsidiary-and-Extends-STX-Debt
  105. https://www.hollywoodreporter.com/business/business-news/stx-places-rights-to-chris-pine-thriller-the-contractor-in-bankruptcy-as-studio-sale-proceeds-1235116787/
  106. https://alts.co/lets-bankrupt-an-industry-legend/
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