Big Screen Entertainment Group Enters the $500 Billion Beauty Industry
LOS ANGELES, March 12, 2025 (GLOBE NEWSWIRE) -- Big Screen Entertainment Group (OTC: BSEG) is making a bold expansion into the booming beauty industry—an ever-growing global market projected to exceed $700 billion by 2028.
The Los Angeles-based film and television company has completed filming on the pilot episode of a beauty-focused TV show, seamlessly integrating a new line of cutting-edge beauty products backed by top industry experts. This venture marks a strategic expansion for Big Screen, leveraging its entertainment expertise to enter one of the most profitable consumer sectors.
While the name of the series and details of the product line remain confidential for now, audiences can expect a blend of Hollywood glamour and transformative beauty experiences featuring a lineup of well-known faces.
Among them is celebrated actress Kelli Maroney (Fast Times at Ridgemont High, Night of the Comet), who joins the show in an exciting role. Also starring as the beauty expert is Michelle Guo, owner of MG Aesthetics and Mrs. Asian International.
The show is directed by BSEG's Catherine Taylor, and produced by Big Screen CEO, Kimberley Kates, who expressed enthusiasm about the company's latest endeavor:
'The beauty industry is a natural fit for Big Screen's expansion. With a loyal audience, high engagement, and a global demand for innovation, this is an exciting new chapter for us. We're merging entertainment with an industry that thrives on storytelling, transformation, and aspirational lifestyle—making this the perfect synergy for success.'
The beauty sector has evolved into one of the most lucrative industries worldwide, driven by digital influencers, social commerce, and the increasing demand for premium self-care products. Beauty now accounts for 20% of all e-commerce sales, offering an unprecedented growth opportunity for companies positioned at the intersection of media and consumer engagement.
This latest move from Big Screen Entertainment Group reinforces its commitment to expanding beyond traditional entertainment, building strong revenue streams in high-growth markets. More details on this exciting new venture will be unveiled in the coming months.
About BSEG
Big Screen Entertainment Group (OTC: BSEG) is a cutting-edge film and television production company with a diverse portfolio spanning entertainment, technology, and consumer products. With decades of experience in creating and distributing compelling content, Big Screen is now applying its expertise to high-growth industries, bridging the worlds of media and commerce in innovative ways.
Forward-Looking Statement: A number of statements contained in the press release are forward-looking statements that are made pursuant to the safe harbor provisions of the Private Securities Litigation Act of 1995. These forward-looking statements involve a number of risks and uncertainties, including timely development, and market acceptance of products and technologies, competitive market conditions, successful integration of acquisitions and the ability to secure additional sources of financing. When used in this press release, words such as 'could,' 'plan,' 'estimate,' 'expect,' 'intend,' 'may,' 'potential,' 'should,' and similar expressions are forward-looking statements.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
CBC
3 hours ago
- CBC
'When I started, we were dead people': Tantoo Cardinal on bringing nuanced Indigenous stories to the screen
To understand the legacy and trajectory of Tantoo Cardinal's renowned acting career, you really have to understand the cultural context she was born into. "I was born only [five] years after Emily Carr passed away," the Indigenous icon tells Q 's Tom Power in an interview. "If you look at her work, it's all about the dying culture and the dead Indian…. So when I started, we were dead people." By the time Cardinal landed her first professional acting role in 1971, she says there was "massive ignorance" about Indigenous peoples across Canada. Fueled by rage, she turned to acting and storytelling as a form of resistance. "I understood the power of stories," Cardinal says. "Those stories had to be changed to empower ourselves to decolonize … to get back to the origins of who we are." In 1986, Cardinal moved to Los Angeles to find more work. That's where she landed a career-changing role in the Oscar-winning film Dances With Wolves, opposite Kevin Costner and Graham Greene. For a lot of people, Dances With Wolves was the first time they saw Indigenous people being represented in a way that highlighted their humanity. "There was a lot of magic surrounding that movie and I knew that it was significant," Cardinal says. "It was going to be in a Native language and then I asked them, 'Could you use a language where there are some materials, so that the actors have something that they can use to learn what the language is? … So that's how Lakota became the language that they used." Recently, Cardinal was honoured with the Equity in Entertainment Award at The Hollywood Reporter's Women in Entertainment Canada gala in Toronto. The award recognizes the Canadian acting legend's tireless work to bring authenticity, accuracy and nuance to Indigenous stories. When she looks back on her career now, Cardinal can see how her advocacy helped lay the groundwork for greater Indigenous representation today. "There's no turning back," she says.
Winnipeg Free Press
9 hours ago
- Winnipeg Free Press
A book with bite
In her first work to be translated into English (by Pablo Strauss), Québec City-based poet, short story writer and novelist Mireille Gagné explores ecological and biological horror in the novella Horsefly. This slim eco-thriller is split into three perspectives. The first follows entomologist Thomas in 1942, recruited by the Allied forces to test and develop biological weapons which could be spread by insects. He and other scientists are isolated on Grosse Île, a remote island in the St. Lawrence River. In the same region of Québec, in 2024, lives Theodore, a somewhat shiftless young factory worker raised by his strict and emotionally distant grandfather Émeril. Theodore lives near the care home where Émeril is mistreated by the staff. News reports hint at a heatwave all across Québec that seems to coincide with a sharp spike in violence and inexplicable flights of rage. Emilie Dumais photo Mireille Gagné's latest was initially published in French in 2024 as Frappabord. The third perspective is the first-person (or insect) point of view of a female horsefly who carefully stalks Theodore and knows how this young man, his grandfather and the heatwave are connected to Thomas and the experiments carried out in 1942. After being bitten by the horsefly, Theodore becomes more impulsive and less apathetic, breaking Émeril out of the care home and taking him to the remote island where he once worked as a caretaker at a secret army base. Émeril's worsening dementia means he is often unable to tell the difference between the current moment and memories, and he begins to share memories that were never supposed to surface. The sections narrated by the horsefly are short and sweet, mainly concerned with setting the atmosphere. The fly is a sensual creature; its sections are consumed with the sweaty, bloody and vaguely erotic focus on biting Theodore and consuming his blood. This brevity works well and sets an ominous tone for the longer, more narrative-focused sections. A tight focus is used again when the narrative follows Thomas in 1942. Isolated not only on the remote Grosse Île army base, he is also forbidden from discussing his research with the other scientists, as they are forbidden such discussions with him. Tasked with finding an appropriate vector to spread anthrax, Thomas becomes fixated on a particular species of horsefly which breeds in the St. Lawrence. The flies are particularly aggressive and abundant on the island, making them the perfect specimen for his experiments. But the flies' persistence and numbers make them effectively unmanageable, bringing great risk to everyone at the facility. Theodore's sections are similarly compartmentalized and narrow in their scope, focusing purely on him and his small apartment and his spot on factory floor, branching out slightly once he takes Émeril from the care home, but the focus is less effective in this instance. Theodore's narrative is peppered with radio and news snippets describing a growing outbreak of rage and violence across Québec. While this would normally raise the stakes, the novella maintains a narrative distance from the outbreak, which is the main threat of the plot. While post-apocalyptic narratives often tighten their focus to individual stories to show the individual consequences of the larger scale happening, in Horsefly the threat to the world remains too vague to feel threatening. While there is some revelation concerning the flies and Thomas's research which remains grounded in realism, the nebulous 'rage virus' idea has been used before — in, for example, Danny Boyle's film 28 Days Later or Paul Tremblay's novel Survivor Song. Horsefly is certainly not a zombie novel – it's doing something quite different – but the parallel remains. Horsefly There's a fascinating idea at the core of Horsefly, but the tight and limited focus of the narrative keeps the dread off in the distance. It's certainly thought-provoking — the sections of Second World War-era Québec are a highlight — but readers expecting more horror may find this novella light on tension. Keith Cadieux is a Winnipeg writer and editor. His latest story collection Donner Parties and Other Anti-Social Gatherings is out now from At Bay Press. He also co-edited the horror anthology What Draws Us Near, published by Little Ghosts Books.
CBC
3 days ago
- CBC
Tyler Perry accused of sexual assault, harassment by actor who worked on his TV series The Oval
An actor who worked on the Tyler Perry-created TV drama The Oval has filed a lawsuit alleging Perry leveraged his industry power to repeatedly sexually assault and harass him while keeping him quiet. The lawsuit filed in Los Angeles Superior Court by actor Derek Dixon, who appeared on 85 episodes of the BET series, seeks at least $260 million US in damages. "Mr. Perry took his success and power and used his considerable influence in the entertainment industry to create a coercive, sexually exploitative dynamic with Mr. Dixon — initially promising him career advancement and creative opportunities, such as producing his pilot and casting him in his show, only to subject him to escalating sexual harassment, assault and battery, and professional retaliation," the lawsuit says. The lawsuit was filed Friday and first reported Tuesday by TMZ. Perry's attorney, Matthew Boyd, said its allegations are false. "This is an individual who got close to Tyler Perry for what now appears to be nothing more than setting up a scam," Boyd said in a statement Tuesday. "But Tyler will not be shaken down, and we are confident these fabricated claims of harassment will fail." The lawsuit says that Perry first noticed Dixon in 2019, when Dixon was part of the event staff at a Perry party, and later offered him an audition. Dixon would first appear in a small role on the Perry series Ruthless before getting the bigger role on the political drama The Oval. Perry soon began sending unwanted sexual text messages to Dixon, according to the lawsuit, which includes screenshots of several of them. "What's it going to take for you to have guiltless sex?" one of the messages says. The lawsuit says Perry offered Dixon an increasingly prominent role on the show as his sexual advances became more aggressive. The actor says he tried to remain friendly while maintaining boundaries. "Dixon did his best to tiptoe around Mr. Perry's sexual aggression while keeping on Mr. Perry's good side," the lawsuit says. "Mr. Perry made it clear to Dixon that if Dixon ignored Perry or failed to engage with the sexual innuendoes, Dixon's character would 'die.'" The lawsuit says Perry eventually sexually assaulted Dixon on "multiple occasions," including an instance where he "forcibly pulled off Mr. Dixon's clothing, groped his buttocks, and attempted to force himself on Dixon." Dixon clearly told Perry "No," but was initially ignored until he was able to de-escalate the situation and change the subject, according to the lawsuit. The following day, Perry apologized, and told Dixon he would work with Dixon on a TV pilot Dixon was seeking to produce. Dixon later received a raise that the lawsuit suggests was part of an attempt to keep him quiet. He said the fear of his character dying kept him quiet as intended. Perry also produced and bought the rights to the pilot, called Losing It, but the lawsuit alleges Perry had no intention of selling the show and was using it only for leverage over Dixon. The lawsuit describes several other assaults, including one where Dixon was staying in a guest room of Perry's house when Perry climbed into bed with him uninvited and began groping him, the lawsuit alleges. Dixon would eventually move from Atlanta, home to Perry's production studio, to Los Angeles to put distance between the two of them. Dixon in 2024 filed a complaint with the Equal Employment Opportunity Commission, the federal agency meant to enforce discrimination and harassment law in the workplace. When that didn't result in any action from the show's producers, he quit. The Associated Press does not typically name people who say they have been sexually abused unless they come forward publicly as Dixon has. The Oval is one of many television series executive produced by, written by and directed by the 55-year-old Perry, who first became known as creator and star of the Madea films and has since built a major production empire in TV and movies. As an actor, he has also appeared in the films Gone Girl and Don't Look Up.
