Everyman Media Group, the upmarket cinema chain renowned for its plush seating and curated food menus, has found itself in the spotlight for reasons far removed from the silver screen. On December 29, 2025, the company announced that Chief Executive Alex Scrimgeour had stepped down with immediate effect, just weeks after issuing a profit warning that sent shockwaves through its investor base and the broader entertainment industry.
The sudden departure of Scrimgeour comes as Everyman grapples with a cocktail of challenges: weaker-than-expected box office returns, mounting competitive pressures, and a sharp decline in its share price. According to BBC, the company had earlier slashed its revenue and earnings forecasts for 2025, projecting sales of at least £114.5 million and underlying earnings of at least £16.8 million. These numbers marked a notable drop from previous guidance of £121.5 million in revenue and £19.9 million in earnings, a move that triggered a 20% slump in the company’s share price and pushed it to record lows.
In Scrimgeour’s place, non-executive director Farah Golant has been appointed interim chief executive, tasked with steering the company through these turbulent times while the board embarks on an external search for a permanent replacement. Golant, whose career spans more than three decades across the global creative, entertainment, and media industries, is no stranger to high-stakes leadership. She has previously served as president of the Kyu Group, chief executive of the Nike Foundation’s Girl Effect, and head of independent television and film production house All3Media.
Philip Jacobson, Everyman’s non-executive chairman, expressed gratitude for Scrimgeour’s tenure, highlighting the pivotal role he played in guiding the company through the unprecedented challenges of the COVID-19 pandemic. “We would like to thank Alex for his commitment to Everyman throughout his tenure,” Jacobson stated, as reported by City A.M.. “He has played a pivotal role in the team that successfully led the business through its recovery from Covid, more than doubling revenue and delivering significant EBITDA growth. He has also built a strong and capable operational team.”
Scrimgeour’s journey with Everyman began in January 2021, after a stint leading the French restaurant chain Côte Brasserie since 2015. His arrival coincided with a crucial moment for the cinema industry, which was reeling from pandemic-induced closures and the subsequent shifts in consumer behavior. According to BBC, Scrimgeour “had to deal with a succession of crises from day one,” including the lingering effects of the pandemic and the ongoing cost-of-living crisis that has weighed heavily on discretionary spending.
The numbers tell a sobering story. Everyman, which operates 49 venues across the UK, reported that box office performance in the fourth quarter of 2025 was “weaker than anticipated.” Consumer spending remained under pressure, and the expected sales and earnings for the year were revised downward. The company’s share price has plummeted by 76% over the past five years, according to Dan Coatsworth, head of markets at AJ Bell, who told City A.M., “The share price fell by 76 per cent during his tenure, and time had run out.”
Coatsworth also pointed to the intensifying competition from larger rivals such as Vue and Odeon, who have not only matched but arguably surpassed Everyman’s once-unique proposition. “The leading chains Vue and Odeon have installed reclining seats, bringing comfort to the mass market, while they also rolled out bars inside their cinemas,” Coatsworth remarked, as cited by Evening Standard. He added, “Scrimgeour declared Everyman to be a ‘truly differentiated proposition’ when he was appointed five years ago. Fast-forward to the present day, and that differentiation has gone up in smoke.”
Indeed, the very features that set Everyman apart—luxury seating, food service, and a boutique cinema experience—have now become industry standards, making it harder for the company to maintain its competitive edge. The situation was further compounded by what Coatsworth described as an uninspiring year for new film releases, which did little to entice audiences back to the big screen. “It’s fair to say that 2025 wasn’t a golden year for new film releases, making matters worse for Everyman,” he noted.
The leadership shakeup doesn’t end with Scrimgeour’s exit. Will Worsdell, the group’s finance director, also resigned on December 15, 2025, adding another layer of urgency to the board’s search for a new executive team. As The Independent reported, “Everyman has now lost both its chief executive and its finance director over the past fortnight; the latter having resigned on December 15. That’s unfortunate timing and means the pressure is on to find a new leadership team fast.”
While the company searches for fresh leadership, market watchers are keeping a close eye on Blue Coast Private Equity, which owns a significant 29% stake in Everyman. There is growing speculation that Blue Coast might attempt a takeover, with the aim of taking the company private and enacting a turnaround away from the glare of the public markets. As Coatsworth observed, “It will be interesting to see if Blue Coast tries to take the company out on the cheap, opting to remove it from the public spotlight to enact a turnaround programme.”
In the meantime, Golant’s appointment as interim chief executive is seen as a stabilizing move. Jacobson emphasized her credentials, saying, “Farah has extensive experience across the global creative, entertainment and media industries, and a track record of accelerating growth and cultivating high-performance, results-oriented organisations.” The company has assured stakeholders that Golant will work closely with the management team and board, and that updates on the recruitment process will be provided “as soon as practicable.”
Everyman’s current predicament is emblematic of the broader challenges facing the cinema industry. The rise of streaming platforms, changing consumer habits, and economic headwinds have forced even the most innovative operators to rethink their business models. For Everyman, the immediate priority is clear: stabilize the business, restore investor confidence, and reclaim its position as a leader in the premium cinema space. Whether Golant, or whoever ultimately takes the helm, can script a comeback remains to be seen. But one thing’s for sure—the next act in Everyman’s story will be watched closely by audiences both inside and outside the cinema.
