Actors

A group of California trial lawyers is backing a package of bills aimed at policing their industry by ramping up the penalties for attorneys who recruit clients illegally or prioritize the desires of hedge fund investors.

The Consumer Attorneys of California, a prominent trade group, said it is supporting two bills this session meant to crack down on the “small number of bad actors engaged in illegal conduct that threatens to undermine public trust” in the state’s legal bar.

The group said the bills, introduced Monday by Assemblymembers Ash Kalra (D-San José) and Rick Chavez Zbur (D-Los Angeles), were a response to recent Times investigations involving California lawyers. The Times found nine clients within L.A. County’s $4-billion sex-abuse settlement who said they were paid to sue and, in some cases, fabricate claims that became part of the historic payout. Another story examined opaque investor financing arrangements used by some firms.

“We’re not trying to insulate ourselves from accountability,” said Douglas Saeltzer, president of the attorney group, in an interview. “There needs to be consequences.”

The bill introduced by Zbur would disbar any attorney who is convicted of illegally soliciting clients. Kalra’s bill would ban private equity firms and hedge funds from dictating case strategy after giving money to a law firm.

Plaintiff’s attorneys say the legislative push is an attempt to clean up their profession’s image. It comes amid efforts by companies and governments frequently targeted by lawsuits to rein in a barrage of litigation.

Uber is pushing a measure for the November ballot that would limit how much lawyers can collect in fees for car crash cases, encouraging Californians to “stop the billboard lawyer scam.” A coalition of California counties has simultaneously begun circulating language to lawmakers that would limit attorneys’ ability to sue over older sex-abuse cases, pointing to recent allegations of fraud.

Zbur’s legislation, Assembly Bill 2039, would require the State Bar strip the license of any attorney with a felony conviction for a practice known as capping, in which law firms directly solicit or procure clients to sign up for lawsuits. Currently, attorneys convicted of capping can face suspension or probation, but are eligible to keep their license.

Under the bill, the attorney also would be disbarred for a misdemeanor capping conviction if the lawyer “acted knowingly and for financial gain.”

“It really is making very clear that if you’re engaging in this kind of capping, then there’s going to be a consequence,” Zbur said.

All clients who said they were paid to sue L.A. County over sex abuse were represented by Downtown LA Law Group, one of Southern California’s largest personal injury firms. The firm, also known as DTLA, is under investigation by the district attorney, the State Bar and L.A. County.

DTLA has denied any wrongdoing and said its lawyers “operate with unwavering integrity, prioritizing client welfare.”

Zbur’s bill also would provide whistleblower protections to people who report on attorney misconduct and tighten the rules around client loans. California is one of the few states where lawyers can lend money directly to clients.

Other states have barred the practice, concerned that direct loans give an attorney too much leverage over their clients.

The second bill introduced Monday, AB 2305, is aimed at the rising trend of private equity firms and hedge funds lending money to law firms and profiting from the payouts. The Times reported in December that investors were financing some of the flood of sex-abuse litigation against L.A. County.

Supporters of litigation finance say it gives attorneys the funding they need to take on deep-pocketed corporations and represent victims who can’t afford to sue on their own. Critics say investors can secretly sway case strategy, putting their profit before the best interests of a client.

“These Wall Street investors are salivating,” Kalra said. “This is just gonna clearly say, ‘No, no more. We’re not gonna allow these types of investments to influence the practice of law.’”

Kalra’s bill would bar investors from weighing in on litigation, such as who the firm should take on as a client and when they should settle a case. Any contracts that allow investor influence would be void under the law.

It’s unclear how the restrictions would be enforced. It’s often difficult to tell when an investor is financing a firm’s caseload, much less whether they’re exerting influence on a case.

Lawyers already are barred under the State Bar’s rules from allowing a third party to dictate case strategy and are barred in many cases from sharing legal fees with a nonlawyer.

“We’re finding that’s not enough,” Kalra said. “We actually need clear statutory safeguards.”

STRANGER Things sensation Millie Bobby Brown is one of the top ten highest-paid Hollywood screen stars — aged just 22. 

The Brit actress earned a whopping £19.6million last year, Forbes magazine has revealed. 

Her bumper pay makes her the youngest star to grace the business bible’s annual highest-paid actors list.

It comes after Millie’s hit Netflix sci-fi show ended with its fifth and final series last year — becoming one of the streamer’s most-watched shows of all time. 

Topping Forbes’ 2025 list is US actor Adam Sandler, 59, known for his comedy roles.

He reportedly made £36.2million last year from producing and starring in Happy Gilmore 2, and co- starring in Netflix comedy drama Jay Kelly. 

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Tom Cruise, 63, came in second with a £34.7million payday off the back of Mission: Impossible — The Final Reckoning.

Scarlett Johansson, 41, was fourth and the best-paid woman in the industry, raking in some £32.4million. 

While Hollywood pay is still huge, the combined earnings of the top 20 actors actually fell from 2024’s £551million — down to £445million. 

Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.

AI will not be replacing you any time soon.

On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”

Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.

It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.

For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.

SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”

Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”

Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.

In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”

A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”

Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.

The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.

Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.

And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.

Though Charlie did have the advantage of being able to be seen live and in person.

Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”

People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.

Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.

You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.

At the Basement, a haunted escape room experience in Sylmar, patrons attempt to evade a deranged serial killer by solving puzzles.

Now the actors, who work as game masters and perform as distressed abductees at the venue, will be frightening their guests while under union protection.

This week, the Basement’s union voted unanimously to ratify its first working contract, making it the first and only escape room to have a union and operate under a collective bargaining agreement. The group is recognized as part of the Actors’ Equity Assn., which represents more than 51,000 actors and managers in live entertainment.

Jenna Wagner, an actor at the Basement, said the new contract, bargained by a dozen employees including herself, will “improve general unit morale.” It addresses higher wages and greater safety provisions as well as scheduling and media protections.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

“It’s, of course, setting a precedent. A lot of people don’t see working at an escape room as something worthy of being recognized. Sometimes when you say, ‘I’m an actor at an escape room.’ People just say ‘Oh, OK,’” Wagner said. “It feels very validating [to unionize like this] because we are actors. We are performing every day.”

The Basement’s union was formed two years ago. Management, led by founder and chief executive Kayden Ressel, voluntarily recognized its workers’ efforts to join Actors’ Equity. Ressel said he used to work as a scare actor at haunted attractions so he understood where his employees were coming from.

“Their values seemed to be in alignment with what I really wanted my business to be in the first place. So, we were excited” about the union efforts, Ressel said. He’s hoping the finalized contract “will raise the bar” for other escape rooms.

The Sylmar attraction first opened in 2014 and employs 15 people. Across 3,000 square feet, it offers four interactive room choices where groups get to decide between escaping different areas of the haunted house. Live actors are involved in three of the four experiences. (The Basement is one of the few escape rooms to hire actors.) Two other Basement locations can be found in Las Vegas and Kansas City, Mo.

Ressel said he’s considering offering a discount of 10% to 20% for customers who belong to unions.

The popularity of escape rooms in the U.S. goes back to the early 2010s, when interest in interactive experiences was at an all-time high. Today, there are around 75 escape rooms in the L.A. area and more than 2,000 across the country. According to data from the media company Room Escape Artist and the escape room app Morty, the industry stabilized at the current facility count in 2022, after shrinking more than 10% during the pandemic.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

Noah Nelson, a professor at the California Institute of the Arts and founder of immersive arts publication No Proscenium, said Actors’ Equity’s recognition of the Basement’s workers is a step in the right direction as the union welcomes more nontraditional units.

“There’s something to be said about the value of live entertainment being recognized. It goes beyond the venues that people would traditionally associate with that whether that is a regional theater, a Broadway house or a concert venue,” Nelson said. “There is an industry here that stretches beyond just the big houses, and at the end of the day, I view the signs of organizing in these spaces as nothing but a good sign for the overall health of the industry.”

The Actors’ Equity Assn. was founded in 1913 and is known for representing live performers typically in theatrical productions. In recent years, the definition of live entertainment has expanded, and Actors’ Equity has recognized performers at the Griffith Observatory, Drunk Shakespeare companies and even the dancers at the Star Garden Topless Dive Bar in North Hollywood. There also are ongoing negotiations for Disneyland’s cast members and the entertainers at the Casa Bonita restaurant in Denver.

Stefanie Frey, the director of organizing and mobilization at Actors’ Equity, said in a statement that the union views “escape rooms and similar immersive entertainment experiences as another live stage.” She also said the union expects “others in this growing community will seek out our union for representation.”

Actress Brooke Shields, the president of Actors’ Equity, said, “Negotiating a first contract is always a challenge, and in this case, we had no other unionized escape rooms to use for a model.”

“These workers stuck together through a long process, and seeing what they’ve achieved, I’m sure they agree it was worth it,” she said in a statement. “They have made history for a swiftly growing sector of our industry.”

BRAD Pitt’s estranged son Maddox has dropped the actor’s surname for his credit on his new film with mum Angelina Jolie.

Maddox, 24, served as the production assistant on Angelina’s critically acclaimed 2024 Maria Callas biopic and is now an assistant director of her latest feature, Couture.

For the first time, he’s been credited as Maddox Jolie rather than Maddox Jolie-Pitt.

The new flick sees Angelina play the lead role of Maxine, an American film director diagnosed with breast cancer before jetting to France to shoot the film that will open Paris Fashion Week.

Brad and ex-wife Angelina, 48, have six kids — they adopted Maddox, Pax, 22, and Zahara, 21, and also have their biological children Shiloh, 19, and 17-year-old twins Knox and ­Vivienne.

Maddox isn’t the first child to ditch the Pitt name.

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Shiloh made the same decision in 2024. The legal forms were published in the LA Times for a month before a judge finalised the move as per California law.

Brad was reported to have been upset by the name change.

A source told People: “He’s aware and upset that Shiloh dropped his last name. The reminders that he’s lost his children, is of course not easy for Brad. He loves his children and misses them. It’s very sad.”

The same year Vivienne only used her mother’s name when she was credited as a producer on Broadway musical Playbill for The Outsiders.

While Zahara presented herself as ‘Zahara Marley Jolie’ at her introduction to the Alpha Kappa Alpha sorority at Spellman College in 2023, this despite Brad describing her enrolment at the college as “really beautiful” months earlier.

The Once Upon a Time in Hollywood actor’s marriage to Angelina came to an end in 2016 after an explosive row in front of their kids on a private jet. Brad allegedly clashed with Maddox on the same flight.

As the bitter divorce rumbled on, it became clear the kids were on their mum’s side.

An insider told The Sun: “As far as Maddox, Pax and Zahara go, the word is that they are totally in support of their mother and Brad doesn’t hear from them these days at all — certainly not the boys, and it’s been that way for a very long time.”

The source suggested Brad still had contact with his biological kids, Shiloh, Knox and Vivienne.

They said: “He still sees Shiloh and the twins whenever he can, though not as often as he would like.”

The multi-millionaire fought a long, bitter and expensive battle to try to gain equal custody rights with Angelina.

And in May 2021, a judge ruled he could jointly share access.

But just a few months later that was overturned following an appeal by Jolie on the grounds that the judge had financial connections to Brad’s legal team.

None of that stopped Brad from seeing the children under supervision, which he had to book in advance.

Following the break-up, Brad joined Alcoholics Anonymous and he has spoken about drinking too heavily for much of his life.

Pax’s private Instagram post in 2020 on Father’s Day suggested the kids experienced problems before and beyond the plane incident.

He wrote: “You time and time and again prove yourself to be a terrible and despicable person.

“You have no consideration or empathy toward your four youngest children who tremble in fear when in your presence.

“You will never understand the damage you have done to my family because you’re incapable of doing so.”