Coronavirus

WASHINGTON — The Trump administration is asking Congress to give it four additional months to complete the 2020 Census, blaming the COVID-19 pandemic.

The Census Bureau had previously halted its in-person outreach because of the virus’ spread, but it had maintained it would still be able to meet its legal obligation to present results to the president and Congress by Dec. 31.

In a conference call with members of Congress Monday, Commerce Secretary Wilbur Ross asked for legislation giving the bureau an additional 120 days to present the results.

Field operations, such as going door to door to collect information for those who did not respond to the census online or by mail, are now scheduled to resume June 1 and would last until Oct. 31, according to the bureau, which falls under the Commerce Department.

That means rather than have the data ready by Dec. 31, the bureau would need until April 30, 2021. Data used to redraw the country’s congressional district boundaries would be delivered to the states no later than July 31, 2021, rather than in March.

The existing deadlines are set in federal law, and it will take an act of Congress to move them.

President Trump on Monday said the bureau would need a “major delay” and questioned if 120 days was long enough. “Obviously they can’t be doing very much right now,” Trump said at a briefing on the coronavirus. “How can you possibly be knocking on doors for a long period of time now?”

The 2020 census was already unusually politically fraught after the administration attempted to include a question about citizenship on the form, a move that was ultimately rejected by the Supreme Court. Critics said the effort was an attempt to suppress census response rates in blue states with large immigrant communities, like California.

Democrats said they would review the bureau’s request, but would also want to see detailed information supporting the need for a delay.

“The oversight committee will carefully examine the administration’s request, but we need more information that the administration has been unwilling to provide,” said Rep. Carolyn B. Maloney (D-N.Y.), chairwoman of the Committee on Oversight and Reform, in a statement. “The director of the Census Bureau was not even on today’s call, and the administration has refused for weeks to allow him to brief members of our committee, despite repeated requests.”

William Frey, a demographer for the Brookings Institution, said it makes practical sense to ask for a delay now, so Congress has time to consider it.

“It’s a fairly big deal to do this. But on the other hand, we’re in a fairly unusual situation,” Frey said.

For the first time this year, people can fill out the census online, and so far 48% of households have responded, according to the bureau. But millions of Americans don’t respond, prompting the need for a half million census workers to make in-person visits nationwide to ensure an accurate count.

But door-to-door canvassing is difficult to imagine at a time when governors in most states have ordered nonessential workers to stay home to slow the spread of the coronavirus that has more than 500,000 positive U.S. cases already.

“People are pretty likely to be home, [so] it seems like a good opportunity to do the census. But it seems unlikely that people are going to feel safe doing that [door-knocking],” Menlo College Political Scientist Melissa Michelson said. “It’s another reminder that we are not living in normal times and a lot of things that would happen this year are not going to happen.”

There is some precedent to a delay. More than 100 years ago, the census director blamed the 1918 Spanish flu pandemic, along with World War I and other things, for a five-month delay in delivering the results of the 1920 census.

The once-every-decade count of the country’s population is mandated by the Constitution and the results are used to redraw congressional districts so that each represents about the same number of people. A delay in the results could have a cascading effect, as they are also used to redraw state legislative districts, city council boundaries and even school board seats ahead of the 2022 election.

Michelson said a delay in providing the data to states would compress the time left to redraw those boundaries, and to litigate the court battles that occur in some states over whether the lines were fairly drawn, all before the 2022 primary elections begin.

The decision could have a pronounced impact on California, where a 14-member citizen’s redistricting commission will draw boundaries for congressional and legislative districts for just the second time since voters wrested the job from the California Legislature in 2008. By law, the panel — consisting of Democrats, Republicans and unaffiliated voters chosen through a lengthy public vetting process — must base its work on detailed census data.

In 2011, the citizens panel held extensive hearings across California seeking public input on how best to draw legislative and congressional districts with an eye toward fair representation. The commission’s final deliberations on the maps came in late July 2011.

But under the new proposed census schedule, that’s the month in 2021 that states would first receive the data. That delay could push the California commission’s work dangerously close to the 2022 election cycle and could potentially bleed into the time frame in which candidates file paperwork to run for those positions.

Times staff writer John Myers in Sacramento contributed to this report

The “toxic and chaotic” culture at the centre of the United Kingdom’s government led to a delayed response to the COVID-19 pandemic that resulted in about 23,000 more deaths across the nation, a damning report from an inquiry into the government’s handling of the pandemic has found.

The inquiry, which former Prime Minister Boris Johnson ordered in May 2021, delivered a blistering assessment (PDF) on Thursday of his government’s response to COVID-19, criticising his indecisive leadership, lambasting his Downing Street office for breaking their own rules and castigating his top adviser Dominic Cummings. The inquiry was chaired by former judge Heather Hallett.

“The failure to appreciate the scale of the threat, or the urgency of response it demanded, meant that by the time the possibility of a mandatory lockdown was first considered it was already too late and a lockdown had become unavoidable,” the inquiry found. “At the centre of the UK government there was a toxic and chaotic culture.”

The global pandemic, which began in 2020, killed millions of people worldwide, with countries enforcing lockdowns in an attempt to stop the spread of the virus.

The UK went into lockdown on March 23, 2020, at which time it was “too little, too late,” the inquiry found, revealing that if the nation had gone into lockdown just a week earlier, on March 16, the number of deaths in the first wave of the pandemic up to July would have been reduced by about 23,000, or 48 percent.

“Had the UK been better prepared, lives would have been saved, suffering reduced and the economic cost of the pandemic far lower,” the inquiry found.

A failure to act sooner again, as cases rose later in the year, also led to further national lockdowns, Hallett’s inquiry found.

A campaign group for bereaved families said “it is devastating to think of the lives that could have been saved under a different Prime Minister”.

There was no immediate comment from Johnson on the inquiry’s findings.

The UK recorded more than 230,000 deaths from COVID, a similar death rate to the United States and Italy, but higher than elsewhere in western Europe, and it is still recovering from the economic consequences.

“Mr. Johnson should have appreciated sooner that this was an emergency that required prime ministerial leadership to inject urgency into the response,” the inquiry found.

Following the release of the inquiry’s findings, Sir Ed Davey called on Kemi Badenoch, the leader of the Conservative Party, to apologise on behalf of the Conservatives.

“As this report is published, my thoughts and prayers are with all those who lost loved ones during the pandemic, and everyone who suffered,” Davey said. “This report confirms the abject failure of the last Conservative government.”

Ellie Chowns, a Green Party MP for North Herefordshire, said the British people were “let down” by their government.

“Families and communities – especially children – are still living with the consequences. It’s vital to learn from this report, and invest far more seriously in pandemic preparedness, so that Britain can be secure and resilient if – or when – we are again faced with such a challenge.”

The first cases of COVID-19 were detected in Wuhan, China, in late 2019, and information from the country is seen as key to preventing future pandemics. As late as June 2025, the World Health Organization (WHO) said it was working to uncover the origin of the pandemic, with its work still incomplete, as critical information has “not been provided”.

“We continue to appeal to China and any other country that has information about the origins of COVID-19 to share that information openly, in the interests of protecting the world from future pandemics,” WHO chief Tedros Adhanom Ghebreyesus said in June.

In 2021, Tedros launched the WHO Scientific Advisory Group for the Origins of Novel Pathogens (SAGO), a panel of 27 independent international experts.

Marietjie Venter, the group’s chair, said earlier this year that most scientific data supports the hypothesis that the new coronavirus jumped to humans from animals.

But she added that after more than three years of work, SAGO was unable to get the necessary data to evaluate whether or not COVID was the result of a lab accident, despite repeated requests for detailed information made to the Chinese government.

After 14 days, two “College GameDays,” two “Monday Night Footballs” and one election night, the protracted contract dispute between YouTube TV and Walt Disney Co. is finally over.

As my colleague Meg James reported last week, the two sides settled Friday after agreeing on a multi-year distribution deal for YouTube to carry Disney-owned programming.

Financial terms of the deal were not disclosed.

Both sides touted the agreement as a win for consumers. Disney Entertainment Co-Chairs Alan Bergman and Dana Walden and ESPN chief Jimmy Pitaro said in a joint statement that the deal “recognizes the tremendous value of Disney’s programming and provides YouTube TV subscribers with more flexibility and choice.”

For its part, YouTube also noted that the settlement “preserves the value of our service for our subscribers” and “future flexibility in our offers.” The Google-owned platform also apologized to consumers for the “disruption,” saying it appreciated people’s patience during the dispute.

Of course, reaching an agreement is good for customers who had lost access to ESPN, ABC News election coverage and other programming during the two-week blackout.

But this is far from the last impasse that sports fans and other viewers will see — if history is any guide.

In fact, the number of blackouts related to carriage and contract disputes has been increasing over the last decade, particularly as the health of the television business has declined, raising the economic stakes for all sides.

Back in the day, contracts between content providers and distributors would last for five years or more because the industry was more stable and little would change over the course of an agreement.

That’s obviously all different now, with most deals today lasting about two to three years, reflecting rapid changes in a TV business that has been upended by streaming platforms.

In today’s TV landscape — with cable cord-cutters aplenty and many more options to watch your favorite shows and sports teams — negotiations are more fraught.

Traditional pay TV providers like DirecTV and Charter Communications are scrambling to retain their subscribers, while legacy media companies like Disney are trying to support their networks — particularly channels such as ESPN that have invested huge sums for those all-important sports rights that keep viewers engaged.

And in the midst of it all is the growing power of live TV streaming distributors, especially YouTube TV, which has become a much bigger force in the TV business.

The platform’s subscriber base has been quickly growing.

YouTube is approaching 10 million subscribers, making it the third-largest pay-TV distributor, behind Charter Communications and Comcast. Back in February, when it reached a deal with Paramount Global to avert a CBS blackout, that number was reported at 8 million.

Such growth is giving YouTube TV — with the financial backing of tech giant Google — more clout in contract negotiations, making them more willing to push back against fee increases demanded by legacy Hollywood media companies.

Disney sought rates similar to those paid by major distributors, including around $10 a subscriber per month for ESPN, CNBC reported.

“They realize their power,” said Brent Penter, associate analyst at Raymond James. “And they’re trying to use it.”

But Disney is no wilting flower, either. Last week, Disney’s Chief Financial Officer Hugh Johnston struck a tough tone on CNBC when talking about the negotiations, saying, “We’re ready to go as long as they want to.”

The Burbank entertainment giant has some of the most popular programming around, meaning it can command the biggest fees from providers. It also owns a competitor to YouTube TV in Hulu + Live TV and its new ESPN Unlimited direct-to-customer streaming service.

But in this dispute, Disney temporarily lost the distribution fees and potentially advertising dollars for any of its programs that a YouTube TV subscriber didn’t watch, making it a costly standoff.

No one wins in a blackout situation. But if you had to pick a winner, analysts say it might be the alternatives to YouTube TV — services like Fubo, Sling TV, DirecTV Stream and Hulu + Live TV.

If you’re a diehard Eagles fan who also happens to be a YouTube TV subscriber, and you refused to miss the game against the Packers last Monday, you might have signed up for temporary passes through one of these services. And if you liked it, well, you might choose to keep that subscription instead.

That also goes back to the complicated web of options consumers must wade through to find their favorite teams and shows.

“There is friction out there,” said Ric Prentiss, managing director at Raymond James. “Blackouts raise it to a head, where people say, ‘Wait, I don’t know how to navigate this,’ and they start looking at other alternatives.”

Stuff We Wrote

Film shoots

Number of the week

TV station owner Sinclair Inc. has an eye toward dominating the TV market. The Baltimore-based company, which is known for its conservative bent, has acquired about 8% of rival broadcaster E.W. Scripps, according to a recent filing with the U.S. Securities and Exchange Commission.

Sinclair also said in the filing that it has had “constructive discussions” with Scripps about potentially combining, though no deal has been reached. Scripps, however, has suggested that it is not interested in a merger.

Finally …

It might be a sign of the economy. My colleague, Suhauna Hussain, wrote about how McDonald’s is seeing lower traffic from one of its core customer bases, low-income households.

When I broke into journalism years ago as a fledgling Whittier-based high school sports reporter, one of my favorite side hobbies was asking locals what made their city famous.

Downey was always an interesting test case.

Some said Downey’s claim to fame is the oldest standing McDonald’s, or the Stonewood Mall, with some students boasting the rivalry between Downey and Warren high schools. Some have also cited the title of the “Mexican Beverly Hills,” which I and colleague Gustavo Arellano have always considered more appropriate for Whittier.

What wasn’t mentioned enough about Downey, particularly among the high school-aged students I spoke with, was the city’s ties to the Space Shuttle program. It was somewhat remarkable given the city’s “Home of the Apollo” nickname.

Downey’s reputation, especially among its younger residents, may reset soon thanks to a groundbreaking this Monday to announce the latest upgrade to the Columbia Memorial Space Center, a space museum that opened in 2008.

Benjamin Dickow, the center‘s president and executive director, spoke with The Times about what to expect Monday and beyond.

What’s happening Monday?

Astronaut Garrett Reisman, former Rockwell International and Boeing employees and area dignitaries will take part in a groundbreaking for an about 40,000-square-foot expansion to the existing museum.

The museum’s centerpiece will be a 122-foot-long, 35-foot-tall Downey-made space shuttle mock-up named the “Inspiration,” which is not available yet for public display.

The event begins at 10 a.m., rain or shine, and is located at 12400 Columbia Way in Downey.

For more information, check out https://www.columbiaspacescience.org/

A rendering of the completed front entrance of the museum.

(Nadia Gonzalez, on behalf of the Columbia Memorial Space Center)

Space Center changes and expansion

Dickow said the center was in the middle of completing the first of three phases, to be finished before the L.A. Olympics.

“Once the major construction really gets going, it’s about an 18-month process,” he said, “but if something happens with the shuttle, it’s going to add some time.”

Part of the first phase began in October 2024, when the partially-covered wood and plastic model was paraded down Bellflower Boulevard from a city maintenance yard to a temporary housing unit.

The expansion, known as the Downey Space Shuttle Exhibit and Education Building, would include a new two-story, 29,000-square-foot space shuttle museum, event courtyard, STEM building and courtyard, children’s outdoor classroom, pavilion, lawn and other amenities.

The space shuttle mock-up is also undergoing a “process of rehab and refurbishment,” according to Dickow, but is in “generally great shape.”

“The main work is getting it ready for the public, where visitors will be able to enter and get a sense of what it’s like inside a space shuttle,” Dickow said.

Astronauts would typically access the flight deck, mid-deck and crew compartment through a hatch, according to Dickow.

According to renderings, guests will instead enter through a much more accessible stairwell that puts visitors inside a cargo bay.

A rendering of the space shuttle mock-up, dubbed “Inspiration,” at its place in the center of the museum expansion.

(Nadia Gonzalez, on behalf of the Columbia Memorial Space Center)

What is the mock-up and what’s its tie to Downey?

The shuttle mock-up’s history with Downey spans decades.

North American Rockwell International, now part of Boeing, built the prototype in 1972 at its Downey facility. The space shuttle became the world’s first reusable winged orbiting spaceship.

In total, 12,000 workers developed and manufactured the shuttle at the program’s peak on a sprawling 120-acre campus.

From April 12, 1981, through July 21, 2011, NASA fleets of shuttles flew 135 missions and helped build the International Space Station.

One of those shuttles — Endeavour — was hauled into the middle of its future home, the Samuel Oschin Air and Space Center at Exposition Park, in January 2024.

That museum is also expected to be open before the Olympics.

“This is going to be something that the L.A. area will be able to show off to people from around the world and I want to make sure we’re a part of that,” Dickow said. “Downey and Southeast L.A. sometimes don’t get a lot of the spotlight and this is something that we’ll be able to put out there.”

The week’s biggest stories

Pedestrians cross the street in downtown Los Angeles under light rain on Friday.

(Eric Thayer / Los Angeles Times)

SoCal treads through stormy weather

Rebuilding after January fires

Opposition to immigration forces in California

A Sacramento corruption bombshell

• The federal fraud case against Gov. Gavin Newsom’s former chief of staff and other well-connected aides is entangled with one of California’s — and the country’s — most powerful political circles.
• Dana Williamson, who joined the governor’s office in early 2023 and departed late last year, was arrested Wednesday and faces charges of bank and tax fraud.

Explosive Epstein emails about Trump

• Donald Trump “knew about the girls” and “spent hours at my house,” Jeffrey Epstein wrote in emails.
• See what’s in the emails released by House Democrats on Wednesday.

More big stories

This week’s must-read

More great reads

For your weekend

(Robert Gauthier/Los Angeles Times)

Going out

Staying in

L.A. Timeless

A selection of the very best reads from The Times’ 143-year archive.

Have a great weekend, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
June Hsu, editorial fellow
Andrew J. Campa, weekend writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to [email protected]. Check our top stories, topics and the latest articles on latimes.com.

WASHINGTON — President Trump outlined an ambitious effort Friday to develop, produce and distribute a fully-approved COVID-19 vaccine by the end of the year, a timeline that even those in charge of the project acknowledge is highly unlikely.

Trump said the $10-billion program would have a goal of producing 300 million doses to administer to Americans by January.

Officials said the initiative would seek to streamline and coordinate the work of government agencies, private industry and the military. A former pharmaceutical executive and an Army four-star general will head the effort, which the White House called Operation Warp Speed.

“We’re looking to get it by the end of the year if we can,” Trump said in the Rose Garden. “Tremendous strides are being made.”

But Trump also hedged on the importance of the effort, declaring that America is already on the rebound from the coronavirus outbreak, which has killed about 87,000 Americans and cratered the economy.

“I want to make one thing clear — vaccine or no vaccine, we’re back,” he said. He repeated a claim he’s made since the first U.S. coronavirus cases were reported three months ago, that the virus will eventually “go away” on its own.

“I don’t want people to think this is all dependent on a vaccine,” he said.

Public health officials worry about bringing a potential vaccine to market without several rounds of clinical trials to ensure that it is safe and effective.

The National Institutes of Health says one or two possible vaccine candidates could be ready for large-scale testing by July, with several others likely to follow. Elsewhere around the world, about a dozen vaccine candidates are teed up for small-scale testing or safety studies.

The tests are necessary to determine proper dosages and to avoid negative side effects. The process usually takes several years, but some of the world’s largest pharmaceutical companies are working with governments around the globe in an effort to speed up the search.

Dr. Amesh Adalja, an infectious diseases physician at Johns Hopkins Center for Health Security, said setting a deadline for a vaccine is “dangerous because you’re going to give people a false sense of hope and security.”

But he said it’s possible scientists can accelerate the usual timeline given changes in laboratory practices, including the use of “vaccine platform technologies” that allow researchers to test various candidates without developing each one from scratch, and the decision to prepare factories for mass production before officials know for certain that a particular vaccine will work.

“All of that’s going to shave time off, but everything has to go perfectly,” he said.

Dr. Jere W. McBride, an infectious diseases specialist at the Sealy Institute for Vaccine Sciences at the University of Texas, noted that no vaccine has been “developed that fast before.”

“Everything has to work and in science that’s often not the case,” he added. “Is it possible? Certainly.”

Officials involved in the new initiative echoed the president’s optimism.

Moncef Slaoui, who was chairman of vaccines at British pharmaceutical giant GlaxoSmithKline until 2017, will lead the effort. He said early clinical trials have been encouraging.

“These data make me feel even more confident that we will be able to deliver a few hundred million doses of vaccine by the end of 2020,” Slaoui said. “And we will do the best we can.”

Gen. Gustave Perna, the commanding general of the Army’s Materiel Command, will serve as chief operational officer. He called the project “a herculean task,” but expressed confidence in its success.

“Winning matters and we will deliver by the end of this year a vaccine at scale,” said Defense Secretary Mark Esper.

Part of the effort involves using the military to boost production capacity before the vaccine is ready in order to expedite distribution when one is determined safe and reliable.

Dr. Stephen Hahn, the commissioner of the Food and Drug Administration, said Tuesday at a Senate hearing that his agency would evaluate about 10 vaccine candidates in early studies, and then select three to five to progress into larger studies in humans.

Dr. Rick Bright, the ousted former head of the government agency charged with developing vaccines, has cast doubt on the administration’s rush to find a vaccine.

“My concern is if we rush too quickly, and consider cutting out critical steps, we may not have a full assessment of the safety of that vaccine,” Bright told a House committee on Thursday. “So it’s still going to take some time.”

Trump’s comments in the Rose Garden were at times drowned out by loud horns from truckers parked near the White House who were protesting reduced shipping rates. Trump dismissed the din as a “sign of love” for him.

Dr. Deborah Birx, the White House coronavirus response coordinator, and Dr. Anthony Fauci, the government’s top immunologist, stood behind Trump but did not speak. Both wore face masks, although Trump did not.

This week, Lionsgate is betting that the odds will be in their favor when “The Hunger Games: On Stage” opens at London’s Troubadour Canary Wharf Theatre.

The play, which is based on the young adult novel by Suzanne Collins and 2012 film that catapulted actor Jennifer Lawrence into the mainstream, is just the latest film-to-stage adaptation from Hollywood.

This isn’t a new playbook. After all, Disney revolutionized the space by adapting its animated films like “The Lion King,” “Beauty and the Beast” and “Aladdin” into Broadway musical hits. But it is one that studios are turning to again, particularly as they look to connect more deeply with audiences and expand the fan base of their franchises.

Last year, Universal Theatrical Group debuted a musical stage adaptation of the 1992 film “Death Becomes Her” on Broadway.

In addition to “The Hunger Games,” Lionsgate has several other theatrical shows in the works, including a stage adaptation of the 2017 film “Wonder” opening in Boston in December, as well as “Now You See Me Live” opening that same month at the Sydney Opera House.

Next year, there will be a stage version of “La La Land,” as well as a new production of the iconic classic “Dirty Dancing.” (Of course, the opposite is also happening, with “Wicked” as the most recent example of a book-to-stage-to-film pipeline.)

“When you look at the way that fans are engaging with entertainment, there are so many different mediums that are important now, and experiential is a big one,” Jenefer Brown, Lionsgate’s president of global products and experiences, said an interview. “With all of us spending so much time online and in digital mediums, the idea of that shared live experience in a theater is something that’s highly appealing.”

But getting “The Hunger Games” to the stage wasn’t easy — the process took almost seven years from the inception of the idea to first previews. As part of the show’s development, the producers also built a custom theater in London. Brown spoke with The Times about why the dystopian franchise was a good candidate for live theater and why communal experiences are so important.

This interview has been edited for clarity and length.

What made “The Hunger Games” ripe for the stage?

It’s an enduring story that has so much relevance to occurrences that happen in the world today. I think that there’s just a ton of cultural significance.

And what we know about “The Hunger Games” is that there’s always a new wave of fans that discover it. Now we’re seeing Gen Alpha reading the books and watching the movies, and of course, we have Gen Z fans and millennial fans, and parents from other generations who have been on the journey with their children. It’s a way to bring aspects of the book to life, maybe in a different interpretation, or to let fans be able to explore certain things in a greater depth than we were able to do on a movie screen.

What does a stage play do for audiences that, say, a series or ride does not?

When you’re seeing something live, we don’t have the tricks that we have behind a camera in a movie.

You have to really find ways to bring the audience on a journey, and you can’t hide anything. That’s part of the magic of the experience, and for fans to be there and be mesmerized by some of the things that we’re executing in real time on a stage with special effects and illusions and real people doing the stunt choreography and the stunt work right in front of you, I think that there’s a lot of value in that type of experience.

Does this allow you to reach different audiences than those who already saw the films?

Obviously, a lot of fans are interested, but I think theatergoers in general, who maybe haven’t been as exposed to “The Hunger Games” or aren’t super fans, are going to be interested from the theater side of it. There’s been a lot of buzz and excitement in London, in the theater world, knowing that we had a new theater being built.

In general, lots of of people want to engage with experiences. We’re seeing just a huge sort of upward trend in interest, particularly amongst Gen Z and Gen Alpha audiences. Someone who maybe has read the books but hasn’t seen the movie yet will come see the stage show and then watch the movie. And I think this idea of all of it feeding each other, depending on which entry point you choose, is a really interesting thing for us as a studio to think about.

Did the pandemic turbocharge interest in live entertainment?

It’s an interest in live stage and live entertainment, and the idea of getting out again, supporting the arts and supporting shared experiences. We’ve definitely seen, thankfully, a recovery and an upswing in that area.

How big of a business is the stage aspect of Lionsgate global products and experiences?

We have three shows opening before the end of this year, and about that number slated for next year. So it really is a very busy and active space for us, and I think more in the pipeline. We probably are spending about a third of our time in this space, and I don’t see that changing.

Stuff We Wrote

Film shoots

Number of the week

$80 million

After a sleepy October, Walt Disney Co. and 20th Century Studios’ “Predator: Badlands” conquered the box office this past weekend, grossing $40 million in the U.S. and Canada for a total of nearly $80 million worldwide.

The haul is the highest global opening for any film in “Predator” franchise history, surpassing 2018’s “The Predator,” which notched $73.5 million.

The strong start for the Elle Fanning-led “Predator: Badlands” provides a hopeful start for November’s theatrical fortunes. So far this year, domestic box office revenue is about $7.2 billion, up 3.1% compared with the previous year, according to Comscore. But when compared with pre-pandemic 2019, that number is still down 24.7%.

Finally …

My colleague, Malia Mendez, wrote about a TV writer who found a second career in ceramics after the slowdown in Hollywood left him out of work. His most popular workshop — Tattoo a Mug.

Out of sheer darkness, the Batman logo was emblazoned across the 86-foot-wide screen and dazzled my young eyes.

From Hollywood, I was instantly whisked away to Gotham City. The iconic DC comic book came to life and the booming thuds of the Caped Crusader smashing a pair of common thieves was real.

These were my first vivid memories of watching a movie in the larger-than-life Cinerama Dome on Sunset Boulevard, and being amazed by the screen’s size and the sense of being transported into another galaxy.

But the dome is magical on the outside, as well as the inside. The concrete geodesic dome is made up of 316 individual hexagonal and pentagonal shapes in 16 sizes. Like Grauman’s Chinese Theatre, it’s a structure that has become a Hollywood landmark.

The Dome represented a special place for me, until it became just another of the dozens of businesses in L.A. that never returned after pandemic closures in 2020.

Ever since, there have been rumblings that the Dome would eventually reopen. Although nothing is definitive, my colleague Tracy Brown offered a bit of hope in a recent article.

What’s the latest

Dome Center LLC, the company that owns the property along Sunset Boulevard near Vine Street, filed an application Oct. 28 for a conditional-use permit to sell alcohol for on-site consumption at the Cinerama Dome Theater and adjoining multiplex. The application doesn’t mention an reopening date or any details about movie screenings returning to the dome but suggests that a reopening may be in the works.

Elizabeth Peterson-Gower of Place Weavers Inc., said Dome Center is seeking a new permit that would “allow for the continued sale and dispensing of a full line of alcoholic beverages for on-site consumption in conjunction with the existing Cinerama Dome Theater, 14 auditoriums within the Arclight Cinemas Theater Complex, and restaurant/cafe with two outdoor dining terraces from 7:00 am – 4:00 am, daily,” according to the application filed by the company’s representative.

This would would be a renewal of the current 10-year permit, which expires Nov. 5.

The findings document filed with the City Planning Department also mentions that “when the theater reopens, it will bring additional jobs to Hollywood and reactivate the adjacent streets, increasing safety and once again bringing vibrancy to the surrounding area.”

A representative for Dome Center LLC did not respond immediately Friday to a request for comment.

What happened to the Dome?

The Cinerama Dome opened in 1963 and had been closed since the start of the COVID-19 pandemic in 2020.

Since the closing, the news about the future of the theater has been ambiguous.

In April, 2021, the owner of Pacific Theatres and ArcLight Cinemas announced they would not reopen the beloved theater even after the pandemic ended. But then, in December, sources told The Times that plans were in the works to reopen the Cinerama Dome and the attached theater complex.

In 2022, news that the property owners obtained a liquor license for the renamed “Cinerama Hollywood” fueled hope among the L.A. film-loving community’s that the venue was still on track to return.

But the Cinerama Dome’s doors have remained closed.

Signs of life

At a public hearing regarding the adjacent Blue Note Jazz Club in June, Peterson-Gower reportedly indicated that although there were not yet any definitive plans, the property owners had reached out to her to next discuss the future of the Cinerama Dome.

Perhaps this new permit application is a sign plans are finally coming together.

After the kind of year Los Angeles has endured — with devastating fires and demoralizing immigration raids — it would certainly bolster the spirits of all Angelenos to have another local landmark reopen its doors to welcome movie-loving patrons like me.

Today’s top stories

California Gov. Gavin Newsom speaks as he stands with First Partner Jennifer Siebel Newsom during an election night news conference at a Democratic Party office in Sacramento on Nov. 4, 2025.

(Godofredo A. Vásquez / Associated Press)

Voters approve Prop. 50

After World Series celebration, ICE and Border Patrol gather at Dodger Stadium once again

• Dozens of federal immigration agents were seen staging in a Dodger Stadium parking lot Tuesday morning, a day after the team returned home to celebrate its back-to-back championships with thousands of Angelenos.
• Videos shared with The Times and on TikTok show agents in unmarked vehicles, donning green vests and equipped with white zip ties in parking lot 13.
• Five months ago, protests erupted outside the stadium gates when federal immigration used the parking lot as a processing site for people who had been arrested in a nearby immigration raid.

Sen. Alex Padilla says he won’t run for California governor

• “It is with a full heart and even more commitment than ever that I am choosing to not run for governor of California next year,” Padilla told reporters outside his Senate office in Washington.
• Padilla instead said he will focus on countering President Trump’s agenda in Congress, where Democrats are currently in the minority in both the House and Senate, but hope to regain some political clout after the 2026 midterm elections.

What else is going on

Commentary and opinions

This morning’s must-read

For your downtime

A view of landscaping at the home of Susan Gottleib and her Gottleib Native Garden in Beverly Hills.

(Allen J. Schaben / Los Angeles Times)

Going out

Staying in

A question for you: What’s the best hiking trail in SoCal?

Alexandra writes: “Sullivan Canyon, for sure.”

Rochelle writes: “Can’t ever go wrong in Griffith Park, but for overall exercise, killer views, artifacts, and entertainment without wearing yourself out, my hiking partner and I like the Solstice Canyon Loop in Malibu, 3.4 miles. The most popular hike in the canyon, for good reason!”

Email us at [email protected], and your response might appear in the newsletter this week.

And finally … your photo of the day

Joe Rinaudo hopes to host tours and educational opportunities at his home theater and museum through a nonprofit group dedicated to preserving photoplayers.

(Jason Armond / Los Angeles Times)

Today’s great photo is from Times photographer Jason Armond at the home of Joe Rinaudo, the foremost expert on photoplayers, who is preserving the soundtrack to a bygone movie era.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
Andrew Campa, Sunday writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to [email protected]. Check our top stories, topics and the latest articles on latimes.com.

The cuts in Hollywood just keep coming, following a sadly familiar script.

Last week it was Paramount, which laid off about 1,000 workers in the first wave of a deep staff reduction planned since tech scion David Ellison’s Skydance Media took over the storied media and entertainment company.

The cuts affected a wide swath of the company, from CBS and CBS News to Comedy Central, MTV and the historic Melrose Avenue film studio, my colleague Meg James and I reported. Another 1,000 layoffs are expected in the coming weeks.

But Paramount isn’t the only one in the media business that’s shedding jobs and payrolls.

Earlier, cable giant Charter Communications said it would lay off 1,200 people nationwide, as the company faces increased competition for its broadband internet packages. NBC News, too, laid off 150 employees last month amid declining TV ratings and lessening ad revenue.

Other recent media-adjacent layoffs included 100 cuts to Disneyland Resort’s Anaheim-based workforce and the massive 14,000 worker reduction at Amazon, including at the company’s gaming and film and TV studios.

And that doesn’t even include widespread job losses that happened earlier this year at companies such as Walt Disney Co., Warner Bros. Discovery, NBCUniversal and Six Flags Entertainment Corp.

It all adds up to a grim picture for Hollywood’s workers, who have faced a near endless marathon of economic hurdles for the last five years.

First it was the pandemic, followed by the dual writers’ and actors’ strikes in 2023, cutbacks in spending after studios splurged on streaming productions, and the outflow of production to the U.K. and other countries with lower costs than California.

Then, in January, nature struck a blow, with the fires in Altadena and the Pacific Palisades destroying many industry workers’ homes.

Topping it off, Saturday marked the first day that millions of low-income Americans lost federal food assistance due to the government shutdown that began Oct. 1. That has affected some 5.5 million Californians and probably some who work in the entertainment industry.

“It’s been one crisis after another, without enough time in between,” said Keith McNutt, western regional executive director of the Entertainment Community Fund, which provides social services for arts and entertainment professionals. “People are concerned and very worried and really trying very hard to figure out where they go from here.”

McNutt reports that the nonprofit group has already heard from some people who were recently laid off, and has experienced a sharp increase in demand for its services, particularly from those in the film and TV industry. The fund offers healthcare and financial counseling and operates a career center. It also provides emergency grants for those who qualify.

Clients include not only low-income people who are always hit hardest in downturns, but also veteran entertainment industry professionals who’ve worked in the business for 20 to 30 years.

Those who were lucky enough to have savings saw those wiped out by the pandemic, and then were unable to replenish their rainy-day funds after the strikes and industry contraction, said David Rambo, chair of the fund’s western council.

“It has been snowballing very slowly for about five years,” Rambo said.

Many in the industry are hopeful that California’s newly expanded film and television tax credit program will bring some production — and jobs — back to the Golden State. That’s what backers campaigned on when they lobbied Sacramento legislators to bolster the program. Dozens of TV shows and films have received credits so far under the revamped program, but it’ll take some time to see the results in filming data and employment numbers.

And that doesn’t help the workers who were just laid off last month. For those folks, McNutt suggests calling the fund’s health insurance team to make sure they understand their options and also to spend some time with career counselors to understand how Hollywood skills can be transferable to other employers, whether that’s on a short- or long-term basis. Most importantly, don’t isolate yourself.

“You’re not alone,” he said. “Nobody’s alone in this situation that the industry is finding itself in right now, and so reach out to your friends, reach out to your colleagues. If you’re not comfortable with that, reach out to the Entertainment Community Fund.”

Stuff We Wrote

Film shoots

Number of the week

The Los Angeles Dodgers’ wild 11-inning win on Saturday over the Toronto Blue Jays notched nearly 26 million viewers, making it the most-watched World Series game since 2017, according to Nielsen data.

The 2017 Game 7 win by the Houston Astros over the Dodgers had an audience of 28.3 million.

The Dodgers are now the first Major League Baseball team to win back-to-back championships in 25 years. On Monday, thousands of Dodgers faithful turned out for the team’s victory parade through downtown L.A.

Finally …

You’ve no doubt heard of L.A.’s famous star tours. But what about a tour of a historic cemetery?

My colleague, Cerys Davies, wrote about local historian and guide Shmuel Gonzales — or as he calls himself, “Barrio Boychik” — and his walking tour of Boyle Heights’ Evergreen Cemetery.

The cemetery is the final resting place for many of L.A.’s early movers and shakers, including the Lankershims and the Hollenbecks, and it’s also a prime example of L.A.’s multicultural history.