film

“Tracker,” one of TV’s most-watched shows, is uprooting its Canadian production and moving to Los Angeles.

The action drama, produced by Disney’s 20th Television, is among a slate of new and recurring series benefiting from California’s improved $750 million tax incentive program. The show’s fourth season, set to begin shooting this summer, will receive the state’s largest tax credit , at $48 million, according to the California Film Commission.

The production will film for 176 days in California, with 250 crew members and 275 actors on board. The tax credit is based on the show’s projected spending of over $129 million. Deadline first reported the news of the show’s relocation.

The show stars actor Justin Hartley and follows his character as he tracks down people for reward money. Ever since its 2024 premiere, the show has resonated with audiences. Its third season is currently airing and was the fourth most-watched program on linear TV as of late April, according to Nielsen.

“Tracker” is primarily set in the wilderness, making the move to California a fresh opportunity for the production to explore diverse landscapes as its backdrop. Due to the rural setting, the show is also eligible to earn an extra 5% tax credit bonus, in addition to the 35% base credit, on qualified expenditures incurred outside the designated 30-mile zone of the Greater Los Angeles area.

Before “Tracker” secured the highest TV show tax credit, season 3 of Amazon’s “Fallout,” which relocated from New York to Los Angeles, received a $42M incentive. Dan Fogelman’s new NFL drama “The Land” received $42.8M. Other productions that have benefited from the tax program include medical drama “The Pitt,” Disney’s new animated movie “Phineas and Ferb” and Netflix’s upcoming reboot of “13 Going on 30.”

More than 100 productions have received tax credits since the program was expanded last year in response to the continued migration of productions to other countries like Ireland, U.K. and Canada.

But film industry advocates say these efforts aren’t enough to fully revitalize U.S.-based productions and local film economies.

To that end, , U.S. Sen. Adam Schiff (D-Calif.) announced in March he is working on a bipartisan federal film incentive proposal that would be globally competitive.

“State programs cannot simply substitute for the kind of global, federal and competitive tax incentives that are needed to bring production back to American soil and stop its offshoring,” Schiff said.

Paramount Skydance Chairman David Ellison defended his commitment to release 30 movies a year once his media company swallows Warner Bros. Discovery — a goal that some industry observers view as overly ambitious.

During a Monday call with analysts to discuss Paramount’s first-quarter earnings, the tech scion said the target was achievable because his management team would maintain current levels of production. Paramount has doubled its film release capacity to 15 films this year, matching the number of theatrical releases planned by competing Warner Bros.

“The two companies are actually making 30 films to date,” Ellison said. “We really view our pending acquisition of Warner Bros. Discovery as a powerful accelerant to our strategy.”

The company said it was on track to finalize its Warner takeover by the end of September. The $111-billion deal would transform the smaller Paramount into an industry titan with prestigious programming, including Harry Potter, “Game of Thrones,” “Euphoria,” as well as its current slate of Taylor Sheridan-produced franchises, including “Yellowstone” and “Landman.” The combined company also would own dozens of popular TV networks, including CBS, CNN, Comedy Central, Food Network and HGTV.

But the proposed merger would saddle the combined company with $79 billion in debt, stoking fears that Paramount would need to make steep cost cuts to balance such a large debt load. During the quarter, Paramount lined up banks and other institutional investors to provide bridge financing to help pull off the transaction, the company said.

“We’re pleased with the momentum and will continue to take the necessary steps to bring this deal to completion,” Ellison told analysts.

Late last month, Warner Bros. Discovery stockholders overwhelmingly voted in favor of the deal, which will pay $31 a share to Warner investors. The company now must secure regulatory approvals in the U.S. and abroad, and that process is well underway, Paramount said.

Paramount has asked the Federal Communications Commission for permission to exceed a cap on foreign ownership for U.S. media companies. Ellison’s company is expecting $24 billion from three Middle Eastern royal families, who would become part owners of the combined entity. Those total funds will represent about 49% of equity in that new company, exceeding the current foreign ownership cap of 25%.

More than 4,000 filmmakers, actors and industry workers, including Bryan Cranston, Connie Britton, Kristen Stewart, Jonathan Glazer and Jane Fonda, have signed an open letter asking California Atty. Gen. Rob Bonta and other regulators to block the deal, saying it “would reduce the number of major U.S. film studios to just four.”

Late last week, a small group of consumers sued to block Paramount Skydance’s acquisition of Warner Bros. Discovery and unwind Ellison’s Skydance Media’s takeover of Paramount, alleging that both deals reduce marketplace competition.

For the January-March quarter, Paramount’s earnings beat Wall Street’s expectations. Revenue grew 2% to $7.3 billion compared with the first quarter of 2025.

Adjusted earnings before interest, taxes, depreciation and amortization (EBITDA) reached $1.1 billion, helped in part by growth in its streaming services unit. Paramount+ increased its revenue by 17% to nearly $2 billion, compared with the year earlier period when it generated $1.7 billion. The service added 700,000 subscribers, bringing the total to nearly 80 million.

With Warner’s HBO Max streaming platform, the combined service would boast more than 200 million subscribers.

Paramount reported first-quarter net earnings of $168 million, or 15 cents per share, compared with $152 million in 2025, which occurred before Skydance acquired the media company in August.

Executives pointed to “Scream 7,” a late February release that has topped $200 million in global ticket sales, as a success story. Studio revenue grew 11% to $1.28 billion for the quarter.

Television networks revenue declined 6% to $3.7 billion as Paramount’s cable channels continue to contend with the loss of cable cord-cutters, which reduces the company’s collections from pay-TV providers. Nonetheless, Paramount pointed to the strength of Sheridan’s “Landman,” starring Billy Bob Thornton, Ali Larter, Sam Elliott and Demi Moore, and the strength of the CBS television network, which currently has 13 of the broadcast industry’s top 20 prime-time shows, including “60 Minutes,” “Marshals,” and “Tracker.”

The company told analysts it would achieve $30 billion in revenue for the full year and $3.8 billion in adjusted EBITDA. Paramount said it would also make $2.5 billion in cost-cuts by the end of this year and reduce expenses by $3 billion in 2027.

Paramount said it ended the quarter with $1.9 billion in cash and cash equivalents. It also was carrying $15.5 billion in debt. The company had to draw $2.15 billion from its revolving credit facility to pay Netflix a $2.8-billion termination fee that Warner Bros. Discovery had agreed to pay under a previous deal to sell the company to Netflix.

Paramount released its earnings after Monday’s trading day. Its shares closed at $11.13, basically unchanged.

Everyone wants to be “The Devil Wears Prada 2,” as the 20-year sequel strutted to an estimated $77 million in the U.S. and Canada in its opening weekend, highlighting the spending power of women moviegoers at the box office.

The film, which returned stars Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci, nudged out Lionsgate’s “Michael” for the domestic top spot at theaters this weekend. In its second outing, the Michael Jackson biopic brought in $54 million, upping its overall North American total to $183.8 million and its cumulative global haul to $423.9 million.

Worldwide, Walt Disney Co.-owned 20th Century Studios’ “The Devil Wears Prada 2” brought in $233.6 million, according to studio estimates. The theatrical revenue, both domestic and worldwide, edged studio expectations. Already, the film has brought in 72% of the total revenue that the original movie made ($326 million).

The 2006 original has become a cult classic, with lines like Streep’s infamous “that’s all” and Tucci’s “gird your loins” now millennial catchphrases. The popularity of that film has continued over time with repeat viewings on cable television and the Disney+ streaming service.

“Nostalgia is a big driving factor for movies like this,” Andrew Cripps, head of theatrical distribution for Walt Disney Studios, said. “It’s just one of those movies that got into the zeitgeist.”

The fashion-forward sequel had a production budget of about $100 million. The film notched a 77% approval rating on aggregator Rotten Tomatoes.

Women comprised the majority of the audience for “The Devil Wears Prada 2” this weekend, representing 71% of moviegoers, according to data from EntTelligence.

The strong showing for “The Devil Wears Prada 2” highlights the spending potential of female moviegoers, who have had few big movies aimed at them in the last few years.

Despite the billion-dollar blockbuster that was “Barbie” in 2023, Hollywood has largely failed to consistently deliver big films targeted to women. That’s led multiple box office analysts and studio executives to note that the industry is leaving money on the table.

In the past, comparable titles to “The Devil Wears Prada 2” would have been 2008’s “Mamma Mia” or the “Sex in the City” film, but those kinds of movies are now few and far between.

More recent female-focused fare includes last year’s “Wicked: For Good” and Taylor Swift’s “The Official Release Party of a Showgirl,” though “Wicked” has the benefit of also having a longtime Broadway fanbase.

“There haven’t been enough movies for females,” Cripps said. “When you can give them a good movie, as long as the movie plays well and I think this one plays brilliantly, there’s a big audience out there.”

Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” continued its run with a third place finish of $12.1 million at the box office this weekend, followed by Amazon MGM Studios’ “Project Hail Mary” in fourth and Neon’s horror flick “Hokum” in fifth, according to Comscore data.

As artificial intelligence becomes more embedded in film production, the Academy of Motion Picture Arts and Sciences is drawing a clearer line around it.

In new rules announced Friday for next year’s 99th Academy Awards, the academy said screenplays must be “human-authored” to be eligible for awards consideration, and that only performances “demonstrably performed by humans with their consent” will qualify for acting prizes. The group also reserved the right to request additional information about how AI tools were used in a film and the extent of human involvement.

The academy’s Board of Governors reviews its rules annually.This year’s revisions arrive as the industry continues to grapple with how AI tools are reshaping the creative process — and how institutions like the Oscars should reward that work, if at all.

The new changes build on guidance introduced a year ago, when the academy said that the use of AI would “neither help nor harm” a film’s chances of receiving a nomination, while emphasizing that voters should consider “the degree to which a human was at the heart of the creative authorship.” At the time, the organization stopped short of requiring formal disclosure of AI use, even as the technology became a flash point across Hollywood.

Taken together, the updated language suggests an effort to more clearly define the boundaries of authorship at a moment when tools such as voice cloning, digital doubles and AI-assisted writing are becoming more common in film production. The emergence of synthetic performers such as Tilly Norwood reflects how quickly those questions have moved from theoretical to practical.

In announcing the new rules, the academy framed the changes as part of an effort to reflect the current state of filmmaking, while maintaining what it called a “commitment to honoring human authorship and artistry.”

Beyond the AI provisions, academy leaders approved several structural changes across different categories.

In acting, performers may now receive multiple nominations in the same category if their performances rank among the top vote-getters, aligning the category with other branches.

The international feature film category also saw a notable shift. In addition to the traditional submission process through individual countries, non-English-language films can now qualify by winning top prizes at select major festivals, including Cannes, Berlin and Sundance. The award will be credited to the film itself, with the director accepting on behalf of the creative team, rather than to a submitting country or region.

Other changes — including updates to voting procedures in categories such as cinematography, visual effects and makeup and hairstyling — were largely technical in nature.

The new rules will take effect with next year’s Oscars, scheduled for March 14, 2027.

A group of five consumers have filed a lawsuit against Paramount Skydance seeking to block its acquisition of Warner Bros. Discovery and unwind the earlier merger that joined the storied Melrose Avenue studio with David Ellison’s Skydance Media, alleging that both deals reduce marketplace competition.

The lawsuit, filed Thursday in U.S. District Court in the Northern District of California, alleges the Paramount-Warner deal will lead to increased prices, fewer consumer choices and reduce production of film and TV since a major rival in the entertainment business will be eliminated.

The suit also alleges that the Paramount-Skydance merger, which was finalized last year, led to higher prices for the Paramount+ streaming service.

The plaintiffs — Pamela Faust, Len Marazzo, Lisa McCarthy, Deborah Rubinsohn and Gary Talewsky — are either Paramount+ subscribers, pay for cable bundles that include Paramount-owned TV channels or are moviegoers who watch films in theaters.

The deal activity for Paramount is part of a growing list of recent media mergers, including Walt Disney Co.’s 2019 acquisition of much of 21st Century Fox and Amazon’s purchase of MGM in 2021.

“These acquisitions show an industry moving by successive combinations toward fewer independent rivals, exactly the consolidation backdrop that heightens the competitive threat posed by the next merger, even if the combined firm remains smaller than the largest platforms,” the lawsuit states.

Paramount is aware of the lawsuit and “confident that it is without merit,” a company spokesperson said.

“The combination of Paramount and [Warner Bros. Discovery] will create a stronger competitor that is well positioned to serve as a champion for creative talent and consumer choice,” the spokesperson said in a statement.

The Paramount-Warner deal is currently winding its way through regulatory approvals. While that process is underway, Paramount has asked the Federal Communications Commission for permission to exceed a cap on foreign ownership for U.S. media companies.

Paramount expects to receive $24 billion in funds from three Middle Eastern royal families, who will become part owners of the combined company. Those total funds will represent about 49% of equity in that new company, exceeding the current foreign ownership cap of 25%.

Paramount has said the Ellison family and RedBird Capital Partners “collectively hold the largest equity stake in the combined company and continue to be the sole owners of Class A Common Stock, representing 100% of the voting shares.”

But on Friday, Rep. Sam Liccardo (D- San Jose) urged the FCC to deny Paramount’s petition on the foreign ownership aspect of the deal.

“Congress did not entrust the public airwaves to this agency so that it could auction off America to Riyadh, Abu Dhabi and Doha,” he wrote in a statement. “This will not stand.”