Hollywood

What a surprise. David Ellison has decided to name the Frankenstudio media company created by the merger of Paramount Skydance and Warner Bros. Discovery simply Skydance.

And why not? “Massive Debt Funding Media” doesn’t really roll off the tongue (though “Ultra Leveraged” has a nice ring); “Ellison and Dad” is a bit too on the nose; and “Skydance” is, after all, the name he chose for the one company out of those four that he built rather than bought.

Skydance is a poetic term with some definite “Star Wars” overtones and perhaps unintentional symbolism. Before the aviation-loving Ellison claimed it, “sky dance” referred to the aerial mating of certain birds, most famously the American woodcock, also known as the timberdoodle or (I’m not making this up) the bogsucker.

(“Timberdoodle Media,” now that’s a splendid name, and “Bogsucker Productions” could work as well.)

In his attempts to acquire Warner Bros. Discovery, Ellison has certainly engaged in some high-flying … well, courtship might not be the right term for the dizzying mix of cajoling and threats he has employed to get the deal done, and it certainly does not seem fair to the American woodcock. I’m no expert, but I don’t think their mating rituals involve using the New York Times to plead their case or, when that doesn’t work, threatening to move en masse to Tennessee.

For those inexplicably hoping for ParaBros, Skydance seems a bit of a letdown, especially considering all the trouble Ellison went to. It’s been quite a show, the various razzle-dazzle versus strong arm tactics (not to mention the Middle Eastern money) he mobilized to turn two of Hollywood’s preeminent founding studios into ingredients in sub-brand stew that also includes CNN, HBO Max, CBS, DC Comics, Nickelodeon, MTV and Food Network.

Overseeing such a diverse mix is obviously too big a job for one person so Ellison added yet another flavor by drafting Ynon Kreiz as co-chief executive. Kreiz was previously chairman and chief executive of Mattel, where he facilitated the toy company’s big Hollywood push with “Barbie,” “Masters of the Universe” and the upcoming Hot Wheels movie. (Polly Pocket, now in development at Reese Witherspoon’s Sunshine Productions, should be preparing for her close-up.)

By sticking with Skydance, Ellison is not just making a large swath of Hollywood indisputably his own, he’s showing remarkable confidence in a name that first came to many people’s attention in 2019 when he hired John Lasseter.

Six months after Walt Disney Co. ended its relationship with the then-chief creative officer of Pixar and Disney Animation Studios following an investigation into multiple accusations of sexual harassment and workplace misconduct, Ellison hired him to oversee Skydance Animation.

Unsurprisingly, this led to all manner of protest, within and outside the company. When Emma Thompson learned of Lasseter joining Skydance, she withdrew from its highly anticipated upcoming animated film “Luck.” In a stinging letter she sent to the company at the time (and allowed The Times to make public), she wrote: “It feels very odd to me that you and your company would consider hiring someone with Mr. Lasseter’s pattern of misconduct given the present climate in which people with the kind of power that you have can reasonably be expected to step up to the plate.”

Lasseter was not Skydance’s only controversial hire. After merging with Paramount, the company made deals with or hired multiple men, including Brett Ratner, Max Landis and Jeff Shell, who had been accused of sexual harassment and/or misconduct.

Shell was made president of Paramount less than three years after losing his job as NBCUniversal chief executive following the disclosure of an “inappropriate relationship” with an NBC employee. He stepped down from Paramount in April after a monthslong legal battle with a Las Vegas gambler and self-described “fixer” who claimed that Shell had reneged on a deal to develop a series in exchange for free crisis control.

Now, of course, all of that is ancient history. Now Paramount is merely a sub-brand and Hollywood is less concerned with who Skydance hired as it is with who, and how many, Skydance will fire.

Also how exactly the CNN/CBS oversight committee Ellison agreed to create as part of the settlement with 12 states is going to work. And what will happen if Skydance does not release 30 new films each year, which Ellison has promised to do as part of the settlement deal. And how expensive the new Skydance streaming bundles are going to be. And if, perhaps, in some language Skydance translates to “the end of the entertainment industry as we know it.”

Most important, is it too late for the American woodcock to sue?

A federal judge in Oakland has approved a settlement that allows Paramount Skydance Chief Executive David Ellison to finalize his $111-billion acquisition of Warner Bros. Discovery.

U.S. District Judge Araceli Martínez-Olguín on Wednesday signed a settlement agreement, effectively ending an antitrust lawsuit brought by California Atty. Gen. Rob Bonta and 11 other state attorneys general who initially fought the formation of a new Hollywood colossus.

The judge did not offer additional conditions to an agreement struck last week between Paramount and the states, instead allowing Paramount’s negotiated settlement terms to stand.

“The Court finds the proposed settlement agreement reflects a procedurally sound resolution,” Martínez-Olguín wrote in her order.

Ellison is aiming to finalize the merger early next week, capping his meteoric rise into one of the industry’s most influential figures. The Ellison family claimed Paramount and CBS last year, and will now add HBO, CNN, TBS, HGTV and the film and television studio with rights to Batman, Harry Potter, Fred Flintstone, “Friends” and “The Pitt” to its sprawling media and entertainment portfolio.

His father Larry Ellison, through his company Oracle Corp., also owns a substantial stake in the social media app TikTok and is among the tech giants supporting development of artificial intelligence.

The settlement agreement, which spans five years, requires the combined Paramount-Warner Bros. to release at least 30 films in theaters each year, commit an additional $1.5 billion to domestic film production and set aside $47.5 million for workers who may be adversely affected by the merger. It calls for the creation of a five-member panel to monitor editorial independence of CBS News and CNN, although critics note the Ellisons control board appointments, diminishing its independence.

The agreement, known as a consent decree, also stipulates that Paramount won’t sell or close its Melrose Avenue campus in Hollywood or the larger Warner Bros. lot in Burbank. The combined company must instead operate the historic facilities “in a manner consistent with past practices” for at least five years.

Paramount will also face restrictions on how it wields clout during negotiations for distribution of its basic cable TV channels. An independent monitor is expected to oversee implementation of the settlement terms.

The merger has been unpopular in Hollywood and critics denounced the settlement as weak. Opponents accused Bonta, who led the negotiations with Paramount, of caving into pressure from Gov. Gavin Newsom and Los Angeles Mayor Karen Bass, who publicly urged Bonta to abandon his court fight.

“Our settlement with Paramount resolves our antitrust concerns in every market we brought in our case, protects competition and consumer choice, and centers the needs, concerns, and futures of California workers,” Bonta’s office said in a statement.

Los Angeles County’s Department of Economic Opportunity has estimated that the merger will result in the loss of 4,500 local jobs as Ellison seeks to integrate the two entities and cut costs. Paramount has promised investors that it will shave $6 billion in spending within three years.

“Allowing the Paramount Skydance-Warner Bros. Discovery merger to move forward with no meaningful structural remedies will cost jobs, mute creativity, weaken independent journalism, and damage our First Amendment rights,” the Block the Merger coalition said Wednesday in a statement.

Sen. Cory Booker (D-N.J.) last week urged Martínez-Olguín to order an independent review to evaluate the strength of the proposed settlement terms and determine whether the pact adequately addresses alleged violations of the Clayton Antitrust Act.

During a Thursday hearing, Martínez-Olguín questioned key deal tenets, including the five-year length of the agreement and the value of the Miramax film studio, which Paramount agreed to divest should the company fall short of its film goals. She also asked why the state attorneys general dropped so many of their initial demands in pursuit of a settlement with Paramount.

“In years to come, we’ll be able to point to this failure to put consumers over the monied interests of corporate consolidation as the tipping-point moment for media in this country,” the Block the Merger coalition said in its statement.

The judge noted that she recognized the deep disappointment by merger opponents, and heard their concerns about news independence and a potential lack of diversity in storytelling when the two studios consolidate.

“But these hopes and desires for the proposed consent decree to reach farther — to achieve more — do not rise to the level of legal violations upon which the Court can reject the parties’ negotiated resolution,” Martínez-Olguín wrote.

The lawsuit resolution ends months of acrimony over Ellison’s deal for Warner Bros. Discovery, which was stalled for two months after Bonta and 11 other state attorneys general sued, arguing the combination would violate U.S. antitrust law and thwart competition. The Writers Guild of America lobbed its own antitrust lawsuit in an attempt to foil the merger.

But Paramount dug in, and its lobbying reached a crescendo by early September. A parade of state and local politicians, including Bass and others, urged a settlement due to fears that Paramount might follow through on its threat to leave California unless Bonta retreated.

Bonta and his coalition then worked behind the scenes to hammer out a settlement with Paramount, which was announced Sept. 21.

Paramount’s bankers have since been pricing bonds and lining up loans needed to finance the buyout of Warner Bros. Discovery shareholders at $31 a share. Ellison’s team had hoped to price the offering months ago, and interest rates have since climbed.

Paramount is selling about $44 billion of bonds and $7.5 billion in loans to finance the takeover, according to Bloomberg, which said the combined company will have more than $87 billion of investment-grade and high-yield debt.

Larry Ellison has promised to guarantee $47.5 billion in equity that his son needs to close the deal. Three Middle Eastern sovereign wealth funds, representing royal families in Saudi Arabia, Abu Dhabi and Qatar have agreed to invest $24 billion in the merged company, giving them a substantial stake in the new Paramount-Warner Bros.

Paramount separately announced Wednesday that Mattel Chief Executive Ynon Kreiz would soon join the merged company as co-chief executive, running Paramount-Warner Bros. day-to-day operations. Friday will be Kreiz’s last day at Mattel.

Last week’s settlement of the antitrust lawsuit between state attorneys general and Paramount Skydance over its planned merger with Warner Bros. Discovery marked a clear victory for David Ellison.

If approved by a judge, the settlement would clear the way for the emerging Hollywood mogul to complete the blockbuster $111-billion purchase after months of uncertainty over whether the deal would overcome intense opposition in Hollywood.

What’s more, Ellison achieved the settlement without having to agree to any so-called structural remedies that California Atty. Gen. Rob Bonta had been seeking.

But Ellison can hardly rest on his laurels. The Paramount Skydance chief executive will have to work hard to repair badly frayed relations with Hollywood talent who fiercely opposed the consolidation of two historic studios as a bad deal for workers. And the 43-year-old tech scion will be constrained by some of the terms that were imposed in the consent decree negotiated with Bonta and other attorneys general.

“I don’t envy David Ellison. You bought this ship, now you’ve got to sail it. And you’re facing threats on all fronts: bad will, everybody rooting for you to fail and operating a business in an incredibly uncertain, challenging time,” said Gabriel Kahn, a professor at the USC Annenberg School for Communication and Journalism. “At the same time, you are going to have to mortgage everything to make these debt payments.”

As part of the deal, Paramount agreed to a slate of requirements that, if it fails to deliver, could induce financial penalties, litigation and other costs.

For one thing, Paramount would have to pay a penalty and divest the Miramax film studio if it does not distribute 30 or more films a year in theaters.

The studio also pledged to spend $300 million more each year on film production in the U.S. and further boost its film spending if the federal government adopts a film tax credit of at least 20%; it agreed not to sell or close its lot on Melrose or the Warner Bros lot in Burbank and to operate them “in a manner consistent with past practices,” until 2031.

Additionally, Paramount is required to establish a board to ensure editorial independence for CNN and CBS News, though it will be appointed by Paramount directors with the authority to remove its members.

Beyond attempting to smooth the industry’s many ruffled feathers, Hollywood’s newest mogul must now also wrestle down an astonishing $80 billion in debt accrued as a result of this highly leveraged merger.

Ellison’s father, billionaire Larry Ellison, late last year agreed to backstop the $47 billion in equity needed to complete the acquisition. Royal families from Saudi Arabia, Qatar and Abu Dhabi have agreed to contribute another $24 billion for an equity stake by assuming some of Ellison’s financial commitments.

The months-long battle was bitter and hard fought and enmity within the industry has yet to subside.

On Tuesday, the morning after Bonta announced the settlement agreement, protesters converged outside of Paramount Skydance’s Melrose Avenue gate criticizing the deal. Some held fake gravestones that read: “RIP local business,” “RIP crew call” and “RIP creativity.”

Two days later, a coalition of several groups including the Committee for the First Amendment, filed an amicus brief asking the court to reject the consent decree, saying that it failed to address the anti-competitive concerns of the state attorneys general and would not protect jobs or consumers.

The sense of betrayal was acute.

“Hate to say it but we all got played,” wrote actor Mark Ruffalo, a leading organizer in Block the Merger, a grassroots organization made up of 1st Amendment advocates and Hollywood celebrities who aggressively opposed it, in a post on X.

Sen. Elizabeth Warren (D-Mass.) repudiated the deal, saying in a statement. that it “enables a handful of billionaires to call the shots in the media.”

The entertainment unions struck more cautionary notes.

SAG-AFTRA, the actors union, wrote in a statement that the deal “addresses some of our deep concerns,” but added, “We hope that the process of engaging with the attorneys general has impressed upon them the fact that in addition to collective bargaining, our members rely on the law to help protect our interests. These are the lowest standards that our employers must meet.”

Bonta, who had spearheaded the antitrust suit, gave a tepid endorsement of the consent decree.

“I want to be clear about something right up front: This settlement is not a vote of support for this merger. It is not a blessing,” he said.

During Paramount’s heated and often contentious legal and political wrangling to wrest control of Warner Bros., many in Hollywood became increasingly apprehensive. Combining two legacy studios, opponents feared, would bring even more job losses to an industry already battered by runaway production.

The skepticism hardened as the Ellisons made several controversial moves after Skydance acquired Paramount last summer. They included agreeing to pay $16 million to settle a lawsuit filed by President Trump over a “60 Minutes” interview segment, canceling the “Late Show With Stephen Colbert,” ending diversity, equity and inclusion programs and appointing Bari Weiss as editor in chief of CBS News, who engaged in a wholesale overhaul that led to a revolt at the esteemed “60 Minutes.”

When the newly formed Paramount Skydance announced its intention to swallow up Warner Bros. Discovery just months later, a massive wave of political pressure and public backlash began.

But the Ellisons dug in.

In January — after Netflix threw a surprise wrench into the Ellisons’ designs on Warner Bros. by offering $72 billion, which the studio accepted — Paramount took Warner Bros. to court and launched a hostile takeover bid.

A month later, Netflix walked away from the deal and collected a $2.8-billion termination fee after the Warners’ board agreed to Paramount’s higher all-cash bid.

But many in Hollywood began agitating against the planned merger and pushing for guardrails and protections.

In April, Block the Merger released an open letter declaring their opposition; its list of professionals across the film and television industry eventually swelled to nearly 6,000 names, including Ruffalo, Jane Fonda, Ben Stiller, Sofia Coppola, Trey Parker and Denis Villeneuve.

“The future of free media and a strong entertainment industry in America is at stake here,” said Norm Eisen, co-founder and executive chair of Democracy Defenders Fund, who also helped lead the Block the Merger campaign.

The Writers Guild of America sued to stop the deal, saying it violated antitrust laws. The union last week settled its lawsuit, citing the costs of continuing the litigation, after Paramount agreed not to lay off writers at CBS Broadcast News for years and to pay $17.5 million to the union’s health fund. Nonetheless, the guild said: “We continue to believe the merger will cause damage to writers and the industry at large.”

Some backed the megadeal, including power broker Ari Emanuel.

The WME executive and chairman and CEO of TKO came out swinging, excoriating the antitrust suit, in an op-ed for the Wall Street Journal in July. “They say they are protecting competition. Their actions threaten to destroy it,” he wrote.

The Ellisons’ ongoing ties with Trump — whose administration has clashed with ABC, CNN and other networks — only deepened the suspicions.

Oracle co-founder Larry Ellison has been a Trump supporter and friend. In addition to political donations, he participated in a Nov. 14, 2020, conference call that discussed ways to challenge Trump’s presidential election defeat.

Both Ellison and his son David reportedly promised the president they would make “sweeping” changes at CNN, which is owned by Warner Bros. Discovery.

In June, David Ellison attended the “UFC Freedom 250” event hosted by Trump on the South Lawn of the White House, and last week he was a guest at the White House state dinner honoring Chinese President Xi Jinping.

Amid the high-level public-facing Trump engagements, Paramount had been quietly trying to allay fears about the relationship to industry insiders.

Two individuals in the entertainment industry, who declined to be named for fear of retaliation, said that Paramount sent emissaries to extend a kind of olive branch, explaining their commitment to Hollywood and downplaying the relationship as a necessary step to get the deal done.

In August, Ellison published an op-ed in the New York Times in which he extolled his lifelong love of movies and laid out his case that he could be “trusted as a steward” of the media giant he was amassing, that includes two institutional news organizations (CBS and CNN) and the legacy studios he wished to combine.

However, his seemingly conciliatory message was undercut that same month when he threatened to relocate Paramount’s base to Tennessee or Texas. Ellison built his Skydance production in Santa Monica.

Across the industry, workers viewed the mixed messaging with wariness and anger.

“If Ellison truly wants to be a steward and do the things that he said he can do and wants to do in that article, I think people would welcome it,” said Pamala Buzick Kim, a co-founder of Stay in LA, the 23,000-member grassroots campaign aimed at boosting local film and television production. “They just have no evidence of it.”

Aside from the bad blood, Ellison’s biggest challenge may be financial.

At a time of massive industry upheaval, most observers believe that the company will have to lay off droves of workers to bring its costs down.

“I will honestly say that the biggest work that they have cut out for them is servicing this debt, and that’s going to guide every decision,” said Kahn, the USC professor.

“Now they’re going to have to fire lots of people in order to reduce costs to be able to make this deal pencil out, and they’re going to be skating on the razor’s edge to make sure that they have enough revenue coming in going forward to service this debt. They have almost no room to maneuver.”

But Paramount has one thing working in its favor: leverage. David (as in Ellison), for better or worse, is now the industry’s Goliath.

“I think temper tantrums can be easily forgotten if the work is there,” said Buzick Kim. “I think most people would be happy to leave it behind them — if the work is there.”

Times staff writers Meg James, Stephen Battaglio and Samantha Masunaga contributed to this report.

John Green’s nine-year hiatus from fiction has ended, and his adult debut, “Hollywood, Ending,” comes right on time to explore the dark side of fame.

The novel centers on former child actor Juniper Castillo and Hollywood newbie Kai Laramie, who are cast in the artsy biopic “Andy Warhol Never Gets Old,” with hotshot movie star Matthew Malone in the title role. It’s Juniper’s chance to establish herself as an adult actor and Kai’s first foray into the spotlight, a position he quickly realizes doesn’t come without a personal cost.

“There’s no way I could have written this book without spending a lot of time on film sets,” Green told The Times in a recent call.

Over the last two decades, several of the author’s bestselling young-adult novels have been adapted for the screen. His debut, “Looking for Alaska” (2005), was adapted as a Hulu limited series in 2019, the same year Netflix released the feature film adaptation of his co-authored holiday anthology, “Let It Snow” (2008). On the big screen, “Paper Towns” (2008) made its film debut in 2015, while his bestseller “The Fault in Our Stars” (2012) became a box-office hit in 2014. Most recently, his 2017 novel, “Turtles All the Way Down,” received a feature film adaptation in 2024.

“I hope the book is a love letter to movies. But I also wanted to be honest about how difficult it is to make a work of art that, in order to be commercially successful, has to be loved by millions of people,” Green said. That’s where the Hollywood machine comes in. “It’s really hard to figure out how to get millions of people to pay to watch something, and that challenge leads to all kinds of compromises and sacrifices.”

While Green’s young-adult novels have often explored the teenage experience, he never felt confined by the YA genre. “I think teenagers have infinite intellectual capacity,” he said, adding that he doesn’t really think about which shelf will hold his novels inside a bookstore. In “Hollywood, Ending,” his main characters are navigating their early 20s, a period which Green finds especially interesting.

“The questions in this novel explore how it feels in those early years of adulthood when there are still so many possibilities, so many directions you might go,” he said.

The following conversation has been edited for length and clarity.

How did you land on Andy Warhol as a celebrity figure and metaphor to use in telling this story about Kai and Juniper?

I think Andy Warhol saw so much of our world coming. He saw that three-dimensional experience was going to be rendered in two dimensions. He’s most famous for taking cylindrical soup cans and making them flat, but he also saw celebrity culture coming.

There’s the famous quote about everybody being world-famous for 15 minutes. I think he understood that normal people were going to experience celebrity, and he also saw the way that the repetition of images, as I write about in the novel, would lead to a certain desensitization. So I think everything from screen-based experience to the ways that technology was going to reshape our lives, he was the patron saint of all of that.

One of the images that really struck me is when you talk about him dying wigless and being too uncomfortable with that to have friends come and visit him in the hospital.

I think Juniper says at one point that fame is a kind of armor. I don’t know how Warhol thought of his wigs, but I wanted it to be a sort of emblem of protection for him.

Your wife, Sarah, is an Andy Warhol scholar. Was that a major strength while you were writing this?

There’s a huge advantage to being able to fact-check something by shouting down the hall. I also wanted to include Warhol partly as a love note to Sarah … She co-wrote a book about Andy Warhol’s relationship with money and business called “Andy Warhol Enterprises.” After 25 years, our way of looking at art and the art that we’ve shared together is so deeply intertwined that anything I write is unimaginable without her. She’s my first reader and most important reader … It’s only thanks to her that Warhol’s in the book.

You really humanize the young actors in “Hollywood, Ending,” which, unfortunately, is a unique thing. This is an intimate, vulnerable portrayal of behind-the-scenes Hollywood — why was that important for you to examine?

I wanted to write about the machine that takes private experience and commodifies it, and I think that machine is especially challenging to navigate when you’re young, when you’re in early adulthood, because you don’t yet have those relationships that are going to carry you through. You don’t have the love that you need to survive all that you’ve got to survive. When my work became very successful, I was in my 30s. I was married. I had two kids. I lived in Indianapolis. I had best friends. I was pretty grounded, and it was still very disorienting.

How so?

It’s a completely different life to have everybody have opinions about your work than it is to take your kids to school every day. So I was thinking partly about that, but I was also thinking about the influencers I’ve known, and the actors I’ve known who’ve had to go through that [while] much younger, and what that’s been like for them as well.

You do a really good job of examining the dark side of the attention economy. Why was this especially of interest?

Well, it used to be that the attention economy was mostly a problem for actors and other celebrities, but now the attention economy is something we all participate in. We’re all taking our private experiences and packaging them up for public consumption on Facebook and Instagram and Twitter and Reddit, and I think we gain something from that, or we wouldn’t do it. But we also lose a lot.

I wanted to try to be honest about what we gain, and also be honest about what we lose. My last novel, nine long years ago, was about a young woman with OCD. I also have OCD, and I had to make a decision when I was promoting that book, about whether I would talk about having OCD, and I decided that I would, and that became a huge part of talking about the novel — talking about my own experiences with mental illness, and it was a gift in many ways because so many people have said to me that it helped them to see that it’s possible to have a good and fulfilling life while living with a serious mental illness, and it was helpful for me because it helped me feel less alone in it.

But it was also complicated because there are real costs when you share something. It’s not yours anymore in ways that are a relief, but also in ways that are difficult.

You’re offering it up for scrutiny in a way that can be really scary.

It is really scary to have your private life scrutinized in that way, right? And there’s an element of judgment that comes with creative expression that’s a natural and healthy part of conversations about what art is and what art should be, but being in the middle of those conversations isn’t always fun.

I think you capture that in Kai’s experience. He is really pressured to come out and talk about his traumatic experience, and he doesn’t want to. The “machine” wants to sell tickets and exploit his trauma in the process.

It’s one thing to try to make good art. It’s another thing to try to make good art that lots of people interact with, and a portion of that second issue is inevitably finding ways to interest an audience, and nothing interests an audience quite like a personal story, especially a personal story of overcoming difficulty.

Was the movie star Matthew Malone based on anyone specifically?

I have aphantasia, this brain condition that causes me not to be able to imagine anything visually. I have no visual imagination, and so I can’t see actors when I’m writing. I can’t see characters when I’m writing. I can’t see anything. Everything’s made out of language, and so there’s no way I could have cast the movie in my mind or had somebody in mind for the character. It’s been great to hear all the folks who people were thinking of. I’m curious who you were thinking of.

I thought of Tom Cruise a couple of times. Have other people said that?

A couple people have said that as well. Yeah.

That’s so interesting about your work with language solely. Do you think that’s been a strength with you as a writer? Because you create such vibrant visuals for your readers.

It’s the only way I’ve ever been. I never knew that other people had this vibrant visual imagination until I was in my 40s, and my wife said I think maybe the reason you don’t have a sense of direction and you have to open up all the cabinets when you put away the dishes and you don’t know whether there’s a rug in the living room is because you don’t have a visual imagination, and I was like, of course I don’t. Nobody does, and she was like, you can’t picture an apple in your head? And I was like, no, nobody can picture an apple in their head. They say they can, but they mean it metaphorically … And Sarah explained to me that, in fact, the vast majority of people can see an apple, which still seems fictional to me, like science fiction stuff.

Some people don’t have that inner voice in their head (anendophasia).

I do have an inner voice. I think. But this all gets to something really interesting about being a person, though, which is that you’re stuck the whole time you’re here inside of one consciousness and looking at the world through one set of eyes. And I have no idea what it’s like to be you. The great thing about writing fiction for me is that act of imagination, that attempt to empathize, that attempt to escape the self and imagine what it would be like to be somebody else with some clarity, but of course, there’s always a limit to my ability to do that, and that problem has fascinated me my whole career.

Your books have meant so much to so many people, and in recent years, I’ve reported quite a bit on your book, “Looking for Alaska,” being one of the most commonly banned books. How do you feel about that?

I’m really concerned about attempts to limit intellectual freedom in the U.S., especially when it comes to libraries and schools. We have professionals we’ve trained to make collection decisions and to make curricular decisions in schools, and those professionals are teachers and librarians, and I’m very disturbed when other people come into that conversation and try to usurp the work that teachers and librarians are doing. I think a lot of times authors get most of the credit for the fight against book bans, and the truth is, all the credit should go to the teachers and librarians who are often putting their jobs on the line, making really difficult decisions to try to do the best by the kids that they’re representing and working with.

John Green will be in conversation with Julia Whelan to discuss “Hollywood, Ending” at 7 p.m. Tuesday, Oct. 13, at a ticketed ALOUD event hosted at Saban Theatre. 8440 Wilshire Blvd., Beverly Hills.

BRIT Hollywood star Jodie Turner-Smith is accused of helping fund her brother’s drug use and sex parties, according to a bombshell lawsuit.

Three women have also filed a complaint against convicted felon Richard Smith – alleging sexual coercion, non consensual sexual conduct, and imprisonment.

One of them, named Jane Doe 2, alleged that Smith referred to her as his “white slave” and described himself as her “master”.

Turner-Smith is named as a defendant in the harrowing case, that is now threatening to derail her Hollywood career.

The actress, the lawsuit claims “knew of significant dangers associated with Smith and, despite that knowledge, continued to provide or make available resources that enabled [him].”

Smith used the housing and money that he received from his sister to carry out the sexual abuse, according to the claimants.

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Among Turner-Smith’s gifts to her brother was an Audi that he allegedly used to transport drug packages to USPS that were then moved across state lines.

Smith also used his famous sister to make some of the women feel safe and “lower her defences” during sex parties, it was alleged.

“I used to take care of her, now she takes care of me. She pays all my bills,” he told them, as per the papers.

Turner-Smith denies all the claims made against her.

Some of the more shocking accusations were made by Jane Doe 2, who said she met Smith in 2023 at an after hours party in Los Angeles.

He allegedly pressured her to take drugs where “trays of cocaine… and firearms or other weapons were present”, the papers say. 

The pair engaged in a sexual relationship that later turned “unhealthy” and “controlling”.

Smith is accused of pressuring her to have sex with him as well as multiple other men.

Jane Doe 1 also claimed he pressured her to take drugs and engage in unwanted sexual activity with him.

At times, his own children were present during some of the illicit activities at a 1555 Vine Street residence, the papers say.

Meanwhile, Jane Doe 3 said she did not feel safe in the Hollywood home, and said Smith even pressured her to sell drugs.

He further “forced sexual activity involving himself and a roommate,” she said.

The three women allege that “they have suffered and continue to suffer emotional distress, fear, anxiety, humiliation, trauma, loss of peace of mind, and other damages as a result.”

Representing the three women, Nissan Thomas, said: “This lawsuit raises serious questions about what happened, who knew about it, and what resources continued to be provided after warning signs allegedly became impossible to ignore.

“They are asking the court to examine the conduct of each defendant based on the evidence – not on family relationships, celebrity status or speculation.”

A representative for Turner-Smith told TMZ that this is a “fictional lawsuit.”

“[It] was filed by someone who has been harassing Jodie while hiding behind the name Jane Doe,” the statement said .

“The claims are not true. This is an abuse of the legal system, allowing someone to make up facts and file meritless legal documents.”

Next year, the Los Angeles Chamber Orchestra — an intimate, 42-player group compared with the more than 100-member Los Angeles Philharmonic — will warm its new home, the highly anticipated, Frank Gehry-designed Terri and Jerry Kohl Hall. And it will do so with the help of a little light music: fanfares commissioned from half a dozen preeminent film composers — John Williams, Ludwig Göransson, Joel McNeely, Thomas Newman, James Newton Howard and John Powell — curated by none other than Seth MacFarlane (best known as the creator and star of “Family Guy”).

The buzzwords are lighting up, but this is far from a game of performing arts Mad Libs; it’s actually quite intentional. “We really thought about … ‘What statement can we make to Los Angeles and to the performing arts world that really shows who we are?’” said LACO Executive Director Ben Cadwallader. “Who is the Los Angeles Chamber Orchestra, specifically? And it really was this tie to Hollywood, to Los Angeles, to our musicians themselves.”

MacFarlane was a natural fit.

“I loved movies and I loved movie music,” MacFarlane said of his childhood in a recent interview. “I would go to the record store and buy the latest John Williams soundtrack, which was usually out before the movie was released. I remember buying the ‘Jurassic Park’ soundtrack not having seen the movie, and it didn’t matter. It was just great music. It was just great, symphonic music.”

LACO was founded by an assemblage of musicians and civic leaders in 1968, including the cellist James Arkatov. After emigrating from Russia as a child, Arkatov became the principal cellist at the Pittsburgh and San Francisco symphonies before landing in L.A. He arrived as a Hollywood studio musician, played on movie soundtracks and did backing for Ella Fitzgerald.

From the beginning, LACO served as “the artistic outlet of studio players … these incredibly gifted musicians who bring our movies and TV shows to life,” said Cadwallader, a situation that remains true to this day. LACO’s musicians know it’s “a place where they can play … Bach and Mozart, and make music at a really high level in a performance environment, not a studio environment.”

This is why the christening of LACO’s new home is also a homage to its roots: film composers. These giants of their fields will each write a spry, five- to seven-minute-long fanfare as openers for select LACO concerts throughout the season. (The works will also be performed at the Wallis Annenberg Center for the Performing Arts, with John Williams’ piece arriving first, in fall 2027.)

MacFarlane knew just what to do, thanks to his long history with music. The actor, animator, filmmaker and comedian has released 10 studio albums, received five Grammy Award nominations and performed as a vocalist at the Hollywood Bowl and Carnegie Hall. (He also just released a 14-track album called “Seth MacFarlane Sings the Muppets.”) Plus, his parents raised him steeped in music.

Nothing has changed here — throughout his career, MacFarlane has been relentlessly committed to including live music in his projects. The musical numbers on “Family Guy” simply couldn’t (and wouldn’t) exist without an orchestra.

“It would somehow feel thin and hollow, and people may not know why their attention is drifting, but it would drift,” MacFarlane said. “I really think you need the muscular sound of 60 musicians in a room, and in the case of ‘The Orville,’ sometimes 90. … Hollywood has been doing it since pictures went to sound, and I hope they continue to do it for as long as we make film and television.”

MacFarlane noted that the only time many people actually hear a live orchestra is in film or television.

“I don’t know how many people go to the symphony,” MacFarlane said. “So that’s certainly a component. When I was a kid, even the syndicated afternoon cartoon shows used a live orchestra, and when you go back and you listen to them, oftentimes it’s pretty legit composing. And I think that was important to have heard. I think it’s just good for the brain to hear complex symphonic music.”

Composer, conductor and longtime MacFarlane collaborator Joel McNeely (whose wife, Margaret Batjer, is LACO’s concertmaster) got MacFarlane involved in this commissioning initiative. Then MacFarlane selected the participating composers (and supported the initiative financially). One final Mad Lib to solve: What exactly, you may be wondering, is a fanfare?

“The perfect example … is the beginning of ‘Star Wars,’” Cadwallader said, then hummed the intro. “There’s big, loud brass. You cannot help but pay attention. … It puts a smile on your face. It maybe gets your heart racing a little bit. It’s usually very rhythmic, very bright. It’s like a big warm smile, or like a popping of a Champagne cork, to start a concert. … A bursting, effervescent moment of music to get things started. An amuse-bouche, if you like.”

HOLLYWOOD stars gathered to say their goodbyes to the late Hayden Panettiere, a month after her tragic death at 36.

The Heroes and Nashville actress died of a suspected overdose at a luxury Airbnb in South Carolina in August.

Hayden’s former co-star Connie Britton was seen arriving at the memorial in Malibu, California, who reportedly had a special role at the service.

According to TMZ, Connie delivered a speech at the wake in addition to fellow Nashville cast member Charles Esten.

Furthermore, Charles is said to have performed one of Hayden’s character’s song from the hit US show, as fellow Nashville alumni Lennon Stella and Jonathan Jackson watched on.

Paris Hilton, Evan Ross and Ruby Rose were also present at the star-studded event, with the latter previously getting choked up as she remembered her ‘best friend’ days prior on the red carpet.

Read more Hayden Panettiere

sweet tribute

Ruby Rose breaks silence on ‘best friend’ Hayden Panettiere’s tragic death

OFF THE LIST

Hayden Panettiere’s mum and boyfriend Brian ‘BANNED’ from her memorial

Doves were reportedly released outside of the ceremony, with TMZ claiming a photo of a bikini-clad Hayden smiling on a boat was chosen for the order of service, bearing the line: “Honoring the life & legacy [of] Hayden Panettiere. 8.21.89 – 8.16.26.”

The outlet further states that the memorial for the late star was attended by 150 people in total and was organised by Hayden’s family including her dad Skip Panettiere.

Hayden’s ex-fiancé, Wladimir Klitschko, and their 11-year-old daughter, Kaya, were not photographed at the event.

Notably missing from proceedings was Hayden’s mum Lesley Vogel and her boyfriend Brian Hickerson, plus his brother Zach.

It was previously reported that the trio were not invited to the event.

However, TMZ reported that a source close to Lesley Vogel denied she was not invited, but admitted she did not attend due to a family emergency.

As The U.S. Sun reported, Hayden was found dead in a Greenville, South Carolina Airbnb on August 16, where she was staying with her on-again, off-again boyfriend Brian.

According to the police report, Brian attempted to revive her with Narcan before first responders arrived on the scene.

Despite the EMTs efforts, Hayden – who admittedly suffered from addiction in recent years – was soon declared dead.

Authorities believe she took a black-market oxycodone pill laced with fentanyl, though the official cause of death has not yet been determined.

Hayden was estranged from her mother at the time of her death, and slammed her in her memoir released earlier this year.

Hayden claimed her mother was furious when she severed their professional relationship, wanting to just focus on their personal bond instead.

“You owe me!” Hayden claimed her mother told her – but Lesley blamed her daughter’s boyfriend Brian for the estrangement.

 “Although my daughter and I were estranged, it was not for lack of care or love. It was due to the involvement of a toxic individual who I believe led to her death,” she said, pointing fingers at Brian.

“Hayden was a beautiful and talented young woman who unfortunately became involved with the wrong person, and although her family tried to extricate him from her life, we were unable to be successful.”

Brian and his brother have denied any involvement in Panettiere’s death.

Hayden’s loved ones had been weary of Brian’s presence in her life, after the couple first started dating in 2018.

He had been arrested multiple times for allegedly assaulting her, and even served jail time for the two felony counts, which included punching her in the past.

Hickerson pleaded no contest to two felony counts of injuring a spouse or girlfriend in April 2021.

Months before her death, Hayden insisted he was out of her life, but recent reports claimed they were secretly still together in her final days.

The advertising blitzkrieg of L.A.’s mayoral campaign is here.

Mayor Karen Bass and her opponent, City Councilmember Nithya Raman, dropped new campaign commercials over the last week, buying time on television, streaming channels and other platforms. Supporters of both candidates released ads as well.

The two candidates relied heavily on free media for most of the summer, putting videos on Instagram and inviting the news media to cover their appearances.

The dam effectively burst on Monday, with Raman touting her new Hollywood-themed ad “For Your Consideration,” timed to coincide with the Emmy Awards.

The 30-second spot starts with Raman stepping out on the town, then shifts to some standard L.A. imagery: freeways, palm trees, Echo Park Lake and, of course, the Hollywood sign.

“L.A. shows the world what it means to be a star,” declares the ad’s narrator, actor and screenwriter Bob Odenkirk. “And every Angeleno deserves the chance to reach for their own.”

After Raman has stopped off at a taco stand and hugged a dog, Odenkirk delivers the ad’s final message: “Change. Affordability. An L.A. that loves you back.”

That ad ran on television a few times before being cycled onto social media, per the Raman campaign.

Three days later, Bass went up with a 30-second spot — on digital platforms for now — centered on President Trump’s immigration raids.

The ad offers footage from the day in July 2025 when Bass confronted federal immigration agents in MacArthur Park. The video features images of gun-toting federal agents in military uniforms and Bass hopping out of a car in an aquamarine pant suit to face them.

“When someone comes after your family, you don’t hesitate,” Bass says. “You stand up. You fight.”

One of Bass’ most formidable allies — the Los Angeles Police Protective League — went hard negative with its first ad of the runoff campaign, offering the message that Raman “Doesn’t Get It.”

The commercial, released Friday, follows a young girl as she walks past a homeless encampment, juxtaposed against video of Raman talking about her opposition to a law that prohibits encampments near schools.

“I don’t think a kid’s gonna be safer because a tent is 500 feet away from a school,” Raman said in the clip, which was taken from a 2024 candidate forum in Sherman Oaks.

The backpack-wearing child speaks to the camera and says: “Walking to school shouldn’t be scary.”

“I’m just a kid,” she says. “But even I know I’d be safer if this was 500 feet away.”

The police union says the ad will start running on television this weekend and already is on social media platforms.

Meanwhile, Raman’s backers have an assortment of attack ads running on Facebook and Instagram.

Streets For All, a group that wants to expand the city’s bus and bike lane network, pulled video footage from a different Sherman Oaks candidate forum — this one featuring Bass and Raman last month.

At that event, Bass told the audience that Raman is unresponsive to her constituents, forcing many in Sherman Oaks to contact the mayor’s office directly.

“Many of you have my cellphone, you have called me,” Bass says in the ad. “You called on me specifically for help.”

Streets For All contends those remarks show that Bass gives wealthy homeowners her number while “regular Angelenos get ignored.”

“L.A. deserves a mayor who doesn’t just listen to the rich and powerful,” the ad says.

By Friday, Streets For All had nearly two dozen different video spots opposing Bass over such issues as homelessness, transparency and the Palisades fire, according to Ethics Commission filings.

The biggest backer of the group’s political action committee is hedge fund manager Aaron Sosnick. Of the $1.2 million that the group plans to spend in the mayor’s race, Sosnick has provided $1 million, said Michael Schneider, who heads the group.

Schneider said the committee also has financial support from retired real estate developer Yuval Bar-Zemer — known for his work in the Arts District — and Todd Wexman, chief principal of 4SITE Real Estate, a real estate development company.

Raman pollster says she’s in the lead

The Raman campaign shared the results of a new internal poll that showed their candidate with a five-point lead over Bass.

Of the 600 likely voters who were surveyed, 44% supported Raman and 39% backed Bass, with 17% undecided, according to a memo provided to the campaign and viewed by The Times. The survey, conducted by Hart Research Associates in early September, had a margin of error of 4 percentage points.

“In the initial trial heat for Los Angeles mayor, Councilmember Nithya Raman is in the rare position for a challenger of already LEADING the incumbent,” the polling firm wrote.

Another poll, commissioned by an independent expenditure group supporting Raman, portrayed the race as a statistical tie, at least initially. Estamos con Nithya for Mayor of LA 2026, sponsored by the Western States Regional Council of Carpenters, said its poll showed Bass with 38% and Raman at 37%.

However, when voters received more information on the candidates, Raman took a 7-percentage-point lead, with 41% supporting her and 34% supporting Bass, according to a memo prepared by the group’s pollster.

The margin of error was 3.7 percentage points.

The Bass campaign declined to share its internal polling when contacted by The Times.

However, Neighborhoods for a Better L.A., an independent expenditure group supporting the mayor, said a survey it commissioned in early August showed the mayor with an edge over Raman of 41% to 35%, with 24% of the electorate undecided.

That poll, conducted by Tulchin Research, surveyed 1,200 likely Los Angeles voters and has a 2.8-percentage-point margin of error, the group said.

The poll also found that when given “balanced biographies” about both candidates, Bass’ support grew to 45% while Raman went down to 33%.

“Communications focused on Raman’s record can both reduce her support and consolidate voters behind Bass,” the pollsters wrote.

Giving back El Grito cash

Los Angeles City Councilmember Imelda Padilla locked down sponsorships for the city’s celebration of El Grito, which marks Mexico’s independence.

Tuesday’s event, which featured an evening of musical performances, was sponsored by an assortment of city contractors and government agencies, including waste hauler Athens Services and the Department of Water and Power.

Still, Padilla decided she didn’t want to partner with one particular business, announcing at the last minute that organizers no longer would accept a $5,000 sponsorship from Home Depot.

On the day of the celebration, Padilla issued an apology on Instagram, saying she had heard from community members upset over the event’s affiliation with Home Depot, whose parking lots have been the site of many federal immigration raids.

“We have rescinded their partnership for this event,” Padilla said in her post. “The spirit of El Grito is rooted in celebrating our Latino heritage and creating a space where our families feel welcomed, safe, and celebrated.”

In an email, a Home Depot spokesperson said the company is not involved in immigration enforcement activities and doesn’t coordinate with Immigration and Customs Enforcement or U.S. Border Patrol. The company also doesn’t receive advance warning about enforcement actions, the representative said.

“We cannot legally interfere with federal enforcement agencies, including preventing them from coming into our stores and parking lots,” Home Depot spokesperson Evelyn Fornes said.

State of play

— COZY WITH CARUSO: Billionaire developer Rick Caruso, who was defeated by Bass in 2022, appeared alongside the mayor at a groundbreaking for the Palisades Recreation Center. Caruso praised her for her work on the project but stopped short of endorsing, saying he intends to meet with Raman in the coming weeks.

— LIFE AFTER PRATT: The voters who picked reality TV personality Spencer Pratt in the June 2 primary election are now up for grabs. But will they stay home instead of picking a mayoral candidate?

— BASS BAILS: The mayor skipped a congressional hearing on waste and fraud in homeless spending this week, calling the session politically motivated. Rep. Tim Burchett, the Republican who chaired the subcommittee meeting, accused her of dodging accountability.

— FINDING FRAUD: Federal authorities arrested three people who were working in Los Angeles-area homeless nonprofits this week, accusing one of them of misappropriating more than $7.5 million in taxpayer funds. Scott Turner, secretary of the Department of Housing and Urban Development, said the Los Angeles Homeless Services Authority, which provided the funding, had allowed fraud to “run rampant.”

— WE’RE IN THE MONEY: The 2028 Summer Olympic Games in Los Angeles will generate up to $40.6 billion in increased economic output and add as many as 224,000 jobs, according to an upbeat economic forecast released this week. Another, more tempered estimate put the increase at $20.5 billion to $25.4 billion.

— SEETHING OVER SKID ROW: Some activists want dogs taken away from homeless residents living in Skid Row, saying those animals are living in an unsafe environment. A Bass aide responded by cautioning that it is “neither humane nor legal to remove animals from their human companions without appropriate cause.”

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to combat homelessness went to Avalon Boulevard and 64th Street in South L.A., an area represented by Councilmember Curren Price.
• On the docket next week: The council’s Public Works Committee meets Tuesday to discuss ways of cleaning, safeguarding or demolishing nuisance properties.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

After a bitter standoff, Paramount Skydance and California Atty. Gen. Rob Bonta have made progress in settlement talks that could push Hollywood’s massive merger over the finish line, people familiar with the matter said Friday.

The two sides have quietly been negotiating a truce to end the antitrust lawsuit brought by Bonta and 11 other Democratic state attorneys general — a legal volley that has threatened to derail Paramount’s $111-billion takeover of Warner Bros. Discovery.

It’s not clear how close to a resolution the two sides are, but talks in recent days have been constructive, one of the knowledgeable sources said.

Paramount Chief Executive David Ellison is highly motivated to end the court battle with Bonta before Oct. 1, when his company will be obligated to make a higher payout — an extra $7 million a day — to Warner Bros. Discovery shareholders on top of the $81 billion the company has already agreed to pay.

For weeks, Ellison and his team have been ratcheting up political heat on Bonta to abandon his lawsuit, including threatening to pull Paramount out of Hollywood — a scenario that has rattled state and local lawmakers who desperately want to bring film jobs back to Los Angeles, not lose thousands more.

Paramount declined to comment.

A spokesperson for Bonta’s office said in a statement: “Potential settlement talks are confidential. We cannot confirm or deny whether settlement talks are occurring or their alleged substance.”

Both sides have incentives to settle. Ellison, who has leaned on his family’s connections to President Trump and Washington Republicans, would like to avoid taking on more debt for the already highly leveraged deal. And he is eager to close the transaction and take the reins at Warner Bros. before the midterm elections.

Bonta has been on a winning streak with favorable rulings against the Trump administration and social media giant Meta, and he doesn’t want to overplay his hand or risk having his coalition of state attorneys fall apart.

Earlier this week, the two sides agreed to sit down for court-mandated settlement talks in mid-October. The two sides were set to meet in late August but Bonta pulled the plug on those sessions, accusing Paramount of leaking misinformation and “playing games.”

The Wall Street Journal first reported the two sides were in advanced talks.

This is a developing story.

With a boisterous laugh, Giselle Bonilla recalls her introduction to Hollywood at the age of 12: on the set of “Freedom Writers,” the 2007 drama about at-risk high school students in Long Beach. She played a young version of Eva, one of the film’s main characters.

“I remember the first thing we shot was an initiation scene where I get the s— beat out of me,” she tells De Los, sitting at a coffee shop in Silver Lake on Sept. 11 (more on this date later). “They put this candy blood in my mouth, and I thought it was so fun.”

In retrospect, Bonilla, 31, finds great irony in how that initial foray into professional acting fictionally materialized her Mexican immigrant parents’ worst nightmare.

“We don’t come from money. They hustled all their lives and put my sister and I in private education, because they had this irrational fear that I would join a gang … then the first thing I ended up booking as an actor was getting initiated into a gang,” she says grinning.

Since that unique formative experience, Bonilla has traveled a winding path in and out of the industry, which ultimately led her to direct her first feature: the dark comedy “The Musical,” in theaters Friday.

The movie’s antihero, Doug (Will Brill), is a middle school theater teacher plotting his revenge against his ex-girlfriend Abigail (Gillian Jacobs), also a teacher — and her new boyfriend, the more charming Principal Brady (Rob Lowe).

Doug’s plan? To secretly persuade his young students to put on a musical about the horrors of 9/11 and its aftermath that’s certain to cause controversy and get the principal in trouble.

“I feel like you can be more honest with comedy,” says Bonilla about why this genre appeals to her. “You can get away with everything that you’re angry about and want to yell about. If you make them laugh first, people tend to listen.”

Left to right, back row: Alex Heller (screenwriter), Will Brill (center row) Gillian Jacobs, Giselle Bonilla (director) and Rob Lowe (on the floor) from “The Musical” at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah on Jan. 24.

(Christina House / Los Angeles Times)

Though the actual show is only a small element of the narrative, it turned off distributors, who argued they wouldn’t be able to market a comedy that involved such a delicate subject.

Still, “The Musical” is making it to the big screen as a self-released title thanks to its executive producers, who believed in the film enough to put in more money for a release.

“I’m going to make sure people watch it regardless,” Bonilla says about being very involved in the marketing. “Even though it didn’t sell at Sundance, we still found a way, which is how we made the whole movie. It was nonstop fighting against the universe just to make a comedy.”

Less than a week before production started, Bonilla lost the actors who were originally playing Principal Brady and Abigail. As her film fell apart, she reached out to the industry contacts she had made after working as an assistant for a few years. Miraculously, the screenplay piqued Lowe’s interest. He came on board, essentially saving the project.

Will Brill and Rob Lowe star in “The Musical.”

(Blue Harbor Entertainment)

As a student at the AFI Conservatory, Bonilla had directed a short film version of “The Musical” that writer Alexander Heller, aware of her affinity for comedy, had conceived for Bonilla to direct. The core group of artists who made the short also worked on the feature.

And though she has always pushed for diversity on screen — including in her short films “Virgencita” and “Bullfighter” — for “The Musical,” Bonilla believed the adults had to be white.

“It would be way more damaging if I had pinned a brown person to be behind the staging of a musical about 9/11,” she explains. “It was very clear to me that this was a comedy about white liberalism and how people weaponize tragedy for their own agenda.”

When it came to the kids in Doug’s class, Bonilla wanted to reflect the multicultural mosaic that is the Los Angeles Unified School District. To be able to see herself in “The Musical,” Bonilla wanted a Latina girl as the child with the most ambition to succeed in the arts. That character became Lata: played in the feature by Melanie Herrera in her first acting credit.

“She’s a dancer. But she’s very precocious and has a really confident, type-A personality,” Bonilla says of the young actor. “Melanie gives Reese Witherspoon in ‘Election,’ like, ‘I will do whatever I have to do for the part,’ and I recognized that in myself as a kid.”

Filmmaker Giselle Bonilla on the set of “The Musical.”

(Peter McCollough)

An L.A. native raised in North Hollywood, Bonilla started doing improv at a young age encouraged by her father, Art Bonilla, who grew up in Tijuana and has worked as an actor in the U.S. for over 40 years.

Her mother, originally from Sinaloa, does workers’ compensation insurance, which provided a stable income and allowed her partner to pursue acting.

“It was tough seeing him struggle and not have any agency over work,” Bonilla says of her father. “He’s such a great actor and he’s really funny, but he’s always getting cast in these very small bit parts as a gardener or an immigrant crossing on the border.”

Unsurprisingly, when Bonilla began auditioning for roles as a teenager, similarly one-dimensional and stereotypical characters from a “troubling perspective” came her way.

“They always make the main character in those stories a white person,” she says. “And then we’re painted as these puppies that just keep getting beat up. I didn’t want to contribute to that.”

Bonilla’s interest in being on the other side of the camera solidified after playing an illiterate South Central high school student in the Byron Allen sitcom “Mr. Box Office.” She attended Pasadena City College, where she studied film production, then used the residuals from the show to help pay for her tuition at NYU Tisch School of the Arts.

Attending film school on the East Coast was, as she puts it, a necessary experience, because she grew up rather sheltered.

“I’m a first-gen Mexican American woman and I was supposed to live at home until I get married,” she explains; but it also exposed her to the concept of impostor syndrome.

“I always had this impostor syndrome at NYU, because that was where I first really confronted wealthy people,” she explains. “I had never been in a predominantly white institution before. And that was really eye-opening.”

It was only when COVID restrictions were lifted that Bonilla decided to apply to the AFI Conservatory, where she regained her confidence and met her now close collaborators.

She has, however, never forgotten her biggest and earliest supporters. Since she started directing, Bonilla has cast her father in many of her short films. And in “The Musical,” you can see both of her parents in the audience during the culminating school show.

“My dad is the one that yells at Rob Lowe at the end in slow motion. He’s pissed that I cut his line, but it was a union film, and we couldn’t afford to give my dad a line,” she says. “But he will be the first one to tell you that he’s not an extra. He did a ‘cameo!’”

“The Musical” director Gisella Bonilla poses at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah, on Jan. 24.

(Christina House / Los Angeles Times)

Bonilla’s next project takes inspiration from her memories attending a Catholic school run by nuns in Sun Valley, where a teacher was discovered to be a pedophile. She describes it as “an erotic thriller told from the perspective of virgins.”

Once again, she’ll tackle an unsavory topic and figure out how to bring it to fruition; then distribute it come what may, because she refuses to be boxed in by the industry’s expectations.

“Identity stories are very important. If someone wants to do that, they should be able to do that,” Bonilla says. “But I don’t think our opportunity as Latinos should be limited to painting ourselves as victims against the supremacists.”

We’re hunkered down in a dark stairwell on the side of a hotel facing a busy street in Hollywood. To passersby, we could easily be mistaken for two teenagers hiding in the shadows. In reality, I’m sitting with Kelela, the electronic R&B architect whose uncompromising vision has quietly reshaped the contours of alternative music.

Dressed in oversize sunglasses, an acid-washed tee, light blue jeans, checkered Vans and a vibrant auburn-colored French bob with micro bangs, she effortlessly rolls a joint with long ombre nails that mimic smoke and fire. She slips it between her lips and flicks a lighter stamped with a single word: Gotham.

(Robert Gauthier / Los Angeles Times)

Her lighter choice is pure coincidence, she says, but it fits the apocalyptic visual universe she’s built for “New Avatar,” her dark, guitar-heavy third album that merges her early D.C. indie roots with shoegaze, grunge, futuristic club music and R&B. Produced almost exclusively by Oscar Scheller — who has crafted tracks for PinkPantheress and Lily Allen — the 12-track project finds Kelela chasing intimacy, desire and emotional refuge in the midst of an increasingly chaotic world. From the color-inverted cover art to her icy white hair and bleached brows in the video for “idea 1” — a song that draws inspiration from Octavia Butler’s 1993 sci-fi classic “Parable of the Sower” — the world-building is unmistakable.

“I used it to describe the context … of these stories on the record,” Kelela explains about the Gotham visual concept. “It’s a basic reference, but it feels like it applies. It’s the context for people needing to be saved and everything being f— on some level, but there still being hope.”

Just a few miles from the Hollywood stairwell where we’re sitting, Kelela will translate her genre-flexing record for the stage at the Wiltern during two back-to-back shows on Sept. 21 and 22.

Although she’s a New Yorker now, Los Angeles plays a crucial role in her musical journey. In 2010, the Ethiopian American singer-songwriter moved to Venice to work as a nanny before taking a gig as a solar panel telemarketer — a job she picked to avoid moving back home but unexpectedly excelled at.

“I’ve sold solar power to hundreds of people in the L.A. area,” she quips. “I would level with people. I didn’t sound like a salesperson because I can’t sell something that doesn’t make sense.”

(Robert Gauthier / Los Angeles Times)

The job funded her first solo apartment in MacArthur Park, but an insurance payout from a totaled car ultimately gave her the financial runway to leave sales behind and focus solely on music. That freedom manifested into her debut mixtape “Cut 4 Me,” featuring fan favorites like “Send Me Out” and “Bank Head.”

“It’s a very L.A. story,” she says with a laugh.

More than 10 years after the breakthrough record, Kelela returned to L.A. to record “New Avatar” with Scheller at his home studio in Silver Lake.

During their first session, she played him “Outta Time,” a track featuring British singer-producer A.K. Paul (Jai Paul’s brother) that she’d been holding onto for a decade until she was ready to make her first guitar-centered album. She also showed Scheller her “white bag” playlist — a collection of indie, rock and alternative tracks she loved as a teenager, from Incubus to Deftones to the Red Hot Chili Peppers. He understood the assignment and by the end of their session, they walked away with two songs: the lead single “Idea 1” and the sensual, U.K. garage-infused “Don’t Piss Me Off.”

“I had a sketch and I think that felt very magical,” Kelela says.

Their natural flow was part of the reason why Kelela was able to release “New Avatar” sooner than previous albums. It arrives just three years after its predecessor, “Raven.”

(Robert Gauthier / Los Angeles Times)

But leaning into her “white bag” wasn’t just about nostalgia. It’s a return for the artist who was once the frontwoman of indie rockers Dizzy Spells and was rocking out with her then-boyfriend, guitarist Tosin Abasi (of Animals as Leaders). It’s also a direct confrontation with the industry’s racialized genre boxes — a phenomenon Kelela identifies as “sonic racism.”

“It’s designed to keep us apart, to keep us out,” she says, “and I think clocking that is really important.”

She points to the unspoken kinship that forms when Black fans who love heavier guitar music find each other in white-dominated crowds.

“When they meet it’s a different type of bond through the music — like ‘I’ve always felt on the outside,’ but also ‘We are so inside,’” she says. “That catharsis is another feeling and I knew so much of my audience had an experience with this music, but maybe had to compartmentalize and be on the outside in order to enjoy it.” With “New Avatar,” she wanted to “dismantle and disrupt” that dissonance without abandoning her R&B roots, she says.

(Robert Gauthier / Los Angeles Times)

That philosophy echoes through the record’s lyricism. Where 2023’s “Raven,” a rave-inspired, post-pandemic offering that ruminated on the times and being firm in your boundaries, “New Avatar” is its older sister who is a bit more wise and speaks with even sharper conviction.

“We need space to feel over it,” she says, “and to not be considered Debbie Downers. That’s basically the role that Black women have been sort of relegated to — to be truth tellers. Then everyone’s like ‘Ugh, come on…’ But it’s like we’re laughing all the time. I’m so happy. I’m not unhappy.”

She adds, “The key is not rooted in escapism. The key is rooted in being honest about what you saw, and that’s kind of the tradition that I’d want my work to live in.”

On “Point Blank,” Kelela explores the emotional labor for a woman in a one-sided relationship: “By now, I hope you see/That bullet set me free/And the more I pour, the more you reap/And I’m too spent too weep.” As the title implies, “Don’t Piss Me Off” sees a woman losing her patience with a lover: “Know you want me/Tell me I’m wrong/Takin’ all night/Don’t piss me off.” But by the album’s closer “If We Meet Again,” she cuts ties entirely: “If we ever amend/Nevermind, over and out.”

“A lot of the songs are like “Y’all ain’t s—,’” she says laughing, “But I try to say it in an artful way.”

Two bright spots on the album arrive in the final act: the dream pop-infused “New Life Forms” featuring Fousheé and “The Bridge,” a song about yearning with PinkPantheress, who returned the favor after Kelela appeared on her track “Bury Me.” Directed by Yasser Abubeker, “The Bridge” music video features a memorable, sultry dance number between the two singers — a sequence Kelela encouraged fans to learn before her shows.

“I cried the first time that Yasser sent me the edit,” she says. “It’s like a love letter to Black queer culture, our intimacy. It’s so sexy without me and her having an overt love interest. It just feels so implied in this smart way.”

The day before we met in Hollywood, Kelela gave an intimate live performance for Spotify. Backed by an all-Black femme band featuring a string quartet, guitar, bass and backup vocals, she performed “Idea 1” and a cover of Incubus’ “Mexico” — a rendition that earned her praise on social media from Incubus’ frontman, Brandon Boyd, himself.

“It’s a really important image,” says Kelela about the video. “In addition to it sounding exquisite, I’m not gonna lie, it also tore visually and symbolically.”

She’ll also be backed by a full band during her “New Avatar Live” tour, which she envisions as a high-energy rave that could break into a mosh pit at any moment.

(Robert Gauthier / Los Angeles Times)

“It’s another medium for me to be able to articulate or dismantle those constructs around what makes sense together,” Kelela says. “It’s going to be first and foremost — like any record or anything that I do — cathartic for me.”

She continues, “So I’m going to be living my best f— life and through that I know I will give a good show because it just excites me. It’s a dream come true to be able to pull these things together.”

“American Idol” is packing up its stars after 25 years in Hollywood.

In the latest blow to Los Angeles film production, ABC’s long-running program will move its upcoming season to the Atlanta area, according to Fremantle, which produces the show with 19 Entertainment, owned by Sony Pictures Television.

Fremantle declined to comment further.

The move comes as Los Angeles’ production levels have tumbled, prompting concern from film workers, union leaders and elected officials who are scrambling to address the crisis. California, despite boosting its tax incentive program, has been struggling to compete against other states that offer more lucrative credits.

TV production activity in the L.A. region was down 27% in the second quarter compared with the same period a year ago, largely because of fewer reality TV shoots, according to the nonprofit FilmLA.

Earlier this year, another broadcast TV stalwart, Fox’s “The Masked Singer,” made plans to vacate its space on the Fox lot on West Pico Boulevard in Los Angeles and head to New Jersey, also in search of more lucrative tax credits. Another ABC hit, “Shark Tank,” also is relocating to Atlanta from its longtime home base on Sony’s Culver City lot.

“American Idol” has been a local economic engine since launching on Fox in 2002. For years, the show ranked as the No. 1 show on TV and employed hundreds of workers each season as aspiring singers hoped for their big break.

The most recent season originated from Red Studios in Hollywood.

Georgia offers generous tax incentives, including up to a 30% tax credit for reality television productions that spend at least $500,000 in the state. Unlike California, Georgia’s tax program allows compensation for actors and other so-called above-the-line workers to be included.

Like California, Georgia has been grappling with lower production levels. For more than a decade, its soundstages attracted colossal movie productions, but the region was dealt a blow when the Walt Disney Co. recently shifted production of its Marvel superhero films to facilities near London.

On Tuesday, a bipartisan coalition of lawmakers, the Motion Picture Assn., industry unions, Hollywood special ambassador Jon Voight and filmmaker Steven Paul made a pitch for a federal film and television tax credit to keep jobs in Hollywood and in the U.S. broadly.

Rep. Laura Friedman (D-Glendale) plans to introduce a bill into Congress as early as this month in collaboration with Rep. Brian Jack (R-Ga.), who represents a district southwest of Atlanta. The MPA released a study estimating a federal tax credit could add 143,000 film and TV jobs.

This year, in particular, has seen big swings as the California Film and TV Tax Credit Program expanded eligibility to include competition shows.

Large-scale competition shows are eligible under the state’s incentive program if they have a minimum budget of $1 million per episode. The credit, however, does not include traditional reality shows, game shows, talk shows or docu-follow television programs.

Changes in California’s formula resulted in a jump to 676 shoot days in the second quarter, compared with 463 shoot days during the first three months of the year. Nonetheless, this year’s April-June quarter still reflected an almost 40% decline when compared with the same time last year.

FilmLA said that over the last five years, reality productions have plummeted nearly 63%.

ABC in late July announced “American Idol” was returning, marking its 10th season on the Walt Disney Co. network. Producers are auditioning potential contestants this week during stops in Georgia, North Carolina and South Carolina.

ABC declined to comment on the move.

Ryan Seacrest has long hosted the show, which last season featured Lionel Richie, Luke Bryan and Carrie Underwood, a previous “American Idol” champion, as the celebrity judges.

Deadline first reported the planned move to Georgia.

Game shows are also leaving L.A.

A growing number of programs long based around Hollywood and New York have headed across the ocean to Ireland and Britain to take advantage of tax credits that bring down the cost of production as broadcast network executives contend with shrinking audiences and lower profit margins.

Fox currently has several prime-time game shows produced overseas, including “The Floor,” “Celebrity Name That Tune” and “Beat Shazam.

Staff writer Stephen Battaglio contributed to this report.

SACRAMENTO — President Trump and the Republican Congress have unintentionally provided California state government with the financial means to subsidize — help save — endangered local news reporting.

Now it’s up to Gov. Gavin Newsom to capitalize on the unanticipated gift.

He can sign or veto legislation to end state tax breaks for large corporations paying top executives $1 million-plus salaries and, instead, provide tax breaks for struggling California news outlets employing local reporters.

The state legislation would conform California law to a little-known provision of Trump’s “Big Beautiful” tax bill that eliminated corporate deductions for execs’ compensation exceeding $1 million.

California newsrooms — print, broadcast, digital — would receive an estimated $43 million in tax credits for employees’ wages. There’d still be a net $15 million left over for a small state revenue boost.

I’ll admit to feeling a bit squeamish about this.

First, it’s a conflict of interest, arguing that a governor — whom my colleagues and I write about often — should shovel public dollars into our profession.

Second, why should state government and taxpayers be asked to subsidize a private enterprise that’s flailing in the marketplace? Especially one that prides itself in being an impartial watchdog over government actions and politicians’ behavior. The dog shouldn’t be begging for food from the critters it watches.

Well, one answer is that state government provides tax breaks for lots of interests, including Hollywood movie studios. We’re allotting $750 million annually in tax credits for films produced in California.

And there’s a bill on the governor’s desk to offer $100 million annually in tax credits for post-production work, such as editing, sound mixing and visual effects.

That’s all fine. What would California have become without a healthy Hollywood? I don’t want to imagine.

Newsom also recently provided $3,500 rebates to first-time electric vehicle buyers, benefiting Tesla and other EV makers. It was “investing in our future,” the governor explained.

OK, but subsidizing local news reporting is investing in democracy. Robust coverage of city halls, school boards, Sacramento politicians and the like is essential for self-government.

And that journalism is in free fall all across America as exploding technology and social media opportunism have altered news consumption, mostly bypassing local communities and often spewing misinformation.

So this legislation, AB 2222 by Assemblyman Christopher Ward (D-San Diego), reaches far beyond just helping the troubled news industry. It’s about more than providing media outlets with financial incentives to retain and hire local reporters. It’s bolstering democracy.

Independent journalism is a pillar of democracy, providing citizens with reliable, fact-based information about how their elected representatives are performing their duties, fulfilling their campaign promises and cozying up to special interests.

You’re not going to glean that information from the politicians. You’re going to get mostly self-serving spin — government propaganda — whether it emanates from the White House, the state Capitol or the local mosquito abatement district.

That’s why the nation’s Founders protected press freedom in the Constitution’s 1st Amendment.

Thomas Jefferson famously wrote: “Were it left to me to decide whether we should have a government without newspapers, or newspapers without a government, I should not hesitate a moment to prefer the latter.”

Of course, that was early in Jefferson’s political career, before he became vice president and later president. He ultimately turned into a harsh press critic. For example: “Nothing can now be believed which is seen in a newspaper. Truth itself becomes suspicious by being put into that polluted vehicle.”

Jefferson, like countless politicians ever since, apparently carried a huge chip on his shoulder because of reporting on his job performance that ticked him off.

Newsom is a master at attracting friendly national news coverage, especially on cable TV. But he naturally shudders at more critical coverage by Sacramento beat reporters.

As of this writing, the governor hadn’t publicly disclosed how he feels about the local reporter tax credit bill.

His finance department, which crafts the state budget, opposed the measure when legislators were considering it. The state would “not [be] receiving any incremental economic benefit to justify the expenditure,” its analysis read.

Again, even if that were true, citizens and democracy would benefit.

Also, the analysis contended, the tax credit would likely “provide windfall benefits” for news media owners “rather than encourage new hiring activity.”

That’s not quite accurate. Anyway, it could discourage layoffs and save reporters’ jobs.

Late last week, the McClatchy newspaper chain — owner of the Sacramento Bee and several medium-sized California papers, plus dozens across America — announced massive newsroom layoffs.

Since 2002, more than 12,000 local journalism jobs have been lost in California, according to the bill’s sponsor, the advocacy group Rebuild Local News. More than 3,500 newspapers have closed nationwide.

Many communities have become “news deserts.”

When that happens, fewer citizens turn out to vote, tax money gets spent more carelessly and political corruption increases.

Under the legislation, California media outlets — big and small — would be granted modest tax credits for each employee covering state and local news. There’d be $20,000 for up to five full-time positions and $15,000 for each of the rest. On top of that, there’d be an additional $15,000 for every new full-time job that’s created. Part-timers would be entitled to $7,500.

“National news outlets would be excluded. So would partisan ‘pink slime’ sites controlled by political action committees,” says Matt Pearce, policy director for Rebuild Local News, a former Los Angeles Times reporter and newspaper guild leader.

It would be the most ambitious program of its kind in the country. New York, Illinois and New Mexico currently offer local news subsidies.

“It’s about civic infrastructure and the foundation of democracy. We’re teetering toward autocracy,” says former state Sen. Steve Glazer (D-Orinda), an ex-mayor who has long pushed for stronger local news coverage.

This bill won’t save local newsrooms. But it may give them breathing room while the big thinkers try to concoct a more profitable business model for democracy’s watchdog.

What else you should be reading

The must-read: Architect of billionaire tax tried to ‘extort’ support for the measure and targeted women, union reports find
Money (That’s what I want): Becerra backers with business in Sacramento spend tens of millions boosting his gubernatorial bid
The L.A. Times Special: Will ‘Coxon Day’ save us from AI destruction?

Until next week,
George Skelton

—
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Paramount Skydance Chief Executive David Ellison faces a pivotal decision: Should he uproot his Hollywood studio — the birthplace of such film classics as “Sunset Boulevard,” “The Godfather” and “Beverly Hills Cop”?

Paramount floated shifting its home base to Tennessee or Texas in July, hoping to deter California Atty. Gen. Rob Bonta from waging a legal battle to block Paramount’s $111-billion acquisition of Warner Bros. Discovery.

Bonta rejected the tactic, calling it “blackmail.” His antitrust lawsuit, filed in collaboration with 11 other Democratic state attorneys general, has since stalled the largest Hollywood merger in decades and put Ellison in a jam.

The 43-year-old tech scion — a film aficionado who has spent two decades building his career in Hollywood — has told associates he doesn’t want to leave L.A. But he has signaled that he’s prepared to sell the historic studio lots and move Paramount’s and Warner Bros.’ operations from California if the merger isn’t finalized by next month, according to people familiar with the situation who were not authorized to comment.

The prospect has rattled a region already reeling from steep declines in film production, heavy job losses, empty soundstages and shuttered small businesses.

“It would be devastating,” Assemblymember Rick Chavez Zbur, who represents a district that includes the Melrose Avenue movie lot and neighborhoods near Warner Bros. in Burbank, said of a Paramount move. “We need to do everything we can to protect these important jobs in California’s iconic industry.”

Paramount declined to comment.

Ellison is frustrated after securing approvals from more than 65 regulators worldwide for the mammoth merger that would bring HBO, CNN, CBS, Comedy Central, MTV and TBS under the same roof.

Bonta’s lawsuit stands in the way.

“California is the fourth-largest economy in the world and the best place to do business,” a spokesman from Bonta’s office said. “Strong antitrust enforcement is essential so everyone can benefit from a vibrant economy.”

A federal judge in Oakland temporarily blocked the deal, prompting Paramount to agree not to finalize the acquisition until after a trial or June 1, whichever comes first. Settlement talks collapsed in late August after Bonta accused Paramount of leaking and misrepresenting their discussions.

Paramount has plenty at stake. U.S. District Judge Araceli Martínez-Olguín set the trial for March, but the company urgently needs the valuable Warner assets to better compete against tech behemoths. And beginning Oct. 1, Paramount must increase its payout to Warner Bros. Discovery shareholders by $7 million a day, so-called ticking fees that will heap more debt onto the highly leveraged transaction.

Paramount asked the judge to require California and other plaintiff states, including Nevada, Oregon and New York, along with the Writers Guild of America (which also sued) to post a $1.88-billion bond that could compensate Paramount for ticking fee costs. A hearing is set for Sept. 24.

For weeks, Paramount’s most potent weapon has been its in-the-works plan to leave L.A.

Lobbying has been intense, prompting a parade of politicians led by Gov. Gavin Newsom, L.A. Mayor Karen Bass and gubernatorial nominee Xavier Becerra to urge the two sides to settle the lawsuit.

“It’s a game of chicken,” Kevin Klowden, an economist and managing director at the Melcene Advisory firm, said in an interview. “But I’m not dismissing the threat because it is very real.”

Relocating from Los Angeles would allow Ellison’s cash-hungry media company to qualify for lucrative tax incentives offered by another state. Ellison’s short list includes Tennessee, Texas and Georgia. But leaving its longtime home would be costly for Paramount too, given how much of the talent and deal-making remains concentrated around L.A.

Tennessee’s Department of Economic and Community Development declined to discuss its negotiations with Paramount, but in a statement a spokesperson said the state “remains committed to working with companies across a wide range of industries that are exploring opportunities to invest and grow in Tennessee.”

Early this month, a pro-merger group was set to hold a news conference outside Paramount, but it moved its gathering to a warehouse a few blocks away after anti-merger activists planned a counterprotest.

The pro-merger organization, Neighbors for Strong Communities, was incorporated in Washington, D.C., in June and has lobbed text messages to Californians urging them to press Bonta to drop the case.

Speakers were concerned with just one issue: What would happen should Paramount pull out?

“What are we going to do with all these people who have invested their lives and many generations into building something here?” asked Keyla Wood, who moved from Mexico to L.A. about a decade ago after getting her start in Spanish-language soap operas.

“It’s been one thing after the other: The pandemic, the strikes and then it was the fires,” said Wood, who has worked as a stand-in for Eva Longoria and Salma Hayek. “So many people never work again.”

David Ellison is deciding whether to leave Hollywood.

(Bloomberg via Getty Images)

L.A.’s very identity is at stake, added Daniela Kelly, an actor and dancer who arrived from Brazil two decades ago.

“Everyone in the world sees Los Angeles and Hollywood as the platform for their dreams,” Kelly said. “Imagine if a huge studio with 100 years of history here just leaves? What will we be?”

Businesses like Kelly’s small Kreashen Studios USA, which provides video and podcasting space in Marina del Rey, depends on the region’s entertainment economy.

“It’s difficult financially right now to keep open,” she said. “So I’m pro having Paramount stay because this is the center, the heart of Hollywood.”

But deal opponents and some experts say the merger would actually worsen L.A.’s already bleak production picture.

Paramount has promised to cut $6 billion in expenses — a figure that doesn’t factor in the cost of ticking fees, which would add $650 million each quarter to the $81 billion that Paramount had anticipated paying Warner shareholders.

“We’ve seen from previous mergers that jobs have been lost,” L.A. City Councilmember Adrin Nazarian said at a City Hall event recently.

Combining Paramount and Warner could result in the elimination of nearly 4,500 positions over three years and put at risk an additional 5,865 jobs within businesses that serve the studios, according to an August report by the Los Angeles County Department of Economic Opportunity.

“When you look at the economic impact, it’s pretty staggering,” Kelly LoBianco, the department director, said in a recent interview. “An estimated $4 billion in economic output lost, and another $550 million lost in tax revenue at the local, state and federal level.”

The merger also could erase $79 million in tax revenue to Los Angeles County even if Paramount stays in L.A., she said.

But state and county tax revenue would plummet further should Paramount dispatch hundreds of its workers to Tennessee or some other state, Klowden said.

“If Ellison moves all the management out and all of the productions out, you’re talking about potentially tens of thousands of jobs,” Klowden said. “That, bluntly, isn’t just devastating to L.A. That becomes devastating to everybody.”

A report commissioned by Paramount from Los Angeles Economic Development Corp. predicted even steeper losses of at least 28,000 jobs should the studio move its entire operation out of state, according to a draft report given to Politico.

Under a less dire scenario, Paramount could shift its corporate headquarters to another state to qualify for incentives but still maintain large staffs in the creative hubs of Los Angeles and New York, where the company has its legal headquarters.

When the Ellison family acquired Paramount from the Sumner Redstone family last year, Ellison shifted operations to L.A., where he and other key executives work on the Melrose Avenue lot.

The threat to pull up stakes has created a disconnect after Ellison has spent more than a year touting how his family’s growing collection of media properties would strengthen traditional Hollywood.

The relocation campaign echoes a tactic used by software giant Oracle Corp., co-founded by Ellison’s billionaire father, Larry Ellison. For three decades, Oracle thrived in Redwood City, Calif., but in 2020, the company moved its headquarters to Austin, Texas, joining other California tech firms leaving in protest of the state’s high taxes.

The elder Ellison announced in 2024 that Oracle would be moving again, this time to Nashville, although that relocation hasn’t been finalized.

Paramount would risk leaving behind a skilled talent pool filled with experienced production workers and entertainment executives, Klowden said.

Fleeing L.A. could prompt “a talent bleed-out,” Klowden said. “Creative types are like: ‘Would I feel comfortable moving there?’ And, ‘What if I move there and something goes wrong? There would be nowhere else for me to go.’”

He pointed to Nissan’s 2006 U.S. headquarters move to the Nashville area from Gardena in L.A.’s South Bay, which dramatically reset the automaker’s workforce as fewer than half of its Southern California employees made the trek to Tennessee.

On Friday, a magistrate judge told both sides to identify dates in late October to meet for court-ordered settlement talks.

Each has motivations to settle — including avoiding a years-long court fight. Bonta has said Paramount must be willing to part with assets to alleviate market concentration, which could lead to a sale of Warner’s New Line Cinema, which has rights to “The Lord of the Rings” and “The Conjuring” franchises, and potentially cable channels such as CNN, Food Network or Cartoon Network.

Paramount, as part of a settlement, could abandon plans to leave L.A.

“All of the parties need to understand what this [issue] means to workers and small businesses,” Zbur, the local Assembly member, said. “I’m hopeful for a settlement that assures that Paramount and Warner Bros. will maintain their operations and remain a significant economic and employment force in Los Angeles.”

Times staff writer Cerys Davies contributed to this report.

TORONTO — Greetings from the Great White North, where the Toronto International Film Festival rolls to the end of its first weekend.

As packed as our viewing schedules have been, Amy Nicholson notices something lacking at this year’s festival: big Hollywood. In her first critical dispatch, she sees no “Frankenstein” or “Wake Up Dead Man” in the lineup.

Toronto has even resorted to rebooking the under-the-radar smash “Obsession,” the little movie that grew from a 2025 midnight TIFF launch into a global phenomenon.

Director Curry Barker and star Inde Navarrette delighted festgoers who lined up around the block to watch a special conversation.

There’s still plenty of time left. Amy is finding indies to like. Some of her early recommendations are here.

Our portrait studio is heating up

Cynthia Erivo of the film “Prima Facie,” photographed in the Los Angeles Times Studio at RBC House during the 2026 Toronto International Film Festival.

(Jason Armond / Los Angeles Times)

Cynthia Erivo stunned us in our studio space, looking fierce in a dark ensemble and scary nails. We also saw the likes of the luminous Laura Linney and the dapper Korean cast of “Possible Love.” Click through for more celebrity photos and daily surprises.

And do we have video interviews? Do we.

Sarah Paulson, Naomi Watts, and director Cody Fern discuss their new film, “Closing Night.” Chase Infiniti of “One Battle After Another,” Jason Isaacs and more talk “The Julia Set.”

And only minutes after they won the grand jury prize at Venice, we were speaking to the cast of “Possible Love.”

What are we watching tonight?

‘Club Kid’

Jordan Firstman, center, in the movie “Club Kid.”

(A24)

It takes thermonuclear moxie to write, direct and star in your debut feature — and cast yourself as the cad. No wonder Jordan Firstman‘s uproarious dramedy “Club Kid” blew away expectations at Cannes and has landed in Toronto ready to shake up awards season.

Firstman plays Peter, an aging New York City party promoter whose scene-y shindigs and subsequent hangovers are starting to feel old.

Enter Arlo (a self-possessed Reggie Absolom) the 9-year-old kid he never knew he had and never fathomed he would have, given that women aren’t his thing (except for that one drug-fueled night with a British girl he barely remembers).

You may think you know where the story is headed and you aren’t entirely wrong, but the route there is a riot. — Amy Nicholson

‘Alpha Gang’

A scene from the movie “Alpha Gang.”

(TIFF)

The latest from filmmaking siblings Nathan and David Zellner rolls into Toronto after having just had its world premiere at Telluride.

Their oddball sensibilities and elastic imagination means that you never quite know what to expect from one of their films and this is no exception: a wholly unpredictable story of an alien invasion told from the aliens’ point-of-view that is inscrutably absurd and touched by a startling romantic fatalism.

Two alien cadres, having assumed the looks of 1950s biker gang members, bicker and fight with one another even as they largely overlook their common enemy, the humans.

The cast is likewise a preposterous mash-up of performers you would not wholly expect to see together, including Cate Blanchett, Kelvin Harrison Jr, Léa Seydoux, Riley Keough, Chris Pine, Dave Bautista and others, making the film’s very existence seem like something dropped from outer space. — Mark Olsen

‘The Spiral’

A scene from the movie “The Spiral.”

(TIFF)

Italian horror is my happy place and this is where I’ll be tonight at midnight, sopping up what many early viewers have already described as stylish and vicious.

Director Paolo Strippoli’s domestic drama got sharp reviews out of Venice; it sounds like a cross between a Bava film and “Parasite.” I’ll investigate. — Joshua Rothkopf

Hollywood’s film and TV post-production workers took their case directly to Gov. Gavin Newsom on Thursday, urging him to sign a bill that would create the state’s first standalone post-production tax incentive.

Workers such as editors, singers and sound supervisors joined bill author Assemblymember Nick Schultz (D-Burbank) and Mayor Karen Bass at a news conference Thursday morning in front of the Television Academy’s headquarters in North Hollywood.

The bill, AB 2319, is aimed at supporting the industry’s editors, sound mixers, composers and visual effects artists. It passed the state Senate 33 to 5 on Aug. 30, and the Assembly approved the final version 72 to 2 the same day. Newsom, who has not taken a public position on the measure, has until Sept. 30 to sign or veto it.

Bass urged supporters not to let up before then.

“We need our industry in full force,” Bass said. “It’s all a part of making our city more affordable. We know that this is one of the biggest issues in our city, and so having a strong, robust industry helps Angelenos across the board.”

The incentive would allow a 35% to 50% credit on qualified expenses relating specifically to post-production in California. The state’s existing film and TV tax credit program already covers post-production, but only if 75% of filming or the overall budget is spent in the state. The new credit doesn’t require productions to shoot in California.

Even if Newsom signs the bill, the program would start small. Schultz initially proposed $100 million to fund the effort, but the Legislature’s end-of-session budget sets aside $10 million to launch it.

“When you think about production, it’s easy to think about the actors, the directors and the writers; you don’t think about all that happens when the camera stops rolling,” Schultz said. “What’s changed is that they’re now telling their story about the struggles they’re facing.”

For industry veteran Karen Baker Landers, the decline in local post-production work is impossible to overlook. A two-time Oscar-winning supervising sound editor, Baker Landers is vice president of California Post Alliance, the group sponsoring the bill.

“It’s affecting people in huge ways, like losing their health insurance. I get people calling me asking to get just two weeks of work to qualify for coverage,” said Baker Landers. “It’s really difficult.”

Last year, California expanded its film and TV tax credit program, more than doubling the old $330-million cap to $750 million through June 30, 2030. But a state budget measure Newsom signed in June capped how much in tax credits a business can claim each year, a limit industry groups warned would undercut the expanded program. Lawmakers passed a fix on the final day of the legislative session and it is also awaiting the governor’s signature.

Despite the state’s bigger bet on the industry — and this summer’s fight over the cap — L.A. City Councilmember Adrin Nazarian, whose district includes North Hollywood, argued at the press conference that this is the right moment to keep asking for more.

“It’s that exact momentum that we need. When you double down on something, you’re giving more than hope, and you’re saying welcome back. Please come and do your work. Don’t stop doing this,” Nazarian said.

Once upon a time in Hollywood, Quentin Tarantino’s mansion was nearly burgled.

Police are looking into the report of an alleged prowler who, “clad in black,” was spotted trespassing at the Oscar-winning director’s Hollywood Hills mansion Wednesday afternoon.

According to law enforcement sources, a call was received about a prowler lurking around the 7400 block of Woodrow Wilson Drive around 12:20 p.m. Responding officers were on the hunt for a 35-year-old man with a thin build wearing a long-sleeved black shirt and black pants (in 100-degree heat).

According to sources familiar with the investigation but not authorized to speak publicly, there were people inside the home when the alleged cat burglar tried to enter a second-story window of the three-story home.

Police told The Times that the suspect had fled by the time officers arrived, but a trespass report was completed.

It is unclear whether Tarantino was home at the time of the incident, and police could not confirm whether the trespasser was successful in their burglary attempt.

This isn’t the first time the “Pulp Fiction” filmmaker has had trouble with home intruders.

Back in 2018, Tarantino reportedly awoke in the middle of the night to find two burglars inside his home. According to TMZ, he confronted the men and they booked it out of the same Hollywood Hills mansion. Although no one was injured, they apparently made off with jewelry and other valuables.

It’s pronounced “human.” Yet writer-director Siân Heder acknowledges that the unusual spelling of the title of her new movie, “Being Heumann,” is something people might give a puzzled second look, unsure of how to say it and possibly dismissing it altogether.

Which, the more she sat with it, made it perfect as the title for a portrait of real-life disability rights activist Judy Heumann, who, while being in a wheelchair, made herself undismissable.

More specifically, the film looks at the pivotal 1977 protest in which Heumann led a group in a 26-day sit-in at a federal office building in San Francisco until the government began enforcing Section 504 of the Rehabilitation Act of 1973 — the first federal law that recognized disability as a civil rights category.

“The fact that her last name was ‘human’ has so many beautiful layers of meaning,” says Heder, 49, during a recent interview in Los Angeles. “I think Judy was asking for the world to see disabled people as human beings who were worthy of rights and being looked at and being included.”

A world premiere and the opening-night selection of this year’s Toronto International Film Festival, which begins on Thursday, “Being Heumann” will hit theaters Nov. 6 and begin streaming on Apple TV Nov. 13. It is also, crucially, Heder’s first film since 2021’s “CODA,” the bittersweet drama about a young woman in a Deaf family (the title is an acronym for “child of Deaf adults”) that won three Academy Awards including adapted screenplay for Heder and best picture.

Actor Ruth Madeley and filmmaker Siân Heder during production on “Being Heumann.”

(Apple TV)

In Heumann, a wheelchair user after contracting polio as a child, Heder found a subject who was in the process of discovering herself as a leader: learning when to hold firm and when to cede ground and empower other people. And for someone who was grappling with the aftermath of unexpected success, that felt familiar.

“I think I was making a movie about myself, honestly,” Heder says. “When you’re moving forward on a massive project or a movement or anything, there’s a necessary drive and ambition and focus that is needed. And if you look at any major change that’s happened in human history, it takes a certain kind of person to push that through. I’m not identifying myself with great leaders of the civil rights movement, but directing a movie is a similar thing.”

Heder is tucked into a quiet corner of a busy coffee shop in L.A.’s Eagle Rock neighborhood, where she has long lived. She is in the process of moving from one historic house to an even older one a few blocks away. Heder didn’t want to disrupt the schooling of her two young children, ages 10 and 12, and has become too enmeshed in the area to want to leave it.

“There’s definitely an element of: ‘She manipulated everyone with that movie. She made us all cry and that’s why she won,’” Heder says of “CODA,” her Oscar-winning best picture. “I was an indie filmmaker that was compelled to tell that story.”

(Jason Armond / Los Angeles Times)

Community is a word that comes up often over the course of a conversation with Heder, who has a warm manner and a quiet self-possession. Though “CODA” may have brought her wider attention, she was far from a novice by the time she made that film. She won a Peabody Award as a writer on the series “Men of a Certain Age” and was a writer, director and producer on the acclaimed “Orange Is the New Black.” She expanded her 2006 short film “Mother” into her first feature “Tallulah,” about a young woman who takes a baby from a reckless mother and tries to pass it off as her own. It premiered at Sundance in 2016.

Winning the Oscar created changes in her life both big and small. Heder at first kept it on her desk at home, but had to move it because she began to feel the statuette’s crossed arms quietly judging her as she worked. When she drove herself to the Spirit Awards the year after “CODA’s” triumph and spontaneously gave a ride to an afterparty to Maggie Gyllenhaal and Ebon Moss-Bachrach, Heder suddenly realized her 10-year-old Subaru wasn’t going to cut it anymore.

“I have a nicer car now,” she says, laughing at the memory. “It’s baby steps.”

The day after the Oscars, Heder recalls that she couldn’t stop crying, all the pressure built up from months of campaigning events and Q&As finally letting itself out.

She says two things changed almost immediately after winning the Oscar. One was a sense of expectation, wanting to make the most of whatever the moment might allow.

“This was not a part of my plans,” she says. “I didn’t ever intend to have so many eyeballs turn to me and go, ’What are you doing now?’”

The second was simply the volume of material and opportunities incoming. Heder says she met with Marvel “so many times” about different projects but none of them felt right. As an independent filmmaker “you’re always pushing against the no,” she puts it, moving projects forward against all odds. But now she felt she had to be the resistance, the one to ask whether something was worthwhile.

“Suddenly there are a lot of voices chiming in too because your reps have an idea of what you should do next and the industry has an idea of what you should do next,” Heder says. “And it was really important for me to center myself back in a feeling of: I’ve always been drawn to stories because they move me. And that hasn’t changed.”

Her Oscars triumph was also the night of the notorious Will Smith-Chris Rock on-stage slap, which overshadowed coverage. Heder is online enough that she knows that some film fans would want an asterisk next to the Oscar wins for “CODA,” as if to note some sort of COVID-era exception for the first film from a streaming service to win Hollywood’s top award.

“There’s definitely an element of: ‘She manipulated everyone with that movie. She made us all cry and that’s why she won,’” Heder says with a edge of defiance. “I was an indie filmmaker that was compelled to tell that story. And then audiences embraced that story and that story took off in a way that was unexpected and surprising even for me.”

Siân Heder holds her Oscar for best adapted screenplay for “CODA” backstage during the Oscars in 2022.

(Robert Gauthier / Los Angeles Times)

Heder had been developing “Being Heumann” before “CODA” was released. A friend encouraged Heder to see the 2020 documentary “Crip Camp,” which includes Heumann as a subject, and the filmmaker was so struck by that story, she followed up by reading Heumann’s 2020 memoir.

She sent Heumann a cold email expressing interest in the book. As it turned out, Heumann was deciding that very day who should direct a movie of her life. Heumann gave the filmmaker a last-minute chance to pitch herself. After saying she’d cast authentically disabled performers as she did on “CODA,” Heder got the job.

Heder would work for two years on researching and developing the project with Heumann, interviewing dozens of people involved in the actual Carter-era protest. When Heumann died unexpectedly in 2023, Heder did not think she could continue, but it was “Crip Camp” co-director James Lebrecht who convinced her otherwise.

“I think Judy’s death, which was sudden — it made me feel like she had left her legacy in my hands,” remembers Heder.

After developing other scripts post-Oscars that never quite became her next film, Heder eventually found herself in the enviable position of having two projects greenlit at once: “Being Heumann” at Apple and an adaptation of Gabrielle Zevin’s popular novel “Tomorrow and Tomorrow and Tomorrow” at Paramount.

As she was trying to make a decision, she went to a meeting with several other directors about the relaunching of the Village Theater in Westwood. She found herself having coffee with Guillermo del Toro and asked him how he decided between potential projects.

“And he said, ‘Make the movie that can’t get made without you,’” she recalls. “And that was very clarifying for me. When you are the element that gets that story told, it takes on an importance and urgency.”

As can often be the case, Del Toro’s advice confirmed what she already felt and she began to move forward with “Being Heumann.” (She is currently prepping “Tomorrow and Tomorrow and Tomorrow” so there will not be another five-year gap between releasing films.)

“I was having a rare moment of power in the industry to push something forward,” Heder says, “and it felt like there was a path to go make a big paycheck and have that kind of jump up, or I could use that moment of power and success to try to push through the hardest project I could think of. It was in that moment, after ‘CODA,’ where I really realized: I could make this incredibly difficult movie that no one might make.”

Andrew Pilkington, from left, Siena Rafter, Charlie Rush-Reese, Dylan O’Brien, Roberta Colindrez, Ruth Madeley and Madeline Delp in the movie “Being Heumann.”

(Apple TV)

Following what Heder describes as “the casting Olympics,’ she arrived at BAFTA-nominated actor Ruth Madeley, a wheelchair user, to play the lead role. “Being Heumann” was shot in Toronto, largely on a soundstage built to stand in for the San Francisco federal office building where the sit-in took place.

“Hollywood might be the least accessible industry out there,” Heder notes while beginning to explain the accommodations that needed to be made for a cast that included performers with a wide range of disabilities. Custom-built trailers were created and the set had to be made accessible in ways that a filming location typically is not. An accessibility team oversaw everything, from large-scale logistics to the personal needs of individual background actors.

Rather than a more conventional biopic, Heder wanted to tell the more specific story of the 504 sit-in, building out an ensemble of characters around Heumann.

“I said, “It’s almost like ‘Bad News Bears’ and ‘Dog Day Afternoon’ together,” says Heder. “There’s an underdog-sports-team feeling and bank-heist-gone-wrong.”

But a filmmaker friend asked her: Is making movies about disability now her “thing”? It is a question Heder had already considered.

“Of course it was on my mind if it starts to feel like: Oh, is Siân Heder a social justice warrior who’s just out to try to make these movies that have some kind of message behind them,” she says preemptively. “But I think this is just a great story. Outside of disability, outside of anything else, it is a great story.”

Heder remains interested in stories about outsiders, about class and people generally ignored by or on the fringes of society. And it remains important that she herself feel a part of a larger community in her life and her work.

“My daughter said to me the other day, ‘Mom, I think you’re the right kind of famous because you are important to people who know who you are, but you can still just be in the world and be anonymous.” And I think there’s something true about that.”

Her daughter has obviously inherited Heder’s deep well of empathy, one that is more concerned with bringing new, unseen stories to the screen than with the pursuit of cool points or pure fame.

“‘Earnest’ has become a dirty word,” says Heder. “And what earnest actually means is direct and truthful.”