Hollywoods

How Hollywood’s ‘boys’ club’ prepared these actors for ‘The Pitt’

Since launching at the start of 2025, “The Pitt” has emerged as more than just a hyperrealistic depiction of an embattled American emergency department. Using its hospital setting as a social microcosm, HBO Max’s Emmy-winning juggernaut has explored various systemic issues — including the misogyny that women of color face in the workplace.

“Some of the stories from real physicians and nurses that I’ve spoken to are so crazy. The system feels like it’s 15, 20 years behind other industries,” says Sepideh Moafi, who portrays attending Dr. Baran Al-Hashimi. “There is still this older culture of a boundaryless style of work where [there’s] a lack of understanding and compassion,” with respect to pregnancy and childcare, for working women.

“The Pitt’s” depiction of such subjects includes unflinching attention to microaggressions and unconscious biases. Isa Briones, who plays second-year resident Dr. Trinity Santos, recalls hearing from qualified on-set doctors that “a lot of female physicians will wear their lab coats, because it makes them look like more of an authority.”

“We have a female, half-Asian doctor on our set who consistently says that people talk to the nurse in the room if they’re a white man instead of her,” adds Supriya Ganesh, whose character, fourth-year resident Dr. Samira Mohan, is mistaken for a nurse in Season 2, despite having “DOCTOR” emblazoned on her name tag.

Supriya Ganesh.

Supriya Ganesh.

(Justin Jun Lee / For The Times)

Nor is the series reluctant to show the other side of the dynamic, as doctors Robinavitch (Noah Wyle) and Langdon (Patrick Ball) lash out against their colleagues in lieu of acknowledging their own flaws. Although the women of “The Pitt” would never compare acting to saving lives, Briones believes that the experiences of women — especially from marginalized communities — share commonalities across many male-dominated industries.

“The entertainment business constantly feels like a boys’ club that you cannot penetrate no matter what you do, because it’s still always going to be these older white men who are making all the decisions,” she says. “That’s why seeing the storyline with Langdon and Robby informed my performance so much, because I know this feeling of being like, ‘Why the f— are these men fist-bumping each other? I’m also here! I’m doing my job too!’”

“As a woman in any field, if you express emotion, if you make your opinion or your voice heard, then it’s like, ‘You’re talking too much. You’re being hysterical,’” Moafi says.

Sepideh Moafi.

Sepideh Moafi.

(Justin Jun Lee / For The Times)

In holding up a mirror to the healthcare system, showrunner R. Scott Gemmill also wanted to explore the linguistic diversity of its practitioners, allowing his actors of color to reconnect with their mother tongues.

“Language shapes who you are, how you see the world,” Moafi says. Al-Hashimi became a polyglot — speaking English, Farsi and Armenian — in part to curb the effects of a seizure disorder on her temporal lobe, which is crucial for language comprehension. “[Language] connects you to different registers in the body. The rhythms are different, and the emotional access is more immediate.”

During Season 1, Santos — who, like Briones, is half-Filipino — surprised nurses Princess (Kristin Villanueva) and Perlah (Amielynn Abellera) by chiming in on their gossip session in Tagalog. But wanting to show “a more vulnerable side of Santos” this season, Briones worked with her own actor father, Jon Jon, to find a Filipino lullaby that she could sing to baby Jane Doe.

To reflect the 100-plus languages spoken in the Philippines, they selected a Hiligaynon lullaby called “Ili Ili Tulog Anay.” Briones advocated for the scene not to have subtitles: “It should be just this quiet moment that you don’t have to understand [the language] to understand, but also it’s a great moment for people who do speak it to feel that little secret joy.”

For Briones, speaking Tagalog at work has opened up difficult conversations with her immigrant father, who feels shame about not passing down enough cultural knowledge to his children. “I’ve been starting with Rosetta Stone, so I can start conversing with my dad and then he can help me, because I want to be able to talk to my lola and she doesn’t have to work through English,” she says. “This show has reminded me of how important that is to me.”

Isa Briones.

Isa Briones.

(Justin Jun Lee / For The Times)

Ganesh, who grew up in New Delhi, felt strongly that Mohan should not be fluent in Hindi because of its similarities to Nepali, the language that doctors struggled to identify when treating a patient in the first season. Instead, the actor chose to infuse her own heritage into the character, who uses Tamil as a way to feel connected to her late father.

“She chooses to speak it with her mom, because maybe that’s the only other person she has in her life who she can speak it to,” explains Ganesh, who recalls consulting multiple generations of her own family — and even her on-set coach’s family — for the Tamil dialogue. “She wants to preserve that as much as she can, even though it’s already filtered through her being American and being born in this country.”

That part of Indian American culture will be lost next season, with Ganesh officially departing at the end of Season 2. The actor reiterates that the “creative decision” to write Mohan off was made by executive producers Gemmill, Wyle and John Wells: “They work with such intention on the show and make all the choices that they make for that reason, so I think it’s better to ask them for answers.”

“I’m going to treasure all the memories I had working with these two and everyone else,” Ganesh adds. “It’s been so great just getting all the love from the fans. I feel sad for them, too, that they won’t get to see this character.”

“The representation that you brought to the show is so beautiful,” Briones chimes in. “Seeing the fans ride for you so hard and be like, ‘This was the first time I felt represented on camera,’ it’s really gorgeous to see everyone coming out and celebrating that and celebrating you.”

For her part, Moafi believes that Dr. Mohan will be remembered for the way “she won’t compromise humanity in how she delivers care.” “The power of strength comes from vulnerability, and in order to go fast, you have to slow down,” she adds. “That’s something that is so ingrained in us, as women.”

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Army of Young Leftist Activists, Loyal Elderly Tenants Make Up W. Hollywood’s Coalition for Economic Survival : Fringe Group Takes Over Center Stage

In the trunk of his battered 10-year-old Ford sedan, Larry Gross stores half a dozen scarred yellow folding chairs. The chairs, strewn among volleyballs, softball equipment and long-discarded papers, are essential equipment for a man who spends much of his life arranging and attending meetings.

Gross is a professional organizer, a man whose career is measured in meetings. He sets up his chairs everywhere in the tiny city of West Hollywood, in the dingy church office where he works, in the clean, well-lighted offices of City Hall, in cramped apartment common rooms and in sparsely furnished election headquarters.

What he accomplishes at those meetings often has immediate impact on the fortunes of the 16-month-old city. With the aid of a small band of young leftist activists and a loyal army of elderly Jewish tenants, Gross has built a potent grass-roots version of a political machine and become the city’s most commanding power broker.

Formidable Power Bloc

In the process, his Coalition for Economic Survival has transformed itself from a Los Angeles-based fringe pressure group with limited successes in rent control and street demonstrations into West Hollywood’s most formidable power bloc. No other organized group in the city wields as much influence or inflames as much controversy.

The coalition and its supporters have elected two of the city’s five council members–both of whom face reelection on April 8–and are priming for a third. Some of its volunteer members have wangled key appointments to the city’s commissions. Others have been hired in policy-making posts in the city’s fledgling bureaucracy.

“West Hollywood is (the coalition’s) oil gusher,” said Ron Stone, who led the city’s incorporation movement. “They’ve dug holes all over Los Angeles, but they never struck deep until they came to West Hollywood. They worked hard here and they deserve the rewards.”

The coalition’s primacy has alienated many of those who are accustomed to holding power. Landlords are roused to fury by the mere mention of Larry Gross’ name. Businessmen worry that the coalition’s continuing dominance will cost them profits. Rival politicians are jealous of the group’s clout. Even some council members seethe privately at the coalition’s refusal to compromise on minor political issues.

“CES is run by a very small group of people,” said Tony Melia, an insurance man who chairs a faction of moderate businessmen challenging the coalition for political supremacy in the April election. “They are a mystery to us all.”

Grist for Criticism

Nearly every move that the 34-year-old Gross makes as director of his coalition becomes instant grist for criticism: Passing folded notes to Mayor John Heilman and Councilwoman Helen Albert (both coalition members), Gross is accused of controlling their votes. Taping a flag over his office desk, he is branded a Communist (Gross described the flag, which has been taken down, as a United Farm Workers banner; his enemies say it was a hammer and sickle). Shaving his wispy beard and wearing suits instead of flannel shirts, he is said to be cleaning up his act for public consumption.

“People set me up as the enemy all the time,” Gross said. “They do it out of fear and envy. They really don’t have the foggiest notion of what CES is all about.”

Gross’ Hold on Coalition

Their obsession with Gross is hardly unwarranted. About 13 years after he founded the coalition with a group of peace activists and leftist leaders, Gross is the only original member left. Organizers and volunteers have come and gone, leaving because of “activist burnout,” because they needed a better-paying job or because of personal or philosophical conflicts. But Gross remains.

Although ostensibly a democratic organization, the coalition has remained securely in Gross’ control. His partisans say he is central to CES because of his natural leadership abilities; former members and enemies attribute his endurance to Machiavellian political cunning. But in the end, many who have watched Gross say he remains in control of the coalition because he simply is the coalition.

“Our success all trickles down from Larry,” said Jacqueline Balogh, the coalition’s membership director. “Without him, CES wouldn’t exist.”

Gross is a lean, fox-faced man who has a closet athlete’s fascination with competitive sports and a weakness for interrupting his organizing activities to attend Dodger and Laker home games.

He tries to keep his private life shielded from public scrutiny. “I don’t like the focus on me,” he said in a recent interview. “It’s the organization and what it has accomplished that’s important.”

Friends and former acquaintances say Gross lives in a sparsely furnished rented duplex in Echo Park. Five years ago, he made barely $500 a month at his job. These days, he makes more, but declines to reveal a figure. He still drives his decade-old Ford despite its growing list of automotive maladies.

His voice bears traces of a Queens accent that becomes thicker when he excitedly addresses crowds. “The landlords are trying to say rent control is not an issue in dis campaign!” he roared to an enthusiastic hall filled with senior citizens early this month. “The reason is dey don’t stand for strong rent control!”

Odd Man Out

The accent is one of the few facets of Gross’ activist life style that he has not polished. His is a career that began at Forest Hills High School in New York, where Gross found himself odd man out among fellow students in the late 1960s. “I was the only radical on campus,” he said.

He is the son of divorced parents. His father, a trade school teacher, lives in Miami; his mother, a volunteer with the Simon Wiesenthal Center, lives in Los Angeles, not far from West Hollywood. Both were influences on his burgeoning activism, his father as an active union member, his mother as a Holocaust survivor.

“What she went through outraged me whenever I thought about it,” Gross said.

Often joining older college students in peace marches at Central Park and other anti-Vietnam War activities, Gross graduated from high school with few prospects. He took a job as a clothing store salesman, but in 1972, came to Los Angeles to visit his mother, who had moved here.

Extending his stay by taking political science classes at Los Angeles City College, he became active in local efforts to drum up support for the impeachment of President Richard Nixon. Drifting between activist groups, Gross in 1973 became involved in new union of peace and civil rights organizations which was protesting Nixon’s cuts in social service budgets.

The umbrella group became the Coalition for Economic Survival. “They had a little flat on Vermont Avenue with a small file cabinet in the back,” said Rosa Factor, an early coalition volunteer. “It was real small-scale. Larry was a lot different in those days. His hair was long and frizzy, hippie-style.”

Strong Points

The group’s forte was picket line protest and street theater. Demonstrating against high milk prices in 1974, coalition organizers toured inner-city shopping centers, urging a boycott. Gross and his fellow activists spoke from the back of a pickup truck, where they mounted a purple papier-mache cow named “C. Brunel Cow” after then-state Agriculture Secretary C. Brunel Christensen. At a later demonstration, protesting a Pico-Union expansion of a Pep Boys warehouse complex, Gross and his followers marched to the chant: “Manny, Moe and Jack! We want our buildings back!”

At first preoccupied with consumer issues such as rising bus fares and utility costs, the coalition managed to win favorable coverage in newspaper and television reports. They had little influence, however, on the commissions which made the decisions.

Skyrocketing rents that accompanied Los Angeles’ real estate speculation fever in the late 1970s gave the coalition a ready-made issue. “We cut our teeth on rent control,” said Norman Chramoff, a former coalition member who now works in West Hollywood’s rent control administration. “That’s when CES membership grew and grew.”

The new members were senior citizens, outraged that their rents were doubling and tripling, often in the span of a year. After learning to live on fixed incomes, many elderly tenants became afraid that they would be evicted from apartments where they had lived for years.

Remembering the horrors of the Depression, many seniors feared a return to poverty. “Anybody who lived through the Depression can’t imagine how scared we were,” said Martha Newman, a woman in her 60s who is an ardent coalition supporter. “CES saved us from that.”

Limited Victories

The coalition promised relief from the surging apartment rental rates. In a series of political confrontations with landlords, the coalition won limited victories. Although it did not get the strong rent protections it wanted, the coalition did help push a moderate rent control law (4% annual rent increase) through the Los Angeles City Council. In Los Angeles County, the coalition pressured supervisors, but was only able to help pass an even weaker rent law in 1979 (7% annual increase).

In November, 1983, a coalition-sponsored referendum failed to persuade county voters to adopt a tougher rent control law. Because of overwhelming support among senior renters, the referendum did well in West Hollywood–passing there by a 5-1 ratio–but it was not enough to keep rent control alive. That vote, which led to the expiration of county rent control in 1985, set the stage for West Hollywood’s incorporation battle.

By that time, the coalition had made deep inroads into the city’s elderly community (estimated at 40% of the area’s population). Those inroads proved crucial in the 1984 incorporation election.

Gross estimates that 2,000 of the coalition’s 5,000 members are in West Hollywood. Political observers of all stripes in West Hollywood agree that in an election year campaign, the coalition can command upwards of 2,000 votes–a significant block among West Hollywood’s 19,000 registered voters.

“West Hollywood is sort of our flagship,” Gross said. “We have a tremendous opportunity here.”

The city’s elderly tenants also provide the coalition with much of its financial support. At coalition meetings, organizers pass around empty fried chicken buckets, which are often returned brimming with cash and checks.

Several allegations of discrepancies in the coalition’s finances were reported to county officials last year. But Candace Beason, a prosecutor in the county district attorney’s investigative division, said her department has declined to investigate them. “They were relatively minor complaints,” she said last week. “The case is closed.”

Since its incorporation victory in November, 1984–in which two coalition members, Heilman and Albert, were elected to the council and the coalition aided the election victories of council members Alan Viterbi and Valerie Terrigno–the coalition has worked to consolidate its power.

New Headquarters

Late last year, the group moved its headquarters from a cluttered office on Pico Boulevard in Los Angeles to a cluttered office in the Crescent Heights Methodist Church in West Hollywood. Working at night, amid old metal desks and boxes sagging with files, coalition organizers quickly felt at home in the new city.

But, as with nearly everything they do, coalition organizers found themselves under attack, this time just for moving into West Hollywood. Landlords, Republicans and businessmen tried to pressure church leaders and city officials to evict them but the CES has stayed put.

The coalition–and Gross, in particular–are under constant fire. During the 1984 incorporation election, he was branded a Communist by Jewish Defense League activist Irv Rubin. Rubin claimed then–and maintains today–that he has “inside information” proving that Gross visited Cuba as a guest of Fidel Castro.

Gross labels the charges “the ravings of the far right.” Despite continued whisperings about “hidden agendas,” landlords and other political enemies of the coalition have never proved their claims.

But at least half a dozen former coalition members say they were invited by some coalition organizers to attend Marxist study meetings and similar functions. One former member, Mark Siegel, who is now chief deputy to Los Angeles Councilman Joel Wachs, said that he was asked several times to join a Marxist study group. He declined.

“The thing is, (CES) was such a loose group,” Siegel said. “There were all kinds of philosophies floating around there. We certainly weren’t being directed from Moscow.”

Both Gross and Heilman also admit that some members have been philosophical Marxists. “But we have Republicans among our steering committee people, too,” Gross said. “We even have one person who sells Amway products. Should we throw them out for that? I don’t think it really matters.”

‘I’m Scared’

“Of course it matters,” argues Tony Melia, who heads West Hollywood for Good Government, the group opposing the coalition in the April elections. “We want officials who choose for us, without any hidden agendas. If the rumors I hear are true, then I’m scared.”

Gross and his followers have also been portrayed as dogmatic and unwilling to take part in the compromises that are the basic components of small-town politics. “That is my one real gripe with them,” said Councilman Stephen Schulte. “There’s no middle ground to them.”

To that criticism, Heilman responds: “I don’t call that being dogmatic,” he said. “We stand for certain principles. Why should we deviate from them?”

Arguments over covert Marxism and political rigidity, however, mask the nature of the real power struggle in West Hollywood. Perceived as the most influential organization in the city, the coalition’s apparent clout is envied by groups that have had less sway with the City Council.

“At least until this election is over, they (the coalition) have the appearance of the most-organized political entity in town,” Schulte said. “One doesn’t confront them lightly.”

Those who do can expect to become enemies. When Melia unveiled his Good Government group earlier this year, he portrayed it as a rival of the coalition for political clout in West Hollywood. Gross immediately branded the group as a “front for the landlords.”

While it is indeed probable that the landlords would prefer victories by Good Government candidates in the April election, Gross immediately set into motion “an us-versus-them situation,” according to community activist Bob Conrich.

Black and White

“They have no gray areas,” Conrich said. “Larry’s convincing his elderly constituency that the landlords are waiting behind every corner to gouge them. It’s an effective political tactic, but it’s dishonest and it sets this city up for the same situation in every election. Larry will set someone up as a tool of the landlords and then try to knock them down.”

Such was the case earlier this month, when coalition organizers filled a hall at Plummer Park with senior citizens and raised the threat that the city’s rent control ordinance was in danger. “This election is going to be a big battle,” Gross said. “They have the money. They had it last time. But we have the people.”

It has been harder for the coalition to bring out their people when the heat of an election has cooled. During last year’s rent control battle, landlords far outnumbered tenants at public hearings on the proposed law.

Still, in rent control votes and in pressing for an affordable housing policy with the city’s interim growth ordinance, the coalition lived up to its reputation. On other votes, though, without obvious backing of its elderly constituents, the coalition has found itself sometimes limited in its influence over council decisions.

That became embarrassingly obvious to coalition organizers when the council refused to exact concessions from the Pacific Design Center in return for a planned major expansion. Heilman and Albert, backed by coalition lobbyists, pushed for fees that would have paid for a day-care center and provided seed money for a community development corporation. But in the end, the two council members gave up their fight.

Close Votes

The coalition has even had trouble getting some of its members appointed to city commissions. In close votes in recent months, the coalition’s candidates for posts on the city’s Transportation and Human Services commissions were defeated and the coalition even was unable to prevent landlord leader Grafton Tanquary from winning a spot on the Affordable Housing Task Force.

Schulte, Melia and a number of other political observers say such defeats indicate a lessening of the coalition’s clout. “I don’t think they loom as high on the horizon as they did six months ago,” Schulte said. “They haven’t kept up the pressure.”

But Gross and other coalition members say those defeats were minor ones, offset by gains achieved in a less obvious area–political organizing among the city’s 89% tenant population. The coalition is trying to win more allies among the apartment dwellers for future elections.

In recent months, Gross and his fellow organizers have shown up weekly at apartment buildings scattered throughout West Hollywood for “house meetings,” small receptions where they explain the new rent control law to tenants and answer questions about other concerns.

Last month, Gross showed up at one building to explain the details of the city’s new rent law to six tenants. As a radio faintly played “The Poet and Peasant Overture,” Gross set up his folding chairs and waited for his small audience to arrive.

The meeting lasted just over an hour. The conversation did not get beyond the level of after-dinner chat. But in the eyes of many West Hollywood political observers, the coalition’s dependence on such seemingly insignificant meetings may provide the key to its future influence.

“They do the groundwork that no one else in West Hollywood is willing to do,” said Councilman Viterbi. “They’re out there all the time, making new contacts, renewing old ones. No one else in this city has the patience or the manpower to do that. As long as they keep it up, they’ll be a force to reckon with.”

Comments on the Coalition

Incorporation leader Ron Stone: “West Hollywood is (CES’) oil gusher.”

Rival coalition leader Tony Melia: “CES is run by a very small group of people. They are a mystery to us all.”

Councilman Stephen Schulte: “At least until this election is over, they (CES) have the appearance of the most-organized political entity in town. One doesn’t confront them lightly.”

Councilman Alan Viterbi: “They do the groundwork that no one else in West Hollywood is willing to do.”

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How Hollywood’s production crisis became a key issue in the L.A. mayor’s race

Los Angeles City Councilmember Nithya Raman, who serves the 4th District, makes her way across an empty, unnamed backlot, presenting her case to be the city’s next mayor.

“Studio lots like this one used to be filled with people, costumers, electricians, set medics, caterers, thousands of Angelenos making a living,” she says in the video posted on social media. “Now these lots are quiet. Since 2018, shooting days in the city have fallen by half.”

After telling voters this issue is “personal” (her husband is a TV writer and producer), criticizing Mayor Karen Bass’ leadership on the matter and outlining her own plans, Raman proclaims, “I’m running for mayor to make sure Los Angeles stays the film and TV capital of the world.”

Placing the concerns of the entertainment industry at the center of the city’s mayoral race would have been unthinkable even in the last election cycle. But the production crisis, which has rocked Hollywood and pummeled its workforce, has reached a critical juncture. The state of L.A.’s signature industry is now a political flashpoint alongside affordability, crime and homelessness in the upcoming election.

A person films an interaction with mayoral candidate Spencer Pratt

A person films an interaction between mayoral candidate Spencer Pratt and another person on his cellphone during a “Community Meet and Greet” event out of a house for sale on Long Ridge Avenue in a residential neighborhood of Sherman Oaks on Saturday.

(Etienne Laurent/For The Times)

In campaign ads, interviews and the recent televised debate, the top three contenders: incumbent Mayor Bass, former reality TV villain Spencer Pratt and Raman, have made the ongoing production slump a pivotal topic, highlighting their plans to revitalize the industry while deploying the issue to undercut one another.

For decades, elected officials have not had to focus on the film and TV business, let alone turn it into a campaign issue. It was simply a given that local production would continue to play a dominant role in the city’s economy as it has for more than a century.

But the cumulative effects of consolidation, runaway production to tax-friendly states and countries and the end of the streaming boom has caused Los Angeles to lose billions in economic activity, shed some 57,000 jobs over the last four years and led to the closing of more than 80 film and television production service businesses across the city since 2022.

“For us, ‘save Hollywood’ is more than a slogan and more than headline. It is what needs to be done,” said Pamala Buzick Kim, one of the co-founders of Stay in LA, a grassroots campaign aimed at increasing film and television production in Los Angeles.

To be sure, the biggest driver of where studios and producers film are state and federal tax credits, over which the city has no control.

But Buzick Kim and others argue that “there is lots the mayor can do, hand-in-hand with the City Council.”

Mayor Karen Bass walks with Nilza Serrano during Avance's politics and tacos event

Mayor Karen Bass, center, walks with Avance Democratic Club President Nilza Serrano, to the right of Bass, during Avance’s politics and tacos event at Ernest E. Debs Regional Park in Los Angeles on Saturday.

(Christina House/Los Angeles Times)

For starters, say filmmakers and advocates, much can be done to tackle the city’s sclerotic bureaucracy, onerous regulations and a slow and costly permitting process that has pushed filmmakers to flee to friendlier and cheaper locales.

While steps have been put in place recently, including a pilot program offering reduced-cost filming permits for shoots that demonstrate a “low impact” to the surrounding community, many complain such steps have come too little and too late.

A man examines woodwork in a shop

Scott Niner, president and owner of Dangling Carrot Creative, checks on woodwork being produced at his shop in North Hollywood.

(Jason Armond/Los Angeles Times)

“The industry is in collapse and people have been talking about fixing things for years, but all we get are incremental little changes,” said Ed Lippman, a location manager of 34 years who lives in Sherman Oaks and has worked on such shows as “ER” and “The X-Files” and movies including “Galaxy Quest.” “And if the city is not being business-friendly, the business will go elsewhere.”

Compounding the problem, the Los Angeles area has more than 100 jurisdictions, many of which have their own set of rules and regulations regarding filming.

“There needs to be universal standards,” said Travis Beck, a location manager for commercials, small films and music videos. “Burbank is different from Glendale, which is different from Pasadena.”

The recent kerfuffle over filming “Baywatch,” the lifeguard reboot at Venice Beach, underscored both the efforts to bring production back to L.A. — enticed by a $21-million tax credit — and the complex, baffling red tape required to film here.

When shooting began in March, the production encountered a number of hiccups, including that it needed nearly double the parking space it had received a permit for, which was not part of the original approvals.

An anonymous crew member claimed on Facebook that government restrictions had forced production to relocate from Venice Beach. Production staff denied they had relocated. However, the incident prompted a backlash, becoming a rallying cry over L.A.’s burdensome filming bureaucracy.

The “Baywatch” team quickly met with city and county officials and resolved the issue, securing an agreement for a 20% parking discount from the city, and the mayoral candidates used it as an opportunity to score political points.

Pratt slammed the city’s permitting problems.

“LA turned its back on Hollywood — now the golden goose needs CPR,” he wrote on his Substack.

Bass highlighted her administration’s leadership on the matter.

“The City of Los Angeles will always clear bureaucratic barriers, making it easier and more affordable to film in the entertainment capital of the world,” she wrote on X last month.

On April 21, the mayor unveiled programs to offer productions 20% discounts on city-owned parking lots and other equipment, reduced filming fees at places like the Griffith Observatory and reopened the Central Library for filming. Last August, she appointed Steve Kang, president of the Los Angeles Board of Public Works, as the city’s film liaison.

Raman has pledged her support for expanding the state’s $750-million tax incentive program, streamlining permitting and lowering fees and eliminating those for small productions. She has also said she will establish a dedicated city film office with a liaison who understands production.

Nithya Raman speaks to a crowd outdoors behind Nithya for Mayor chalk message on ground

Councilmember and mayoral candidate Nithya Raman speaks to a crowd at the “Families for Nithya” event at Vineyard Recreation Center in Los Angeles on Saturday.

(Myung J. Chun/Los Angeles Times)

“Los Angeles is losing Hollywood,” Raman said in a statement. “Not because productions want to leave, but because we’ve made it too hard for them to stay.”

On his Substack and various podcast interviews, Pratt has promised to slash location fees in half, speed up permit approvals, reduce on-set city staff for the majority of productions and waive all fees for shoots with budgets under $2 million.

All three candidates have attacked one another over their approach to Hollywood.

Pratt and Raman have said Bass moved too slowly to address spiraling production and retain film jobs, saying she enacted measures only recently as the mayoral race was heating up.

Speaking on the Monks & Merrill podcast, Pratt criticized Bass’ moves to cut costs to film at the Griffith Observatory, saying, “Who needs that shot right now with the homeless poop all around it?”

The incumbent mayor has defended her administration’s record with the entertainment industry.

Bass and Pratt have taken Raman to task, calling her out for what they say is her lack of advocacy during her time on the City Council.

“She feels very strongly about it. But never offered one motion on the industry, and when motions came up on the industry she either recused herself, or got up and walked out,” said Bass during a debate this month.

Citing a potential conflict of interest over her husband’s work in television, Raman refrained from voting on several motions related to Hollywood.

Many working in the industry would like to see full-throttled support coming from the mayor’s office that will get results. They note how New York City has successfully promoted itself as a leading film destination over the years. (Kang, the city’s chief film liaison, said the city is working on a similar marketing campaign to promote filming that will launch by early fall.)

“For all the talk about, ‘We need to support and bring back filming,’ if they just did basics like lowering the fees and simplifying the process … that would actually help people and get things produced,” said Chris Fuentes, 66, who worked for 30 years as a location manager until he retired last year.

“We’ve heard a lot of great things, but not all things are possible in the mayor’s remit,” said Buzick Kim, noting that tax incentives are a state and federal issue.

Still, she said, “the mayor must understand that Hollywood needs to be made a priority and to find and create inspired thinking to make things easier and cheaper.”

Kang agrees, but says there are limits to what the mayor can achieve.

“We definitely can do a lot to really open up the entertainment industry, but at the same time, we recognize the larger impact needs to come from Sacramento and Washington, D.C., because L.A. just does not have the resources to compete with other jurisdictions in providing millions of dollars in tax incentives,” he said.

For most working in the industry, they just want city leadership that will execute on more than just talking points.

“This is the birthplace of cinema,” Beck said. “It shouldn’t be so hard to film here.”

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