pandemic

“Spider-Man: Brand New Day” opened to $360 million in the U.S. and Canada this weekend, pushing out 2019’s “Avengers: Endgame” to claim the biggest domestic debut in history.

“Records are made to be broken,” Sony Motion Picture Group Chairman Tom Rothman said in a statement Monday. “But we will take great pride in this one, for as long as we hold it.”

Internationally, the web-slinger picked up an additional $572 million for a worldwide total of $932 million. The film, which stars Tom Holland and Zendaya, was produced by Sony-owned Columbia Pictures, Marvel Studios and Pascal Pictures on a production budget of about $225 million.

By Monday morning, nearly everyone in the exhibition business was cheering.

The chief executives of AMC Entertainment Holdings, Regal and Cinemark Holdings all put out statements about record revenue at their chains, plus deep demand for merchandise, food and drinks. Cinema United trade group chief executive Michael O’Leary applauded the “great slate of films” that have populated theaters this year.

There’s a lot to be excited about here. Expectations for the film were high, but breaking a pre-pandemic record — previously held by an “Avengers” movie, no less — is a big deal.

“The buildup to what ‘Endgame’ was at $357 million just seemed out of reach,” Jeff Bock, senior box office analyst at entertainment data firm Exhibitor Relations, told me on Monday, referring to the previous domestic debut record. “It’s pretty gratifying to see that characters and emotions still matter in filmmaking. This movie was just really about relationships.”

That emotional core was a major focus for the filmmakers. When I spoke with producer Amy Pascal in the lead-up to the opening, she said there was no topping the multiverse storyline of 2021‘s “Spider-Man: No Way Home,” which featured the return of Tobey Maguire and Andrew Garfield. Instead, the filmmakers chose to go smaller, focusing on the internal conflict and loneliness of Holland’s Peter Parker after a spell forces his friends to forget him.

Spider-Man has always been one of the most popular superheroes. But not every Spidey film has had this level of box office success. What “Brand New Day” shows is that a strong story matters more to audiences than the name of the superhero alone — an important distinction as the genre has weathered an uneven track record in recent years. Just this summer, we saw stumbles from Amazon MGM Studios’ “Masters of the Universe” and Warner Bros. Pictures and DC Studios’ “Supergirl.”

The next test arrives in December with Walt Disney Co. and Marvel Studios’ “Avengers: Doomsday,” which “Brand New Day” teases in a post-credits scene, as well as throughout the film. “As audiences saw, it sets up exciting things to come,” Marvel Studios President and “Spider-Man” producer Kevin Feige said in a Sunday statement.

The recovery, by the numbers

Domestic box office revenue for the weekend totaled $436.5 million, according to data from Rentrak. Spider-Man accounted for 82% of it, but Christopher Nolan’s “The Odyssey” also hauled in $51 million in its third weekend, on its way to worldwide revenue of more than $912 million.

Together, the pair have combined for a unique, and telling, one-two punch. It’s the same phenomenon that drove moviegoers to A24’s “Backrooms” and Focus Features’ “Obsession.” Originality in storytelling really does matter, despite the plethora of reboots and sequels. And when moviegoers have more choices, they’re coming back, again and again, analysts say.

“These two films in particular have really turned moviegoing itself into the event,” Bock said. “The audience isn’t rejecting theatrical movies. They’re rejecting films that don’t feel essential.”

Domestic summer box office revenue to date now stands at nearly $3.6 billion, up 16.7% compared to 2025 and — importantly — only 0.7% behind the same period in 2019. Year-to-date revenue is about $6.2 billion, a 15.4% improvement from last year, though it still lags 2019 by 11.6%.

And with another blockbuster to come in December — Warner Bros. and Legendary Entertainment’s “Dune: Part Three” — analysts now predict 2026 domestic revenue is on track to reach $10 billion, a milestone that hasn’t happened since before the pandemic.

What could undo it

Here’s the catch. A major part of that recovery rests on volume: more titles, more genres, more reasons to leave the house on a given weekend. Which is exactly what a federal judge in Oakland is weighing right now.

Paramount Skydance’s nearly $111-billion acquisition of Warner Bros. Discovery has cleared the Justice Department, the European Commission and regulators in more than a dozen other countries. What it has not cleared is a coalition of 12 state attorneys general, led by California’s Rob Bonta, who sued July 13 to block the deal under the Clayton Antitrust Act.

On Friday, the parties each proposed their preferred dates for an antitrust trial over which U.S. District Judge Araceli Martínez-Olguín will preside as Paramount argues for its merger to proceed and the state attorneys general argue against it. The judge has said the states had presented compelling evidence the combined company would hold a substantial share of the wide-release theatrical distribution market — enough, she said, to presume the deal likely violates antitrust law. The Writers Guild of America has joined the states’ lawsuit.

Paramount has said the merger will benefit consumers, workers and the entertainment industry, and that the states’ claims of anticompetitive effects “are without any basis in modern market realities.”

Hollywood has seen this movie before. The last unaccounted-for variable from the pre-pandemic era is Disney’s 2019 acquisition of the entertainment assets of 21st Century Fox, which combined two studios and led to fewer theatrical releases.

Paramount Skydance chief executive David Ellison has promised the combined company will release a minimum of 30 films a year. Many in Hollywood have their doubts.

“If they’re able to execute on that promise of 30 titles a year, I think we’re going to accelerate even further,” said Daniel Loria, a senior vice president at The Box Office Co. “We’re on a great trajectory. But there are serious questions that remain on their capacity to do so, and what the impact of another slowdown in releases from a major studio would bring.”

Paramount has said it won’t close the deal before June 2027 unless the litigation resolves sooner, and is pushing for a November trial; the states want April 2027. Either way, the industry just posted its biggest opening weekend ever while the question of how many movies get made is sitting in a courtroom in Northern California.

Stuff We Wrote

Film shoots

Number of the week

The Hollywood Foreign Press Assn. has sued Jay Penske, Penske Media Corp., the Golden Globe Foundation and others over the 2023 acquisition of the Golden Globe Awards, alleging antitrust violations.

As my colleague Stacy Perman reported, the Hollywood Foreign Press Assn. is seeking at least $150 million in damages.

The group, which founded the Golden Globes, said in its lawsuit that Penske and the other named defendants “orchestrated and participated in a clandestine scheme to fraudulently acquire the Golden Globe Awards, dismantle the HFPA [Hollywood Foreign Press Assn.], and exert monopolistic control over Hollywood trades and the awards circuit thereby violating California’s antitrust and consumer protection statutes.”

A spokesperson for Penske and the Golden Globes denied the allegations, saying the suit “continues the absurdity and irrationality that the industry has come to expect from the defunct organization formerly known as the HFPA.”

What I’m watching

I had a pretty hectic week, which didn’t leave a lot of time to catch up on TV. But I did go see the L.A. Sparks game against the New York Liberty, which unfortunately ended in a loss. We’ll see what happens now that star Kelsey Plum has been traded.

Welcome back to The Times’ Lakers newsletter where the NBA is slipping into its summer slumber.

The long league-wide nightmare is over (or, depending on your team, just beginning): LeBron James has chosen a suitor. The 22-time All-Star is heading to the Philadelphia 76ers. James’ much-anticipated decision was the last major domino of the eventful offseason that shifted the balance of power in the league, relocated some of the sport’s biggest stars and completely remade the Lakers roster.

As we get ready to go into offseason rest mode, here’s where the Lakers stand heading into the summer:

Roll call

He got a new deal and new jersey number on his new team. Now Walker Kessler can move on to more important things.

“Still learning names,” the Lakers’ prized offseason acquisition told reporters last month. “That’s probably the hardest thing right now.”

The former Utah center was the centerpiece of the Lakers’ transformational offseason. Wanting to pair Luka Doncic with a new center, the Lakers reached for the 25-year-old Kessler, signing him to a four-year, $130-million deal while sending four first-round picks to Utah.

Now the focus will be whether these moves can pay off. Getting a roster with nine new players to jell will be a season-long journey for the Lakers. The process is starting even before training camp as Doncic invited all of his teammates to Slovenia for a minicamp/group vacay this summer, according to ESPN. The superstar point guard stayed in Europe this offseason to rehab his hamstring injury and spend time with his two young daughters. Doncic elected not to play for his national team during the FIBA World Cup European Qualifiers to focus on his family.

Doncic’s leadership was a major theme during his first full season with the Lakers, when he organized team activities including a Porsche Driving Experience for players and gifted everyone in the organization electric bikes for Christmas. With James and fellow vocal leader Marcus Smart now elsewhere, Doncic’s presence off the court will be almost as important as his outsized impact on it.

From a basketball perspective, the Lakers already know they can count on Doncic.

“All four guys around him, it just makes it a lot easier for them to do what they need to do,” Kessler said of playing with Doncic. “What I can do for him is obviously play defense for him, set great screens. Get him some assists. It’s gonna be a lot of fun. I’ve never played with a point guard of that kind of size and stature to where he’s just a matchup nightmare.”

Kessler already has experience with some of his new Lakers teammates. Even before he played with guard Collin Sexton in Utah from 2022-25, Kessler was familiar with the fellow Atlanta-area native from their high school days.

Kessler also played with Austin Reaves during the 2023 FIBA World Cup, in which the United States finished fourth. Reaves was the United States’ second-leading scorer, averaging 13.8 points per game, while Kessler, then only one season into his NBA career, tied for the team lead with nine total blocks while playing the fewest cumulative minutes (56).

“He’s a big, goofy dude that just enjoys life and has fun,” Reaves told reporters during summer league about his impressions of Kessler. “Obviously you see what he does basketball wise and how he impacts the game. He’s good defensively, good in the pocket. Just a smart player. So I’m happy to have him on the team and get to play with him.”

The center depth behind Kessler remains one of the biggest question marks for the Lakers. Their only other option at the position is the 30-year-old Kevon Looney, who signed on a one-year, $3.9-million, veteran minimum deal. The UCLA alumnus and three-time NBA champion played only 21 games for the New Orleans Pelicans last year, averaging 2.8 points and 5.6 rebounds.

Despite turning over more than half of their roster, the Lakers cannot be done with offseason moves. They already went overboard with 16 players. One has got to go before the regular season begins to reach the league maximum. Maybe more will be on the way out if the Lakers continue to pursue options to fill a persistent hole on the wing. Former Hawks forward Jonathan Kuminga is still floating in the open market.

Pending the finishing touches, the Lakers roster still might not be enough to supplant Oklahoma City and San Antonio in the Western Conference. Kessler’s play will determine the Lakers’ ceiling this season, and he hopes to make the team’s bet on him worth it.

“For me, I’m somebody that if I know that they have that belief in me, I’m gonna run through a brick wall for them,” Kessler said. “That’s just how I’ve been wired my whole life and it definitely makes it a lot easier to go out there and compete for a team.”

Favorite thing I ate this week

Clockwise from top left: cocobread fish cutter, sweet spiced plantains, red pepper goat, jerk chicken wings, cucumber salad and mom’s curry chicken roti.

(Thuc Nhi Nguyen / Los Angeles Times)

I’ve said it before and I’ll say it again: When in doubt, consult the L.A. Times 101 best restaurants list.

A hunt for a convenient post-gymnastics class snack brought us to Bridgetown Roti in East Hollywood. It’s a Caribbean cuisine gem specializing in roti, a type of flatbread, they use to make curry-filled wraps, but the chicken curry roti was only the beginning of our feast. We also got a cocobread fish cutter, sweet spiced plantains, red pepper goat, jerk chicken wings and cucumber salad.

Did it feel like we ordered almost the entire menu? Yes. Did we regret it? Absolutely not.

All the dishes were fantastic, but the red pepper goat, which can be served in a wrap, over rice or on a plate with crispy potatoes and slaw, was my favorite, and the honey jerk whole wings were another standout. And if you order a flight of sauces — which range from sweet to spicy enough that it comes with a warning — it basically multiples every dish by four with all the different combinations you can make. It’s food math.

In case you missed it

Teen obtained UCLA jersey worn by Kareem in trade for his radio. Decades later, he’s set to make a fortune

Swanson: Who cares about LeBron’s move to the 76ers? Lakers have gotten better without him

Teen paid $3 for Wilt Chamberlain Lakers jacket at thrift store. It sold for almost $90,000 at auction

Lakers release preseason schedule; opener is Oct. 5

Lakers sign Matisse Thybulle to a one-year deal as roster overhaul continues

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

Dr Anthony Fauci, a former top United States public health official, has declined to answer questions at a Republican-led Senate committee hearing into the origins of COVID-19 and the handling of the pandemic.

The former director of the National Institute of Allergy and Infectious Diseases (NIAID) repeatedly invoked his Fifth Amendment right against self-incrimination on Wednesday.

Fauci was called to testify by Republican Senator Rand Paul of Kentucky, who accuses him of misleading Congress and questions whether US-funded research in China played a role in the pandemic, allegations Fauci denies.

Although former President Joe Biden granted Fauci a preemptive pardon in 2025, Republicans claim it does not protect him from any alleged crimes committed after it was issued, such as perjuring himself at a Senate hearing.

Fauci’s lawyers advised him not to testify, arguing that anything he said under oath could expose him to new legal risks.

Here is what to know:

Who is Anthony Fauci?

Fauci, 85, is a physician and immunologist who led the US NIAID for 38 years, advising seven presidents, both Republican and Democratic.

He became the public face of the US response to the COVID-19 pandemic in 2020, after helping lead the country’s response to health crises including HIV/AIDS, Ebola and the 2001 anthrax attacks.

He became a target of conservative criticism over pandemic policies, including mask recommendations, vaccines and school closures.

During his last year in government, Fauci was also chief medical adviser to Biden until he retired in 2022.

During the pandemic, between 2019 and 2022, he kept more than 1,000 pages of diary entries documenting his work advising the White House and responding to the pandemic.

The notes chronicle his interactions with senior officials and the media.

Why is Fauci being questioned?

He was subpoenaed to testify over his handling of the pandemic and its origins before the Senate Homeland Security and Governmental Affairs Committee.

The hearing, led by Paul, focused on several issues:

• COVID-19’s origins: Paul has long argued that the coronavirus that causes COVID may have leaked from a laboratory in Wuhan, China, and questioned whether US-funded research played a role in the outbreak.
• Gain-of-function research: Republicans say Fauci misled Congress about whether the National Institutes of Health (NIH) funded gain-of-function research at the Wuhan Institute of Virology, involving modifying viruses to understand how they evolve and assess pandemic risks. Fauci says the NIH did not fund research that caused COVID-19.

• Allegations of a cover-up: Paul accused Fauci of making false statements to Congress and concealing the NIH’s involvement in research in Wuhan. Fauci denies that.
• Fauci’s diary: Before the hearing, Paul released more than 1,100 pages of Fauci’s typewritten diary. Health Secretary Robert F Kennedy Jr said the notes were government record because they were written by a federal employee on a government computer during a public health emergency and they were found on government property.
• Paul said the diary showed differences between Fauci’s private discussions and his public statements. Fauci’s supporters say the entries reflect the uncertainty scientists faced as they learned more about a new virus.

What happened at the hearing?

The tense hearing lasted about three hours.

After a brief opening statement, Fauci repeatedly invoked his Fifth Amendment right against self-incrimination and declined to answer more than 100 questions.

He accused committee chairman Paul of having an “obsession” with prosecuting him.

The hearing included several tense moments:

• Contempt vote: Paul said the committee would vote next week on whether to hold Fauci in contempt of Congress over his refusal to answer questions, threatening “consequences for refusing to answer”.
• Lawyer removed: Paul directed Capitol Police to remove Fauci’s lawyer, David Schertler, after he tried to speak without being recognised by the committee. “This testimony is from Anthony Fauci. This is not a game with his lawyers,” Paul said. Schertler later described the hearing as an “obsessive vendetta”.
• Democrats defend Fauci: Democratic senators said the hearing was politically motivated. Senator Gary Peters called it “a partisan exercise” designed to support “a predetermined conclusion” rather than offering legitimate oversight.

Closing the hearing, Paul asked rhetorically: “Did [Fauci’s] actions lead to the largest man-made plague in history?”

Why did Fauci invoke the Fifth Amendment?

Fauci said he invoked the Fifth Amendment on the advice of his lawyers because he believed his answers could expose him to new legal risks.

He argued that Paul was trying to build a criminal case against him rather than conduct legitimate congressional oversight.

Although Biden’s pardon protects Fauci from prosecution for actions before January 2025, Republicans say any false statements made under oath during this hearing could still expose him to perjury charges.

The Fifth Amendment protects people from being forced to give evidence that could incriminate them in a criminal case. Invoking it is a constitutional right and does not imply guilt.

What do scientists believe about COVID-19’s origins?

Most scientists believe COVID-19 likely spread naturally from animals to humans, known as zoonotic spillover, pointing to a wildlife market in Wuhan as the most likely place where it first spread.

Fauci has consistently said he believes that scientific evidence points to a natural origin, while remaining open to other possibilities.

Notes from his diary detail a January 2020 call with 11 top virologists and evolutionary biologists – only two were convinced the virus had a natural origin, while the rest debated whether it could have been engineered.

Today, most scientists favour a natural origin, while the US intelligence community is divided.

The FBI said in 2023 that a laboratory-related incident is the most likely origin of the pandemic. The CIA reached the same conclusion in 2025, but with low confidence. Other agencies and the National Intelligence Council continue to favour a natural origin or remain undecided.

Does Biden’s pardon protect Fauci?

Yes, but only what happened before the pardon was issued.

On January 19, 2025, Biden granted Fauci a full and unconditional pardon covering any federal offences he may have committed since 2014, saying the move aimed to protect Fauci from “politically motivated prosecutions”.

The pardon does not cover actions taken after it was issued. Fauci could face legal consequences if he were accused of committing a new crime, such as making false statements under oath during Wednesday’s Senate hearing.

Paul and other Republicans also argue that because Biden’s pardon shields Fauci from criminal liability for his past actions, he can no longer claim that his testimony about those actions would incriminate him and should not be able to invoke his Fifth Amendment.

The legal standing of this argument is not clear, and Paul has acknowledged that it is a novel “legal question that the courts may have to decide”.

Can Fauci be held in contempt or prosecuted?

Potentially, but it remains unclear whether either will happen.

Paul said the Senate committee will vote next week on whether to hold Fauci in contempt of Congress after he refused to answer more than 100 questions.

Being held in contempt means lawmakers believe a witness has refused to cooperate with a lawful investigation. It does not automatically lead to criminal charges, but can trigger further legal action.

If the committee approves the measure, it could refer the case to the Justice Department for possible criminal prosecution, ask a federal court to pursue a civil action, or, in the rarest case, ask the Senate to use its powers to detain a witness through the Senate sergeant-at-arms.

Paul has not said which option, if any, he plans to pursue.

Other than “The Odyssey,” the biggest news in Los Angeles film circles last week was the return of the Cinerama Dome.

The iconic theater, which has been closed since March 2020, will be restored and reopened by Sony Pictures Entertainment and its Alamo Drafthouse theater chain. As my colleague Cerys Davies reported, renovations begin next month and will continue until early 2028.

For more than 60 years, the dome has been a landmark on Sunset Boulevard. With its 86-foot-wide curved screen, it has premiered such iconic Hollywood films as 1977’s “Close Encounters of the Third Kind,” and made a cameo of its own in 2019’s “Once Upon a Time … in Hollywood.”

Ever since the dome closed at the start of the COVID-19 pandemic, there have been questions about whether it would return. Filmmakers like “Anora” director Sean Baker and “Baby Driver” director Edgar Wright publicly called for its reopening, while a “Save Your Cinema” preservation campaign led by Benjamin Steinberg kept the geodesic icon in the public eye.

“It was definitely the capital of, like, the movie-going experience in L.A.,” Steinberg told my colleague, adding that he plans to visit the theater two to three times a week when it reopens. “I can’t wait to go back inside the Cinerama Dome and watch movies.”

The theater will be operated by Alamo Drafthouse, though Sony says it plans to keep the “Cinerama” name and exterior branding, as well as the dome’s “traditional concession experience” — meaning you won’t be able to order food and drinks to your seat. (Cinephiles recently have criticized the chain for changing its in-seat ordering system to require use of mobile phones in the theater.)

Alongside traditional theatrical showings, the dome also will include some Alamo Drafthouse specials, including repertory screenings, premieres, events and filmmaker series.

Adjacent to the dome, the 14-screen former ArcLight Cinemas will reopen as an Alamo Drafthouse, Sony said, offering dine-in food and beverages, as well as karaoke rooms and “fan celebrations.”

Sony was interested in the dome even before the Culver City-based studio acquired Alamo Drafthouse in 2024.

“It’s such a great location,” Ravi Ahuja, chief executive and chairman of Sony Pictures, told me. “It’s historic, people love it and the theater was successful before it closed. It’s one of a kind, which is the kind of experience we’re after.”

The move also highlights the opportunity Sony sees in the experiences business — an increasingly important strategy for Hollywood.

The Alamo Drafthouse acquisition was part of this, as was the studio’s recent $100-million investment and minority stake in Cosm, a virtual reality venue operator that has a location at Inglewood’s Hollywood Park.

The studio also has “Wheel of Fortune Live!,” a touring version of the popular game show, “Jeopardy! Bar League,” which was incubated at Alamo Drafthouse, and events for its streaming service Crunchyroll at anime conventions.

“It’s another leg of the franchise stool,” Ahuja said. “Fans want to engage in person with each other. It’s part of a human need when you have deep fandom around something.”

As the theatrical market waxes and wanes and the television business has become more unpredictable, it makes sense that studios like Sony increasingly look to diversify and attract fans in new ways.

After all, people have a lot of things they can do with their time and money. And after a period of slow returns since the pandemic, they’ve increasingly been coming back to in-person activities. To keep loyal fans in the fold, studios need to give them more ways to interact with the stories and entertainment they love, or they’ll move on.

Betting on the experiences business isn’t new. Walt Disney Co. makes the majority of its operating income not from its theatrical movies or streaming service, but from its theme parks and cruise line division. Last year, Universal opened Epic Universe, a major investment in its Orlando theme park resort that indicates the importance of this business for the company and owner Comcast.

But not every company wants or needs to start a theme park business. For one, it’s expensive. And for a studio like Sony, which doesn’t have a lot of kid-focused franchises, it doesn’t really make sense.

As a result, some are getting into the experiences space in more specific and limited ways, such as studio tours or branded attractions.

For Sony, that’s meant building a business around these in-person offerings that align more with its adult-leaning audiences. Lionsgate has a “John Wick Experience” in Las Vegas, while Warner Bros., among other things, recently debuted “Harry Potter: A Hogwarts Express Adventure” train event at the Southern California Railway Museum in Perris. (Universal licenses Harry Potter from Warner Bros. for inclusion in its parks.)

For most studios without a major theme park presence, this kind of location-based entertainment is still likely a relatively small part of their corporate revenue, potentially less than 1%, said Dennis Spiegel, founder and chief executive of the International Theme Park Services, Inc. consulting firm. But what these experiences do is help lengthen the life of a franchise by keeping licensing revenue flowing and keeping brands relevant between film releases, he said.

“Hollywood increasingly sees it as an essential part of maximizing the lifetime value of its intellectual property,” he wrote in an email. “In many ways, we have seen how these experiences have become as much of a marketing engine as they are a profit center.”

As for the Cinerama Dome, don’t take it as a sign that Sony is looking to build out an exhibition empire. The studio is looking for only special and selective deals like the dome, Ahuja said, and there are no plans to add more L.A. exhibition locations.

Stuff We Wrote

Film shoots

Number of the week

Christopher Nolan’s “The Odyssey” continued its dominance at the box office in its second outing with a three-day domestic haul of $90 million, down only 27% from its debut weekend.

Internationally, the Universal Pictures film raked in $137.6 million for a worldwide total of $652 million.

The big box office performance came as an unauthorized copy of the film leaked online over the weekend. The studio said it “immediately initiated takedown protocols” once it became aware of theillegal posting on X and “will pursue all appropriate remedies to protect our content and intellectual property rights.” The post was viewed more than 2.1 million times before a takedown notice replaced the copy of the film.

What I’m watching

I did not expect Amazon MGM Studios’ “The Sheep Detectives” to deliver a profound message on death and grieving when I sat down to watch it with a friend, but those talking ovine sleuths really got to me.

It took an ancient Greek epic to ignite a fire at the box office last weekend, as Christopher Nolan’s adaptation of “The Odyssey” became one of the biggest movie events of the year.

The film, led by Matt Damon as Odysseus, hauled in $123.5 million in the U.S. and Canada on its way to a global total of nearly $264 million — the biggest-ever global opening for one of Nolan’s films.

In many ways, “The Odyssey” is a throwback to old-school Hollywood filmmaking, with Nolan’s use of practical effects and numerous on-location shoots. It’s also a sign that audiences will still pack theaters for the right kind of movie.

The Universal Pictures film also outperformed studio expectations of a $117-million domestic premiere and set a record for the highest-grossing opening weekend for a live-action or R-rated film this year.

“Audiences always want to be thoroughly immersed in the theatrical experience and engulfed by the story and the production, and Christopher Nolan’s ‘The Odyssey’ is a perfect example of that,” Jim Orr, Universal’s president of domestic distribution, said Sunday. “When you have a very substantial opening, and you have those kinds of audience scores, it only points to what should be a remarkable run throughout the summer and into the fall.”

That’s good news for the summer box office, which lately has seen a bit of ebb and flow.

“The Odyssey” now ranks as the third-largest domestic opening of the year, trailing only kid-friendly films such as Walt Disney Co. and Pixar’s “Toy Story 5” and Universal, Illumination and Nintendo’s “The Super Mario Galaxy Movie.” Though family-friendly films have become power players for theaters, the two most recent flicks — Disney’s live-action “Moana” and Universal and Illumination’s “Minions & Monsters” saw softer openings.

After the big weekend for “The Odyssey,” the summer box office is up 7.3% compared with the lackluster 2025 season, according to entertainment data firm Rentrak. More encouraging, the year-to-date domestic box office is now 10.4% higher than for the same period last year.

That’s been helped not only by big blockbusters such as “The Odyssey,” which had a production budget of $200 million to $250 million, but also by the success of smaller-budget films such as A24’s “Backrooms” and Focus Features’ “Obsession.”

The common denominator is the draw of directors who have cultivated strong fan bases. “Obsession” director Curry Barker, 26, and 21-year-old Kane Parsons, who helmed “Backrooms,” have been building their reputation on YouTube among Gen Z audiences, and that loyalty is starting to count for something at the box office.

Nolan, of course, is one of the masters of building a faithful following over more than two decades. Fans started grabbing Imax 70 millimeter tickets for “The Odyssey” when they first went on sale a year ago, and the film ended up driving record presales for the Canadian entertainment tech company, which operates out of Playa Vista.

The film has notched a 95% on aggregator Rotten Tomatoes and an A CinemaScore rating.

“His films have tapped into the cultural zeitgeist,” said Shawn Robbins, director of movie analytics at Fandango and founder of the website Box Office Theory. “That’s what keeps bringing people back. They know they’re going to get a different experience; there’s always going to be a watercooler conversation around his movies, and they’re part of the cultural fabric.”

For “The Odyssey,” part of that conversation was Nolan’s old-school movie magic, including the puppetry, animatronics and robotics he used in scenes with the Cyclops, as well as the real Viking ship that the actors learned to sail.

The film also has driven interest in 70mm screenings from film buffs and casual moviegoers.

Ahead of the premiere of “The Odyssey,” Allen Michaan, owner of Oakland’s Grand Lake Theater, knew the weekend would be very busy for his four-screen movie palace. He is showing the film both in standard digital format and on 70mm film.

Michaan has made 70mm showings a priority since 1982, when the projector was installed for the release of Steven Spielberg’s “E.T. the Extra-Terrestrial.” He said the theater played that movie for 45 weeks that year. Due to the demand at the time, he installed two more 70mm projectors, making three of his four screens capable of the old-fashioned format.

Demand for the 70mm showings of “The Odyssey” has significantly outperformed their digital screenings, he said.

“We’re thrilled to get any 70mm print because it’s a gift from the filmmaker and the studio,” Michaan said.

Enhanced format screenings for “The Odyssey” made up 53% of the domestic weekend box office, with Imax film and digital revenue accounting for nearly 24%.

Imax 70mm accounted for about 4% of that total, with Imax digital making up the rest. Non-Imax 70mm film screening revenue totaled 3%, while 35mm showings made up 0.3%.

The nearly three-hour epic also marked the first feature film shot entirely on Imax cameras, a feat that required extensive collaboration between Nolan and Imax.

Nolan first told Imax Corp. Chief Executive Rich Gelfond in early 2024 that he was considering making an entire film with Imax cameras and laid out what he’d need for that to happen, including a quieter and lighter camera, a way to make film reloads easier and getting enough trained projectionists.

“It took a fair amount of time and investment” to figure out those challenges, Gelfond said. But by August 2024, the Imax team put together a series of tests to show cinematographer Hoyte van Hoytema. Two months later, Nolan saw the tests and was impressed.

“As filmmakers and studios integrate Imax, we become an increasingly important part of the ecosystem,” Gelfond said. “When a film is released in Imax or shot in Imax, I think it’s a signal to audiences that it’s somewhat special, and the filmmaker is really leaning in in a unique way.”

Times staff writer Cerys Davies contributed to this report.

Stuff We Wrote

Film shoots

Number of the week

Streaming giant Netflix narrowed its 2026 revenue forecast to $51 billion to $51.4 billion from its previous, larger range of $50.7 billion to $51.7 billion in its last Thursday’s second-quarter earnings report, renewing concerns among investors and equity analysts about the Los Gatos-based company’s future growth.

On the Friday morning after the earnings call, Netflix stock slid 13% to $65.08 a share, marking a new 52-week low. Shares eventually closed that day at $68.95.

As my colleague Wendy Lee has reported, investors are growing nervous that in recent months, Netflix’s share of TV viewing time in the U.S. has been decreasing, while YouTube’s share has increased, according to Nielsen data. Investors are concerned that if consumers are watching Netflix less, they’ll cancel their subscriptions, and that will put pressure on the company’s ability to raise prices in the U.S.

Netflix has said its engagement rates are healthy.

What I’m watching

I love a good teen mystery show, especially when it has a bit of a “Veronica Mars” vibe, so I binged Paramount+’s “School Spirits” last weekend.

Where Veronica Mars was solving realistic crimes around her local beach city, “School Spirits” tries to dig into why so many teens have died at (and haunt) a Wisconsin high school. At times, they’re hitting at a lot of different themes and storylines, but I loved the colorful ensemble of ghost characters from different decades, and Jennifer Tilly makes for an incredible villain.

Welcome back to the Lakers newsletter, where we’ve reached the “statement” portion of the summer.

After a busy wave of free agency, the Lakers made many of their offseason moves official this week: Jaden Hardy, Sandro Mamukelashvili, Quentin Grimes, Walker Kessler, Collin Sexton and Kevon Looney are in; Austin Reaves is back; Deandre Ayton is out to Washington.

The onslaught of announcements, photo ops and new social media graphics bring us one step closer to our opening day roster. With the veteran pieces in place, we’ll take a look at how the young players are shaping up.

Summer league showtime

Adou Thiero hurt his right wrist on a hard fall during the Lakers’ second summer league game this month. The bigger injury risk might be slamming his hand too hard on a dunk.

In his second season and his first summer league, Thiero wants to break into the rotation for the new-look Lakers. The high-flying forward’s progression after an injury-plagued rookie season is one of the key stories of the Lakers’ summer league.

Thiero did not make the strongest summer impression. During the first game at the California Classic in San Francisco, the 22-year-old looked like he was playing in fast-forward. Not in a good way.

Going three-for-10 from the field with nine points and multiple out-of-control drives to the rim, Thiero did not look like the returning NBA player on the Lakers’ summer league roster. He missed the team’s last game in San Francisco because he took a hard fall in the prior game.

Two months after he last played in a competitive game, Thiero said he was just so eager to play in the California Classic that he needed to “take it back a couple of notches and slow my game down.”

Thiero slowed down and soared higher in Las Vegas, where he had 20 points, four rebounds, three steals, two blocks and no turnovers in the Lakers’ Las Vegas summer league opener. The tape on his right wrist didn’t hold him back from slamming dunk after dunk after (windmill) dunk against the Oklahoma City Thunder.

“Gotta put on a show,” Thiero said on the Amazon Prime broadcast of his windmill dunk. “Lakeshow for a reason.”

Thiero, who is still working on improving his three-point shot, could add an athletic, energetic boost to the Lakers offense. With Walker Kessler filling the much-needed lob-catching center role, the Lakers have potential to be one of the league’s best offenses. Luka Doncic and Austin Reaves are just that good.

It’s on the defensive end that young players, including Thiero and rookie Cameron Carr, will need to prove their value. The Lakers, who added Ziaire Williams on a one-year deal Monday in their 15th roster spot, are looking for more defense on the wing.

Thiero said he has had conversations with the Lakers coaching staff about growing into an aggressive point-of-attack defender. His instructions are to “cause havoc,” he said. Thiero has delivered with a team-high nine steals during four summer league appearances.

Cameron Carr shoots over Lachlan Olbrich of the Golden State Warriors during a summer league game.

(Thearon W. Henderson / Getty Images)

Carr has four blocks, including several on jump shots. With a 38-inch vertical and an 8-foot-8 standing reach, Carr used his length and athleticism to lead Baylor with 45 blocks last season.

But as he makes the transition to the NBA level, Carr said there’s still a lot for him to learn. The 184-pound guard plans to make the weight room his second home. He can get deflections but gets beat on drives. Catching up on the court starts with catching up to the speed of the game mentally.

“[In the NBA] they kind of rely on being smarter up top, and so it’s just trying to be ahead of everybody, trying to be ahead of the play, and be in the same space they’re in. We all flow as one,” Carr told reporters in Las Vegas. “I feel like right now, I’m a little bit behind because I’m a little bit younger. I mean, this is my first time practicing, this is the first time playing with them, so it was a little bit just trying to catch up.”

On offense, Carr is already showing important skills that could earn him a rotation spot. His jumper is pure and smooth. He went 11 for 32 from three-point range in his first four summer league appearances, averaging 17 points. He missed the second game in Las Vegas because of a minor thumb injury. At 6-foot-5 with a high, consistent release, Carr had Stan Van Gundy gushing about his shooting on the Amazon Prime broadcast in Las Vegas.

While eyes are fixated on the two most recent draft picks, the Lakers’ leading summer league scorer is unheralded Arthur Kaluma.

The South Bay Lakers forward had a standout 34-point performance against the Dallas Mavericks and is averaging 20 points in four summer league appearances. In Vegas, he’s shooting 76.2% from the field and 59% overall this summer.

Kaluma averaged 14.6 points and 4.9 rebounds for the South Bay Lakers last season. The 6-7 forward is a versatile scorer who can stretch the floor with his three-point shot. He shot 37% from three-point range in the G League last season and made six of 10 threes against the Mavericks in his summer league statement.

The 24-year-old, like many of his summer league teammates, is battling for his NBA dreams. Each team is allowed up to three two-way players at a time, and the Lakers have already announced their maximum allotment. Guard Chris Mañon, who finished second in G League defensive player of the year voting last season, re-signed, and rookies Peter Suder and AK Okereke got their first professional contracts.

But that doesn’t mean all three are locked in for the season. Last year, the Lakers waived Christian Koloko five months after re-signing the center to a two-way deal to add Drew Timme in his spot.

“The G can get grimy, you know what I’m saying?” Kaluma said to reporters in Las Vegas. “It’s a time where everybody is trying to fight for a position and there is a certain hunger that you have to have in order to be successful in the G. And I feel like that drive that I had my first year in it pushed me into this summer to really get better and work on my game and come here and have the opportunity to perform.”

These summer league games don’t officially count. For many in the league, the annual pilgrimage to Las Vegas is more about off-court schmoozing than the on-court product.

But with players trying to make a name for themselves and fighting for their jobs, don’t tell anyone these games don’t matter.

“In these summer league settings, there’s 29 other teams that are looking and watching these games,” Lakers summer league coach Ty Abbott said, “and this is opportunities for all of them. So there’s no room to not take a game seriously. Every possession matters, every rep, every drill, every practice.”

Poll results

Last week, we asked if you would like to see the Lakers retire LeBron James’ jersey. Here are the results:

Yes: 32
No: 54

Programming update

Summer league is winding down and I’ll be on vacation this week so the Lakers newsletter will rest for at least one week. Thus no new poll question for now. But if you like the polls — or have poll questions you want to ask your fellow newsletter subscribers — email me your thoughts at thucnhi.nguyen@latimes.com.

Favorite thing I ate this week

The bánh cuốn đặc biệt plate at Bánh Cuốn Lưu Luyến in Garden Grove.

(Thuc Nhi Nguyen / Los Angeles Times)

My Instagram algorithm has been feeding me unrelenting videos of Vietnamese food and this is the rare instance in which I’m not mad at social media platforms tracking my movements. At least they’re delivering something I want.

After being subjected to dozens of videos of people making Vietnamese steamed rice rolls (bánh cuốn), I decided to hunt some down for myself at Bánh Cuốn Lưu Luyến in Garden Grove. The bánh cuốn đặc biệt — a combination plate with plain steamed rice sheets, sheets stuffed with ground pork and mushroom and pieces filled with shrimp — satisfied my internet FOMO cravings. Every plate is complete with an egg roll, tofu, ham, mung beach shrimp cake and vegetables. I think even my mom would approve of this restaurant.

In case you missed it

Life after LeBron: Austin Reaves embracing new role on new-look Lakers roster

Lakers sign Ziaire Williams to one-year, $3-million deal to bolster their depth

Lakers land their backup center in veteran Kevon Looney

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

Published on
10/07/2026 – 13:58 GMT+2

Global oil demand will fall by one million barrels a day in 2026, the IEA said on Friday, making it the first annual contraction since 2020, when Covid lockdowns grounded aviation and shuttered industry.

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The comparison flatters this year’s decline in one respect, since demand collapsed by around eight million barrels a day at the height of the pandemic, but it underlines how severely the closure of the Strait of Hormuz has damaged the global economy.

The contraction is “highly skewed in both product and regional terms”, the agency noted in its monthly report.

Earlier IEA analysis traced the sharpest losses to Asia’s import-dependent economies and to petrochemical feedstocks such as naphtha and liquefied petroleum gas, whose supply chains run through the Strait of Hormuz.

At the time of writing, the front month contract on Brent crude, the international benchmark, was trading at around $76 a barrel, roughly 6% higher than before the US and Israel launched strikes on Iran in late February, and far below the peaks near $120 reached in March at the height of the conflict.

The US benchmark, WTI, was trading lower at around $72 a barrel.

June’s fragile rebound

Supply improved sharply last month, if from a desperately low base.

Global production jumped by 4.1 million barrels a day in June to 98.8 million as the partial reopening of the Strait of Hormuz allowed Gulf producers to restart shut-in wells, though output was still running 9.4 million barrels a day beneath its pre-war level.

Gulf exports, counting cargoes rerouted around the strait, climbed by 6.5 million barrels a day to 16.1 million. Before the fighting began in late February, the region shipped an average of 24 million barrels.

Global oil inventories grew for the first time since US and Israeli strikes on Iran ignited the conflict, halting months of record drawdowns, although stockpiles in the wealthiest economies shrank further as buyers held back from importing.

The truce unravels

The IEA’s forecasts rest on an assumption now under visible strain which is that a ceasefire holds and the Strait of Hormuz gradually reopens.

On that basis, global supply would contract by 3.7 million barrels a day this year, leaving production 860,000 barrels a day short of demand, before expanding by 7.5 million next year and tipping the market into surplus.

Stronger output elsewhere and weaker demand than expected before the war could still restore a surplus by the end of the year, allowing countries to rebuild depleted reserves, the IEA noted.

This week brought the second and far larger breach of last month’s truce.

After Iranian forces struck three commercial vessels on Monday and Tuesday, US Central Command hit more than 80 targets across Iran, including air defences, coastal radar and over 60 Revolutionary Guard small boats, while Washington revoked the licence permitting Iranian oil exports.

Iran fired drones and missiles at Bahrain and Kuwait, causing no major damage, and US President Donald Trump has since declared the ceasefire over.

Tehran insists the only safe passage is the route it sets in the Strait of Hormuz as traffic fell to 13 tankers on Wednesday, against an average of 33 a day the previous week, according to shipping data from Kpler.

Additional sources • AFP

Welcome back to The Times’ Lakers newsletter, where it’s been a, uh, busy week.

Over a short seven days, the Lakers confronted their past, welcomed their present and got a glimpse at their future. Starting with LeBron James officially filing for divorce last Tuesday, the Lakers transformed into almost a completely new team overnight.

But did they turn into a better team?

Hello to a new era

The relationship was characterized by passive aggression, cryptic tweets and small slights that added up to a big, if not inevitable, breakup. After such a complicated tenure, at least LeBron James’ Lakers career ended with clarity.

By informing the team before free agency started that he would not be returning next season, James offered a clean break when both sides needed it. The 41-year-old, who is still the best unrestricted free agent on the market, will keep the rest of the league hostage. The Lakers can move forward in peace.

They didn’t take long to find their rebound star.

The Lakers went all-in to get center Walker Kessler. Not just with the four-year, $130-million contract — which is longer than many of the other deals signed this month — but with the draft capital. When a simple offer sheet wouldn’t have been enough to pry the restricted free agent away from Utah, the Lakers threw in two first-round picks (2031, 2033) and two first-round swaps (2028, 2030). They don’t control their own first-round pick until 2032, meaning there aren’t many exit ramps if things go wrong.

But, on the other hand, what if they go right?

Kessler, 24, is seen as a “perfect” fit for the Luka Doncic-Austin Reaves Lakers, a league source told my colleague Broderick Turner. He’s an elite rim protector, averaging 2.4 blocks per game in his four-year NBA career. He led the NBA in offensive rebounds in 2024-25 and ranked fourth in rebounding rate, according to Basketball Reference.

He’s what Doncic asked for.

The concern might be more about an unproven track record. He only played five games last season because of a shoulder injury. He finished third in rookie of the year voting in 2023 but has only one full-time starting season. Even then, he played only 58 games in 2024-25.

It’s a big bet for a player who hasn’t even approached an All-Star conversation.

(Thuc Nhi Nguyen / Los Angeles Times)

Six of the Lakers’ top nine players from last season are gone. The Lakers started reloading their draft assets by trading Deandre Ayton on Friday, shipping the big man to Washington for Jaden Hardy and second-round draft picks in 2031 and 2032. Hardy, like new free agent addition Quentin Grimes, is another Doncic teammate from Dallas.

With Ayton’s departure, the Lakers are on the hunt for a backup center. They have two remaining roster spots and are still in the mix to add a two-way wing defender. Rookie Cameron Carr is showing in summer league that he could be an immediate three-point threat. He has some work to do in the weight room and needs more reps to be ready on the defensive end to fill the three-and-D responsibility Rui Hachimura held.

Hachimura was the last of the Lakers’ unrestricted free agents to settle on a new home. The 6-foot-8 forward was a valuable asset to the Lakers and maybe wasn’t appreciated enough for his willingness to accept different roles, even moving to the bench briefly during an important contract year.

Hachimura, who made about $18 million last season, got looks from across the league but agreed to a two-year, $28-million deal with the Clippers on Monday.

Even for some NBA players, moving is prohibitively inconvenient.

Goodbye to the old

Outsiders looked at James’ initial move to the Lakers as something that went beyond basketball reasons. Perhaps the breakup was the same way.

Doncic, Reaves and James could have been as competitive as any trio in the league, evidenced by the short, successful glimpses we saw last season. The basketball could have been beautiful.

But if James would have played out his career with the Lakers, there always would have been an awkward pall over the final years. This relationship wasn’t serving either party anymore. He was right that it was simply time to move on.

On paper, he leaves behind a historic chapter of an unparalleled career. Already a Hall of Famer before he came to L.A., James won the Lakers’ 17th NBA championship, ending a 10-year title drought for the franchise. He broke the NBA’s all-time scoring record while wearing a Lakers jersey in front of a sold-out Lakers crowd.

In the hearts of Lakers fans, the legacy is complicated. Fans never got to create the everlasting joyful memories we saw at the Knicks championship parade or, if you’ve been watching soccer, in this month’s FIFA World Cup. Perhaps the Lakers faithful will never forgive him for his role in the disastrous Russell Westbrook trade that set the organization back for years. James, for all his personal accolades and cultural influence, still stands no chance against the spirit of Kobe Bryant, especially after Bryant’s shocking death in 2020.

The comparisons were unrelenting. But James never shied away from them.

“Truly a honor to wear the [purple and gold],” James wrote on Twitter with purple and yellow heart emojis, responding to a kind statement from Lakers governor Jeanie Buss. “… Hope I made a few proud during my stint.”

Most breakups are hard. The end of this relationship, at least, is a rare instance when you can smile both because it’s over and because it happened.

Poll results

Last week, we asked which unrestricted free agent would you most like to keep. Ultimately, no one gets their wish; all have signed elsewhere. There were 39 total votes, with several submitting two names, but for the sake of this count, I only took each ballot’s first choice.

Here are the results:

Rui Hachimura: 23

Marcus Smart: 9

Luke Kennard: 5

Jaxson Hayes: 1

“Marcus Hachimura”: 1

New question

Last week’s poll didn’t have a particularly long shelf life. The first wave of free agency swept up almost all the available Lakers players within hours. This new question could fuel debate to outlast all of our natural lives: Would you like to see the Lakers retire LeBron James’ jersey? Slide into my inbox (thucnhi.nguyen@latimes.com) to vote!

—Yes

—No

Favorite thing I ate this week

The special combination bánh mì (bánh mì đặc biệt) from San Francisco’s L&G Vietnamese Sandwich.

(Thuc Nhi Nguyen / Los Angeles Times)

When I was young(er), my parents went grocery shopping at the Vietnamese store Saturday mornings, and on his way out the door, my dad would poke his head into my room and ask simply, “One or two?” He was asking how many Vietnamese sandwiches I wanted for lunch.

Bánh mì remains my ultimate comfort food, and I liked the special combination bánh mì (bánh mì đặc biệt) from San Francisco’s L&G Vietnamese Sandwich so much that I went twice in three days. It had all the right Vietnamese cold cuts with the perfect pate and mayo ratio, and for an $11.50 deal, I even risk the caffeine-fueled heart palpitations to add a Vietnamese iced coffee.

In case you missed it

Lakers lose Rui Hachimura, who signs two-year deal with the Clippers

Lakers’ Adou Thiero hoping to learn and lead with Cameron Carr this summer

Cameron Carr makes a strong first impression in Lakers’ summer league opener

Lakers trading Deandre Ayton to the Wizards for Jaden Hardy, draft picks

Lakers announce summer league schedule, roster

Lakers get their new center. How Walker Kessler, three free agents fit with Luka Doncic

Lakers’ top defender Marcus Smart agrees to deal with Rockets

News Analysis: LeBron James won’t return to the Lakers. Now what?

Luke Kennard leaves Lakers for two-year deal with Phoenix Suns

Plaschke: LeBron James got out before Lakers could throw him out

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

It’s been about a month into the all-important summer box office season, and already, there is a noticeable boost in optimism.

I wrote last week about how the massive debut of Walt Disney Co. and Pixar’s “Toy Story 5” was a promising sign; many analysts and movie theater operators believe the summer’s theatrical revenue could finally reach pre-pandemic levels.

The cinema business has been propelled by the likes of Paramount Pictures and Miramax‘s “Scary Movie,” Universal Pictures’ “Disclosure Day” and, of course, A24’s “Backrooms” and Focus Features’ “Obsession.”

With more potential blockbusters on the way, my colleagues David Viramontes, audience editor for arts and entertainment, and Cerys Davies, who covers the business of the entertainment industry, joined me to give our best predictions for how this summer will shape up.

What will be the biggest movie of the summer?

Masunaga: After seeing how family movies — specifically, PG-rated films — were the winners of the last two years, I think we’ll be seeing “Toy Story 5” emerge at the top. The movie has already brought in more than $585 million worldwide less than two weeks after it opened, and if its billion-dollar-grossing predecessors are any indication, this franchise may still have a long life at the box office.

Viramontes: After the R-rated, three-hour drama “Oppenheimer” made nearly $1 billion at the worldwide box office in 2023, it would be professional malpractice not to pick Christopher Nolan’s “The Odyssey” as the biggest movie of the summer — and possibly the year. 70-millimeter IMAX screenings were sold out a year in advance and premium format tickets are still hard to come by in Los Angeles. Not to mention tentpole movies like this attract repeat viewings and even encourage viewers to seek out screenings in every format. And we haven’t even talked about how the film boasts one of the most stacked casts in recent history.

Davies: In an effort to play it safe, I’m going to pick a family movie and bet on “Toy Story 5.” Think about the dog days of summer — when the air gets heavy, a sense of inexplicable boredom takes over and it’s almost too hot to do anything. Deep down, you know the only reprieve is sitting in the comfort of your local theater chain’s air conditioning. But, at this point, you already saw “The Odyssey” with all your friends at the earliest available IMAX showing. What else will scratch that box office itch? I’m willing to bet it’ll be none other than the familiar faces of Woody, Jessie and Buzz Lightyear, as they fend off technology in their home.

Which movie’s marketing campaign will be the talk of the summer?

Masunaga: The marketing for “The Odyssey” has been less overt than that of other summer releases, giant Trojan horse in Venice Beach notwithstanding. But a film helmed by Nolan and starring a plethora of A-list actors basically markets itself. After all, both official trailers for the film have garnered more than 30 million views on YouTube.

Viramontes: I’m prepared for Spider-Man to be everywhere. From buses and billboards to talk shows and TikTok, the movie will reach full saturation. While “Brand New Day’s” marketing campaign hasn’t reached fever pitch just yet, I’m prepared to be inundated with activations, posters and commercials for the four-quadrant fave that’s poised to be one of Marvel’s biggest successes in years.

Davies: A massive orange monster named Irene with dozens of eyeballs has nearly engulfed the historic Carney’s restaurant on Sunset. A giant inflatable “Rich” minion, sporting a goatee and a blinged out chain, popped up on Fairfax. And minions have taken over Wendy’s frosty machines with a new banana flavor. At this point, Universal and Illumination could put a minion on every Los Angeles street corner, and I wouldn’t grow tired of them. (The ominous, goggle-wearing eye overlooking the 101 freeway just isn’t enough.)

What will be the biggest wild card of the summer?

Masunaga: The biopic “Young Washington” could make waves. Distributed by Provo, Utah-based Angel Studios, the movie has the backing of the studio’s 2 million Angel Guild members, who determine its slate and get other perks, including free movie tickets. That support proved crucial for 2023’s “Sound of Freedom,” which ended up grossing more than $250 million worldwide, and could end up being a factor here, too.

Viramontes: “The End of Oak Street” has been teasing a dinosaur adventure in trailers, but can the mystery box movie starring Anne Hathaway and Ewan McGregor attract audiences? There’s also potential counter programming to blockbuster hopefuls dotted throughout the summer with “Teenage Sex and Death at Camp Miasma.” But I’m putting my money on “Evil Dead Burn.” Horror movies put butts in seats, and this summer doesn’t have many other straight-down-the-middle scares in store for audiences.

Davies: There’s an Anthony Bourdain biopic called “Tony” hitting theaters in August. These days, it feels like Hollywood will make a biopic about just anyone, but something about seeing Dominic Sessa channel the chef’s undying passion for food and effortless swag on screen seems irresistible. Plus today’s audiences love stories about intense kitchens (“The Bear”) and debatable biopics (“Michael”) — let’s see what happens when the two marry.

Both Warner Bros.-owned DC Studios’ “Supergirl” and Sony Pictures‘ “Spider-Man: Brand New Day” are part of this summer’s lineup. Will we see a turnaround from the recent superhero fatigue at the box office?

Masunaga: This past weekend marked a disappointing debut for “Supergirl,” which brought in just $37.1 million in the U.S. and Canada and about $62.6 million worldwide on a reported budget of $170 million. Box office analysts had been expecting a domestic opening of about $47 million to $50 million. On the other hand, pre-sales for “Spider-Man: Brand New Day” have been extremely strong. Not every superhero movie prints money anymore, so even with a potentially big haul for “Spider-Man,” I don’t know that it’ll signify a complete turnaround for the genre as a whole.

Viramontes: If there’s any superhero with enough pull to rescue the genre from fatigue after “Supergirl’s” poor performance, it’s your friendly neighborhood box office king Spider-Man.

Davies: Tom Holland’s Spider-Man definitely has the potential to cure superhero fatigue, at least for a few months. But as soon as the internet’s favorite couple, Zendaya and Holland, stop walking red carpets and doing press together, audiences are likely to put superhero movies on the back burner once again.

Analysts and theater owners have predicted that this summer’s box office will reach pre-pandemic levels. Will that momentum continue for the rest of the year?

Masunaga: Yes. The lineup of movies this year is more plentiful and varied than in years past, and with massive blockbusters slated for the holiday season, I think it’s very possible we could see a year-end domestic box office total of $9 billion or more.

Viramontes: Yes. We’ll have an action horror in September with “Resident Evil,” Zach Cregger’s follow-up to “Weapons.” In October, Tom Cruise’s long-awaited “Digger” might hit pay dirt. Following that in November is the new “Hunger Games” movie, “Sunrise on the Reaping.” And I don’t even have to mention “Avengers: Doomsday” and “Dune: Part Three,” the juggernauts waiting for us in December, do I?

Davies: Given the overall excitement from audiences of all ages and the variety this summer’s box office has to offer, this season will definitely be the one to do it. When Christopher Nolan, Spider-Man, the minions and the toys from “Toy Story” join forces, there’s no stopping them.

“The Pitt” and its economic effect on California

As film and TV production has fled the Golden State in search of cheaper locales, HBO Max medical drama “The Pitt” stands out as a major contributor to California’s economy.

My colleague Meg James wrote about the economic impact of the show, which films almost entirely on the Warner Bros. lot in Burbank and has provided jobs for about 1,000 people. The show’s first season alone contributed $125 million to California’s gross domestic product, according to an estimate from Oxford Economics.

“We’re old men who didn’t want to go away from our homes any longer,” series star Noah Wyle, who also serves as an executive producer and writer on the show, said, half-joking. “We’ve all been plying our trades out of state, chasing tax credits and being away from our families for a really long time.”

Stuff We Wrote

Film shoots

Number of the week

Disney and Pixar’s “Toy Story 5” continued its dominance this weekend, pulling in $70 million in the U.S. and Canada to stay on top at the box office.

The animated film has now grossed more than $585 million worldwide in less than two weeks. The haul for “Toy Story 5” helped push Disney past the $3-billion mark at the global box office, making it the first studio so far this year to hit that milestone.

What I’m watching

I feel like I’m always catching up on shows, and this week was no exception. I’m just now starting Season 2 of Netflix’s “A Man on the Inside,” which continues the hilarious exploits of retired engineering professor-turned-private-investigator Charles, played by Ted Danson. As a fan of “The Good Place,” I’ve loved the similar humor of this latest Michael Schur show.

Welcome back to The Times’ Lakers newsletter, where we’re buckling up for what will surely be a bumpy free agency period.

Free agency negotiations can officially begin today at 3 p.m. PDT, but there have already been several eyebrow-raising moves. Blockbuster trades between Milwaukee and Miami, Charlotte and Minnesota, and Memphis and Portland are three massive shots during the offseason transaction salvo.

And those weren’t even technically free agency transactions.

Now the real fun begins.

Golden (State) reunion?

They already won an Olympic gold medal together. The mere concept of LeBron James and Stephen Curry playing together for an NBA championship is the stuff of ticket-selling, TV-viewership legend.

With James being what many consider the best free agent in this class, the superstar will be at the center of nearly every phone call through the Lakers’ El Segundo facility this summer. Between retirement, returning and relocating, James has plenty of choices for his future. Teams are starting to line up with their offers.

Signaling what will be a frenetic week, Draymond Green opted out of his contract, ESPN reported Monday morning, sending alarm bells across the league that the Warriors could be cooking up cap magic to potentially lure James to the Bay Area.

The idea was that with a restructured deal with Green, Golden State could offer the $15 million non-taxpayer mid-level exception to James. They could then try to pull off a trade to bring Anthony Davis for a “Big 4.” Eyeball emojis were wide open on the platform formerly known as Twitter.

But in this fast-paced league, that strategy barely survived the day after a Kristaps Porzingis extension reported Monday afternoon made the mid-level exception math not impossible, but certainly more complicated.

One NBA executive told my colleague Broderick Turner that James could play for the Lakers on a one-year, $30-million deal if the team wants to offer that much. It would still be a significant pay cut from the $52.6 million James made last year.

The 41-year-old is already the first active NBA player to reach billionaire status, according to Forbes. How much will a few million dollars matter to him?

During his twilight NBA years, James, according to the now-infamous statement to ESPN from his agent Rich Paul last year, wants to prioritize winning. There’s no guarantee that staying with the Lakers would make them the top team to overtake the San Antonio Spurs or Oklahoma City Thunder, but there is some proof of concept. Raise a mental banner for that 16-2, Luka-Austin-LeBron stretch.

In the West, at least, the top teams are trending young. The Thunder were the youngest team ever to win a title in 2025. The Spurs figure to be a championship contender for a long time behind Victor Wembanyama, 22, Stephon Castle, 21, and Dylan Harper, 20. The Timberwolves’ controversial trade for LaMelo Ball in exchange for fan favorite Naz Reid to Charlotte also netted Minnesota one of the league’s biggest young stars.

James, Davis, Curry and Green would be a star-studded zag toward experience when the rest of the league is zigging toward youth. The Warriors already flirted with “The Expendables” ensemble strategy with Curry, Green, Al Horford and Jimmy Butler last year.

Sequels are rarely better than the original, and in this case, the original wasn’t even that good.

By already agreeing to a four-year, $185-million deal with Austin Reaves, the Lakers are getting close to running back their own roster. As expected, Deandre Ayton opted into his $8.1 million player option.

After the 27-year-old’s up-and-down play last year, simply getting Ayton back will not stop questions regarding the Lakers’ center position.

While watching a thrilling NBA Finals and the highly anticipated Western Conference finals showdown between the Spurs and Thunder, the league saw the importance of shooting. Free-agent sharpshooters Rui Hachimura and Luke Kennard are on the market, and defensive stopper Marcus Smart will leave a hole in the Lakers’ roster after opting out. The 32-year-old guard greatly outplayed his $5.9-million option and is deserving of a multi-year deal.

When it came to his own future, James was vague at the end of the season. James’ on-court influence could persist for years, whether in L.A. or somewhere else. But his decisions won’t necessarily be his own.

James mentioned conversations with his family as important steps in the offseason process. Maybe just as important as the opportunity to chase a fifth championship is the chance for the father of three to fulfill his family responsibilities.

This month, James was celebrating the 10-year anniversary of the Cavaliers’ championship with teammates, a trip that overlapped with Father’s Day. When he returned, his daughter Zhuri handed him a handwritten golf-themed card: “You are the best by par” she wrote inside.

“When you retire,” the page-long note James posted on Instagram read, “I can’t wait for you to be at all of my games like I was at yours.”

James, he wrote on social media, instantly cried.

Rock the vote

Setting the LeBron James of it all aside, which unrestricted free agent would you most want to return to the Lakers next season? Slide into my inbox at thucnhi.nguyen@latimes.com with your answer!

• Rui Hachimura
• Marcus Smart
• Luke Kennard
• Jaxson Hayes

Favorite thing I ate this week

Khinkali (Georgian soup dumplings) from Cheeseboat in Manhattan.

(Thuc Nhi Nguyen / Los Angeles Times)

I’ve recently seen social media posts of people trying to eat food from as many countries as possible without leaving a single major city. I may adopt this as a new NBA road trip side quest, and we can now add Georgia to the travel menu.

While in New York City for the draft, I stopped at Cheeseboat, a family-run Georgian restaurant in the Hell’s Kitchen area of Manhattan. It’s named after Georgia’s traditional khachapuri bread that is shaped like an open boat and filled with delicious melted cheese, but my favorite dish we had was the khinkali soup dumplings filled with ground beef, spices and herbs. I just love dumplings, and because you use your hands to eat them — picking them up by the little dough handle is advised — they’re a little less fussy than the Chinese xiao long bao.

In case you missed it

Former Lakers Malik Beasley and Ed Davis accused of illegal gambling, wire fraud and money laundering

Who will sign with the Lakers? Updates on Deandre Ayton, Marcus Smart, LeBron James and more

Swanson: You’re up, Rob Pelinka. To avoid Ned Colletti’s fate, the Lakers’ GM has to deliver this offseason

Cameron Carr on Lakers acquiring him draft night: ‘It didn’t feel real’

Plaschke: Lakers’ Austin Reaves needs to do more to earn his money

Lakers’ Austin Reaves agrees to four-year, $185-million contract

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

Welcome back to The Times’ Lakers newsletter, where the offseason is back in full swing.

The Lakers have the 25th pick in the NBA draft, which begins Tuesday at Barclays Center, tipping off what is expected to be a consequential, potentially roster-flipping offseason. Next week, the free agency frenzy kicks up. Players including Austin Reaves, Deandre Ayton and Marcus Smart must decide on their player options by June 29 at 8:59 p.m. PT. Free agents can start negotiations at 3 p.m. on June 30 and put pen to paper as soon as July 6 at 9:01 a.m.

Don’t expect the Lakers’ biggest question to be resolved by then.

LeBron James may drag his retirement debate into the summer as the 41-year-old considers stretching his career to a record-extending 24th season. Before we worry about one career that feels like it will never end, we’ll look at careers that are just starting.

With the 25th overall pick…

The crowd of reporters gathered around AJ Dybantsa’s table was four or five rows deep before the potential No. 1 pick even arrived for his interview at the NBA’s predraft media availability Monday. Across the ballroom at this luxe Manhattan hotel, Kansas guard Darryn Peterson, who any other year could be a lock for the top selection, fielded questions from an equally large gaggle of reporters.

This draft class is drawing attention for its incredible talent and depth. ESPN front office insider Bobby Marks said there are “three No. 1 picks” between Dybantsa, Peterson and Duke’s Cameron Boozer. The excitement shouldn’t stop at just the top of the group.

“What I love about the draft is Jalen Brunson went 33rd, Tyrese Maxey went 21st, Shai Gilgeous-Alexander went 11th, and Steph Curry went right after Johnny Flynn and Ricky Rubio,” ESPN college basketball analyst Fran Fraschilla said. “… Love the top four, also know this draft is such an inexact science.”

This draft is considered one of the deepest in a generation, even outside of the clear-cut top four of Dybantsa, Peterson, Boozer and North Carolina’s Caleb Wilson. But after the forward-heavy top tier, the group probably will be remembered for its talented and diverse group of guards. That’s not necessarily the best fit for the Lakers, who are targeting wings and bigs to build around Luka Doncic.

Mock drafts put prospects including Dailyn Swain, Isaiah Evans, Chris Cenac Jr., Tarris Reed, Henri Veesaar and Jayden Quaintance within the range of the Lakers’ 25th pick. But the draft unravels in unpredictable ways. Teams are approaching the later picks with caution and curiosity.

(Thuc Nhi Nguyen / Los Angeles Times)

“A lot of the teams in the 20s right now are trying to figure out who’s going to be there,” ESPN draft analyst Jeremy Woo said on a conference call with reporters. “I think 25 is right around where the talent pool kind of drops into that next tier of guys.”

Evans, a 6-foot-6 guard from Duke, said he wasn’t offended by prognostications that place him late in the first round. He cares only that he goes to “a city that is going to accept me.” Evans shot 36.1% from three-point range on 7.4 attempts per game last season for the Blue Devils, averaging 15 points and 3.2 rebounds.

Seeing the long list of sleeper picks who turned into All-Stars, MVPs and champions showed Swain that when he hears his name called Tuesday isn’t matter as consequential as what he plans to do next.

“Once I get drafted, whenever that is, I have the same opportunity as the next person,” Swain said. “So I’m just trying to take complete advantage of that and make the most of my opportunity.”

In young players, the Lakers look for “game processors, highly competitive, basketball IQ, team-first players,” president of basketball operations Rob Pelinka said at the end of the season. Those are qualities the Lakers can develop in their next key role player.

Pelinka called player development “a very important area for us to have Lakers excellence in.” Less than 24 hours after being eliminated by a much deeper Thunder team, Pelinka cited Oklahoma City second-year guard Ajay Mitchell as a success story the Lakers want to emulate. The 2024 second-round pick was a playoff game changer for the Thunder, averaging 22.5 points and six assists while shooting 56.3% from the field during Oklahoma City’s second-round sweep.

The Lakers, one year removed from drafting a promising player in the second round, are looking for similar growth from Adou Thiero.

The 6-foot-8 forward has the youth and athleticism Pelinka called “North Stars” for the team’s roster decisions. Compared to his older, ground-bound teammates, Thiero looked ready to leave the atmosphere on some of his rebound attempts.

Coach JJ Redick said multiple times during the season that this would be an important summer for Thiero. His rookie season was marred by persistent knee injuries, first to his surgically repaired left knee and then to his right knee after an MCL sprain kept him sidelined for months. He was not able to participate in summer league or much of the preseason.

Thiero said after the season that he anticipated playing summer league games with his offseason priority being to develop his shooting.

“Just getting the confidence to take the open shot when it’s there,” Thiero said. “Just keep building on my offensive game, try and get more comfortable with the speed of the NBA. … Try to be a little bit more of an impact player for the team.”

Thiero attempted three three-pointers in his rookie season and made one. During his G League appearances, Theiro averaged 15.4 points, shooting 62.5% from the field, and was nine for 14 from three. In college, he was a career 28.4% three-point shooter with 74 attempts in three years.

The Lakers start summer league in San Francisco on July 3 in the California Classic. The four-team event also includes the host Golden State Warriors, San Antonio Spurs and the Miami Heat.

Favorite thing I ate this week

Pesto ham sandwich with roasted tomato soup.

(Thuc Nhi Nguyen / Los Angeles Times)

Before starting the summer league circuit next month, I enjoyed some time at home this June. One of my favorite meals to make at home is a pesto sandwich with homemade roasted tomato soup. I usually like roasted chicken, but I used the ham I already had on hand on sourdough with harvarti and provolone cheese and homemade pesto. I make the pesto with basil, walnuts, Parmesan cheese, garlic and lemon. Instead of olive oil, I use avocado to bind everything together so it doesn’t soak through the bread as easily. You’re welcome to steal this hack for your next sandwich.

In case you missed it

Lakers likely to select a big man or wing in first round of NBA draft

Plaschke: Lawrence Tanter was the Lakers’ smooth operator whose subtlety spoke volumes

Lakers promote Lawrence Tanter to special advisor for game presentation

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

It’s been more than 30 years, but Andy’s toys are proving irreplaceable at the box office.

Walt Disney Co. and Pixar’s “Toy Story 5” opened to a massive $160 million in the U.S. and Canada last weekend, marking the biggest domestic box office debut so far this year. Internationally, the film brought in $152 million for a worldwide total of $312 million.

With those numbers, “Toy Story 5” broke several franchise records for opening weekend totals. As my colleague Cerys Davies and I wrote last week, it’s a sign of the long-running juggernaut’s firm grip on audiences amid a sea of Hollywood sequels, reboots and spinoffs.

“‘Toy Story’ has been breaking ground since it first hit the screen more than 30 years ago,” Disney Entertainment Studios Chairman Alan Bergman said in a statement. “It’s wonderful to see ‘Toy Story 5’ continuing that tradition and connecting with audiences around the world to deliver the biggest opening for the franchise and the biggest of this year as well.”

For theater owners, “Toy Story” may have seemed like a surefire bet. After all, the franchise has grossed more than $3 billion in worldwide box-office revenue, and its third and fourth installments each made more than $1 billion globally.

The big opening weekend for “Toy Story 5” has no doubt brightened the outlook for many theater operators as the all-important summer movie season gets underway.

Already, last weekend’s box-office totals were a whopping 80% improvement compared with a year ago, when Universal Pictures’ live-action “How to Train Your Dragon” was in its second weekend in theaters. But more importantly, the domestic box office is now up 14% to $4.46 billion compared with the same time a year ago, according to data from Rentrak.

This summer’s lineup of films, including “Toy Story 5,” will play an important role in terms of whether 2026 will truly be the year that the theatrical business turns the corner from the COVID-19 pandemic and the dual Hollywood strikes of 2023.

In one promising sign, summer box-office revenue so far is up 15.2% to about $1.84 billion compared with the same May to mid-June period in 2025. (That summer ultimately ended in a dismal finish of $3.67 billion.) Compared with pre-pandemic 2019, this year’s summer box office to date is down just 1.9%.

Studio executives and theater owners have told me they feel good about this summer and are optimistic about the overall outlook for 2026.

It’s easy to see why. The deck is stacked, with upcoming titles such as Universal and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day.”

In a propitious sign, presales for “The Odyssey” and “Spider-Man” have already shown massive demand. Overall, there’s just more and varied movies in theaters now, which expands the pool of potential moviegoers, theater owners have said.

Take A24’s “Backrooms” or Focus Features’ “Obsession,” for instance. The two original and digital-native films shocked the industry by keeping a weeks-long grip on the box office, largely by attracting Gen Z audiences who were familiar with the 20-something directors from their followings on YouTube.

Beyond these two, as well as Steven Spielberg’s “Disclosure Day,” many of this summer’s films continue established franchises.

Although not all spinoffs have performed this year — including Disney and Lucasfilm’s “Star Wars: The Mandalorian and Grogu,” which saw ticket sales drop sharply after its late May opening — “Toy Story” has remained a consistent force in theaters over the decades.

Disney and Pixar executives credit the films’ focus on character relationships, particularly that of Tom Hanks’ Woody and Tim Allen’s Buzz Lightyear. And as the franchise spanned years, its appeal became generational.

“Having parents now that say, ‘I grew up with ‘Toy Story,’ and now I’m showing my kids,’ has been really gratifying,” Pixar Chief Creative Officer Pete Docter told me by phone a week before the movie’s opening.

“Toy Story” is now the most-watched franchise on the Disney+ streaming service, with more than 2 billion hours streamed. And its beloved characters have spawned 19 theme park rides, four themed lands, two hotels and roughly $1 billion a year in global retail sales.

That has no doubt kept the franchise front and center for both adults and children, as well as fueling interest in future stories.

Stuff We Wrote

Film shoots

Number of the week

The FIFA World Cup has been a major boost for broadcasters, as an average of 6 million viewers tuned in to Fox and cable network FS1 for the first 16 group stage matches, an increase of 128% compared with the last World Cup in 2022, according to Nielsen data released last week.

On Spanish language network Telemundo, which is owned by Comcast, the first 12 group stage matches drew an average of 7.5 million viewers, up 234% from four years ago. (The Telemundo telecasts are also streamed on Peacock.)

I was in the Bay Area last week on vacation and didn’t watch many of the games, but I did catch my colleague Clara Harter’s great read about the mutual love and respect between fans of Mexico and South Korea and how that has played out in Los Angeles.

What I’m watching

Since I was out of town last week, I didn’t watch a ton of TV. But I did make time to watch the series finale of “The Way Home,” a quirky time-travel drama on Hallmark that I’ve followed for all four seasons.

I’m a big fan of time-travel stories (The “Back to the Future” trilogy is one of my favorites), so the usual past-future questions, plus the complicated family dynamics anchored by matriarch Andie MacDowell, made this a must-watch for me. The series finale was a satisfying ending, though there are definitely some loose strings that deserve further exploration.

Welcome back to The Times’ Lakers newsletter, where we’re calling in reinforcements for the home stretch of the NBA season.

The Finals begin Wednesday. All but the New York Knicks and the San Antonio Spurs are left to reckon with their rosters from the sidelines. Some of the recently eliminated teams have major decisions that could affect the market for the Lakers, who, I’m sure you know, are facing some huge roster questions. To break down the offseason, I sent the bat signal out to some of my favorite co-workers for their thoughts.

What say you?

Joining me at our virtual roundtable are Los Angeles Times reporters Broderick Turner and columnists Bill Plaschke and Mirjam Swanson. With an assist from our assistant editor Dan Loumena, we examine the upcoming offseason.

The biggest question facing the Lakers: Re-sign LeBron James, let him walk as a free agent or hope he retires?

Nguyen: LeBron deciding to retire would definitely make things simpler for the Lakers, but nothing about this franchise can be simple. With how the season ended and the way he played, it feels unlikely that he would walk away at this point. It’ll come down to the money. This free agency class is not very strong. A soon-to-be 42-year-old could be the best of the bunch. But if the Lakers are on the hook for something close to what James made last year, building out the rest of the roster seems untenable. At the right price, he still feels like a player who could help the Lakers.

Plaschke: There is no “right price” for the Lakers and LeBron. He’s still one of the best players in the game, and he’ll demand to be paid like it, but the Lakers aren’t going to want to pony up. Not for a third option. Not for a 42-year-old consistent injury threat. And not for a guy who, if they give him what he wants, they’ll have no chance to begin building what they want, which is a championship. Bring back LeBron James? Pass.

Swanson: There absolutely is a right price — for the Lakers. Will that be the right price for LeBron? What if a low-low price of $20 million-ish would do it? Higher than the mid-level but far less than he’s used to? I think there’s a world where the Lakers can make a $20-million to 30-million pay cut make sense for LeBron — and I think he’s waiting to see if they can do it.

LeBron is such a Rorschach test because everyone hears what he says and so many of us perceive it differently. What I heard when he spoke about his future on the recent “Mind the Game” podcast was A) not someone who’s lost his love for the game, B) someone who really enjoyed last season’s Lakers team, C) someone who’s L.A.-lifestyle-loving family is going to have a lot of sway in this latest Decision and D) someone who was letting it be known that he isn’t making the call until “late-June into August,” by which time the music will have all but stopped on the NBA’s annual musical chairs number.

I take that to mean that LeBron is going to sit back and see what the Lakers do with the money they’re going to be reallocating to other players and whether it brings them closer to contention. If they do that, I think he comes back for another hurrah for substantially less — and they should want him! He’s not only one of (if not the) best players of all time. He was still a massively productive player at 40 and 41. He led the Lakers to a playoff series victory against Houston and was their most dependable player on the court for much of the Oklahoma City series in which they were otherwise completely overmatched.

Turner: Let’s be clear first: LeBron is one of the best free agents in a market that is not strong this offseason. That, alone, puts the Lakers in a precarious situation, because they know it’s a weak market and so do James and his representatives. James’ asking price and what the Lakers are willing to pay him will be the test for both sides. It’s called negotiations and James and his people already are letting the media machine suggest James wants the same $52.3 million he earned last season again. Or if not, James, rightfully, wants to know how the Lakers will build their team if he does take a pay cut. He proved his worth again in the playoffs, leading the Lakers past the Houston Rockets with Doncic out and Reaves playing in just two of those games. The Lakers will have to pay The Man.

Austin Reaves is expected to opt out of his contract to enter unrestricted free agency. The Lakers can bring him back for up to five years and $241 million. Other teams can sign him for up to four years and $178 million. What should the Lakers do?

Austin Reaves controls the ball during the first half of Game 6 against Houston.

(Ashley Landis / AP)

Plaschke: Bring back AR. He got batted around a bit in the playoffs, but he was trying to return too soon from his oblique injury. Judge him by his entire body of work, which meshes perfectly with Luka’s body of work. Give AR what he wants. Bring him back.

Swanson: Unless the Brooklyn Nets or Atlanta Hawks or Memphis Grizzlies want to massively overpay, Austin is coming back. He loves L.A. and L.A. loves him back. But I don’t think anyone thinks Austin is going to get $240 million from the Lakers, it’s more likely going to be a five-year, $200-million deal — that extra year the Lakers can offer being the sweetener in any potential bidding war.

And the Lakers shouldn’t overpay him, because they need to make sure he’s on a tradeable contract — in case they can’t figure out how to overcome Austin’s and Luka’s redundancies as defensively suspect shot-makers. Or if his toughness doesn’t override his unfortunate susceptibility to injury. Or if uneven playoff performances in the future put a lid on the Lakers’ postseason potential. You know, just in case.

Turner: He wants to return and the Lakers want him back. At what price is the question. Reaves earned $13.9 million last season and has a player option for next season at $14.8 million. He’s going to bet on himself and decline that option for a bigger payday. At the very least, Reaves will earn $40 million or more per season. The Lakers know a few teams have their eyes on Reaves. Reaves and his representatives know they can get up to five years and $241 million from the Lakers, and that’s what they want.

If the Lakers and LeBron do not come to an agreement, what other options do they have via trade or trying to sign a star?

Nguyen: The Lakers are trying to remodel the roster to fit around Luka Doncic, which means they need shooting, defense and a perfect pick-and-roll partner. Despite lingering hamstring injuries, Denver’s Peyton Watson, who is a restricted free agent, was an intriguing name, especially with a potential homecoming for the former UCLA Bruin. Detroit’s Jalen Duren is a restricted free agent and coming off an underwhelming postseason run, which could complicate negotiations for the third-team All-NBA player. If Cleveland is willing to part with one of their big men after getting swept out of the Eastern Conference finals, maybe the Lakers could lurk around for a big trade. Come draft night, the Lakers have three first-round picks available to trade: 2026, 2031 and 2033.

Swanson: The Lakers need to target stars in their roles. Most of those guys Thuc Nhi mentioned would be good — though Duren’s playoff nosedive would make me not want him at his going price. For the Lakers, it’s: Shooters wanted, defenders wanted, ATHLETES wanted. Think the New Orleans Pelicans’ Trey Murphy or maybe Herb Jones. And bring back Rui Hachimura, a big-bodied shooter who we trust in the clutch. Build Luka a suitable army, as much as possible, with the cap space and draft picks they’ve been saving for this offseason.

Turner: Here’s the thing: The Lakers can re-sign LeBron and AR and still use the mid-level exception that will be about $15 million to sign a free agent. Denver’s Peyton Watson is a name that has been attached to the Lakers. The problem is he is a restricted free agent and the Nuggets can match any offer he receives. Also, if the Lakers make him an offer, the Nuggets have 48 hours to make a decision. During that waiting period, the Lakers would have cap space tied up and could lose out on other free agents. But word around the NBA is that the Nuggets will shed some salaries so they can pay Watson because they need young, athletic wings.

Then there’s the Deandre Ayton situation. Can the Lakers upgrade at center?

Deandre Ayton defends against Oklahoma City Thunder guard Luguentz Dort during the playoffs.

(Kyle Phillips / Associated Press)

Nguyen: It feels likely that Deandre Ayton will be back on his player option. It’ll be hard for him to get anything better on the open market. But the Lakers definitely need more out of that position. If he comes back with Luka and Austin, “run it back” is starting to give “running in circles” while Oklahoma City and San Antonio run circles around everyone else in the West.

Plaschke: DA is going to take the Lakers’ money, so this feels like a moot point. A better question is, how can they get rid of him once he’s back? His motor doesn’t run at 100% all the time, and at this level, that is inexcusable.

Swanson: Yeah, DA proved he is who we all thought he was: A great talent with wavering focus. But remember, he’s not taking very much of the Lakers’ money; dude is on an $8-million contract. Together he and [Jaxson] Hayes make close to $13 million. Considered the price tag, the Lakers actually got a lot of bang for their buck.

Now, can either of those guys stop Wemby? Of course not. Can anyone on the planet, though? Uh, no. So, sure, the Lakers could spend big to upgrade at center, but it wouldn’t make much of a difference. They’d be better served to save money in the post — and potentially on LeBron — and spend it on wing defenders and shooters, which is where they can hope to counteract the top teams.

Turner: DA underperformed most of the season and was even less impressive in the playoffs against OKC. Teams are not lining up to get him, so he’ll probably pick up his player option of $8.1 million next season. Portland center Robert Williams is an unrestricted free agent that, when healthy, is an upgrade if the Lakers look his way. He earned $13.3 million last season and the Lakers could use the mid-level exception to entice him. He’s a really good defender and the sort of lob threat that Doncic loves to have on his team.

Favorite thing I ate this week

A Vietnamese bar spread: Salt and pepper chicken (top left), salt and pepper tofu (bottom left), baby clams with shrimp chips and sesame crackers (center), Vietnamese BBQ pork skewers (top right) and mango salad (bottom right).

(Thuc Nhi Nguyen / Los Angeles Times)

When I was growing up, my parents had an open door policy. Family members dropped by basically unannounced on random weekdays after work or weekend afternoons to sit around our table, share a few drinks and snack on some bites. In Vietnamese, we call it “nhậu.”

It means “to go drinking,” but just as important as the cold beer is the spread of snacks that kept my uncles and aunts drinking, laughing and hanging out for hours together.

You don’t need a reason to nhậu. You just need friends, food and beer. While my friends helped stock the fridge with drinks this week, I shared some of my Vietnamese favorites. We grazed on salt and pepper chicken, salt and pepper tofu, baby clams with shrimp chips and sesame crackers, BBQ pork skewers and mango salad. It was just like Vietnam except without the oppressive humidity.

In case you missed it

Luka Doncic invests in purchase of Italian basketball team with eye on NBA Europe

Shaikin: For Dodgers, getting to playoffs is not good enough for Mark Walter. For Lakers?

Lakers layoffs part of sweeping changes to business operations

Swanson: NBA’s anti-tanking draft reform might be great for Lakers but is bad for basketball

Lakers hire former Pelicans executive Rohan Ramadas amid front office expansion

Firing Jason Kidd removes the last reminder of the Luka Doncic trade from Dallas

A new board game mocks Shai Gilgeous-Alexander for ‘foul baiting.’ He wants it destroyed

‘Bonkers’ bribery case raises questions about why NBA star Terry Rozier would allegedly risk millions by participating

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

At the AI on the Lot media conference last week in Culver City, speakers laid out a view of artificial intelligence that was very much complementary to human workers.

Artificial intelligence is a tool that must be wielded by humans, several said. The idea was to help skilled artists and production specialists do their jobs and experiment, others said.

Of course, to many in Hollywood, AI is not that simple.

Guardrails on its usage emerged as a central issue in the 2023 writers’ and actors’ strikes, and additional rules were added in the recent Screen Actors Guild-American Federation of Television and Radio Artists and Writers Guild of America contracts. There are still big questions about AI’s effect on jobs in the entertainment business, as well as copyright and ethical concerns.

Whether it’s good or bad or some combination of both, AI, in some form, is probably here to stay.

So, eight months ago Amazon MGM Studios opened an AI Studios division to start work on Project Nara, an AI production toolkit built on Amazon’s AWS cloud computing platform that could be used by teams of filmmakers. Project Nara is still in beta mode, and the company set up a GenAI Creators’ Fund to give filmmakers interested in using the toolkit financial support, while also giving the studio feedback.

The beta testers got eight weeks to produce an animated short and, out of those, the company greenlighted three animated series.

Shortly after the conference, filmmaker Jorge Gutierrez, whose stop-motion-style “Punky Duck” was chosen as one of the greenlighted series, pulled out after an online backlash over his use of AI.

“We respect Jorge’s decision, as well as his incredible talent, his voice and the world he created with ‘Punky Duck,’” an Amazon MGM Studios spokesperson said in a statement. “We continue to be excited about the innovative work moving forward at our studio and the GenAI Creators’ Fund.”

Before the flap over “Punky Duck,” I spoke with Albert Cheng, head of Amazon MGM Studios’ AI Studios, about the goal of the division, what’s next for AI and his belief that humans are at the center of creativity. The conversation has been edited for length and clarity.

Why was AI Studios formed?

AI Studios was started last fall because we wanted to learn how to leverage AI technology to build tools that would help enhance or redefine the workflows for film and TV production.

When you look at the horizon of what it takes to drive continued engagement of a global streaming service like Prime Video, we need more original programs. So if you can figure out how we take the same amount of money that we spend and be able to make more shows, that’s ultimately what we want, and we think AI is going to be a help to drive that.

With AI, now we’re looking at how does technology change the way we actually create our cinematic storytelling? It could mean that with AI, we will hear from a lot more voices. If we can actually get the biggest costs down, we will be able to have more voices, be able to take more risks and creative risks most of all.

There’s always concern about what does AI mean for jobs. We believe that it actually creates more jobs and different types of jobs. In fact, people with experience, plus the tools, become even more valuable in terms of their ability to produce excellent quality work. So it’s always about the human behind it.

You mentioned that some of these production crews had more than 100 people, but crews in the past would have been much larger. How do you respond to concerns about that?

You may have smaller crews, but we’ll do more of them [productions], and more in a short period of time. When you actually have smaller productions and you do more of them, you’re increasing your throughput. Your turnover rate of the available jobs is much faster, so your job totals are actually going to be bigger.

You spoke about the idea of AI filmmaking bringing jobs back to L.A. and expanding California’s production incentive eligibility to include AI-assisted filmmaking. Can you elaborate on that?

When you look at AI production, it can be done on a soundstage. We don’t need to go to London, we don’t need to go to other places.

We do have technology companies in California that are driving this, we have people here in the city that have experience, if given the AI tools, can produce great work. So, how can we not incentivize more companies to use our soundstages and finally make productions and make more of them?

Have you or anyone else at Amazon spoken with government officials about this idea of expanding the incentive criteria?

We’ve been talking to a number of bodies about whether it’s possible. The question is, who’s going to take the ball?

How much can you decrease a show’s production budget by using AI?

I think we can get a show to half the cost, [or] to almost a fifth of the cost.

What was the thinking behind the GenAI Creators’ Fund?

We wanted to provide a support and invest in creators who wanted to try it, and then also give us feedback.

We also wanted to show that storytelling is the thing that drives the content. It’s not the technology; the technology just enabled them to make it.

What is the biggest misconception of AI use in production?

There’s a narrative that AI can do so many things by itself, that you don’t need people. That’s absolutely not true. It’s just a technology, it can’t make decisions.

In order for something actually quality to be made, a person actually needs to be behind that, and that’s been proven over and over again. People are still responsible for the output.

Stuff We Wrote

Film shoots

Number of the week

Internet culture drove the box office over weekend, with A24’s “Backrooms” hauling in $81.4 million in the U.S. and Canada.

The $10-million horror flick, which stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement, was directed by 20-year-old YouTuber Kane Parsons and is based on his online series of the same name. Worldwide, the film made nearly $118 million in its debut weekend.

Focus Features’ “Obsession” also had a big weekend with a 10% jump in domestic box-office revenue in its third outing. The horror movie, which had a production budget of less than $1 million, was directed by Curry Barker, who also built his reputation on YouTube.

Together, the two films highlight the growing power of YouTube — and online culture as a whole — on the big screen. They beat out franchise film “Star Wars: The Mandalorian and Grogu,” which dropped 69% from its debut last weekend to rank third at the box office.

What I’m watching

I’m just one episode away from finishing this season of “Bridgerton” on Netflix. While I liked that the show dived into the social class dynamics behind Benedict and Sophie’s romance, I have to say that I loved the secondary focus on Violet Bridgerton and Lord Anderson finding a second chance at love.

It’s been a big year for Seth Rogen’s Point Grey Pictures.

The 15-year-old production company founded by Rogen, his childhood friend and longtime collaborator Evan Goldberg and producer James Weaver is coming off a huge awards season for its comedy, “The Studio.”

The Apple TV series, which simultaneously pokes fun at the institutions of Hollywood while also peeling back some of the industry’s mystery, is now the most-awarded new comedy in TV history.

“The Studio” has won 13 Emmys, a BAFTA TV award in the international category, two Golden Globes and three Critics Choice awards. It’s currently filming its second season, with most details still under wraps.

I spoke with Rogen, Goldberg and Weaver about the success of the show, which primarily films on the Warner Bros. lot, and what’s next for Point Grey.

On all those awards?

“We’ve never, literally, won any awards before this, so I by no means expected this,” Rogen said, with a chuckle. “I hoped people would creatively recognize that we were really swinging for the fences, but awards were not really something that I was thinking that much about.”

In the show, the Canadian actor and comedian plays beleaguered movie studio head Matt Remick, who must balance the art of filmmaking with the economics of the business. In a nod to Hollywood’s pull toward intellectual property, one storyline focuses on the studio embarking on a movie about the Kool-Aid Man, which Rogen’s character only reluctantly agrees to pursue.

It’s not all about the money

“To me, what is interesting, and what people don’t seem to think about Hollywood, is that the people involved in it actually care about movies, even the ones who make bad ones, even the ones who make choices that stop good ones from being made,” Rogen said. “If you really just wanted to make money, there are much easier ways to make money where you don’t have to deal with people like me.”

He also noted that there’s a role for movies such as the fictional Kool-Aid flick.

“You could argue it’s the Kool-Aids of the world that keep theaters open,” Rogen said. “It’s our fake Kool-Aid movie that allows smaller movies to exist and allows theaters to take risks on smaller movies.”

Remembering comedy

“The Studio” also stemmed from a desire to make a pure comedy, despite the tough time comedies have had recently in the marketplace.

“We just all agreed that we wanted to make something that was just funny,” Goldberg told me. “It just felt like the world stopped making those, and we just wanted to make something that when you tuned in, was just absolutely hilarious.”

A serious L.A. business

Los Angeles-based Point Grey, which has 15 employees, is named for the Canadian school where Rogen and Goldberg met (the first project they wrote together, which became 2007’s “Superbad,” was based on their experiences there). Despite their comedic reputations, the more serious-sounding company name was deliberate so it could be used with any kind of project.

In fact, the company got its start with the Joseph Gordon-Levitt-led dramedy “50/50” about a 20-something who learns he has cancer. Over the years, Point Grey’s projects have spanned genres, including supernatural series “Preacher,” 2016’s “Sausage Party,” the satirical superhero show “The Boys” and biographical mini-series “Pam and Tommy.”

A Point Grey project is “genuinely original” and “daring,” said Weaver, Rogen’s former assistant who now serves as president of the company, which has a first-look film deal with Universal Pictures and a first-look TV deal with Lionsgate. He declined to discuss financials but said the company is profitable.

“We’ve managed to be really productive in terms of the amount of things that we’ve made, and we try to be smart about how we run our financials,” Weaver said. “The company is doing quite well.”

Point Grey is in production on “Teenage Mutant Ninja Turtles: Mutant Mayhem”; just wrapped a romantic comedy for Amazon MGM Studios starring Cameron Diaz and Stephen Merchant; and recently screened an animated film at Cannes called “Tangles” that’s based on a graphic novel about Alzheimer’s.

The production company may eventually expand into video games (“We love video games,” Goldberg told me), and plan to continue to navigate the changes in Hollywood, which is reeling from a continued drought in local production that my colleague Stacy Perman and I wrote about recently.

“Personally, I feel like people are very fatalistic about the trajectory of the industry, but it’s not like the industry is going down, the industry is just changing,” Goldberg said. “We just are very flexible and embrace the change, and hopefully in doing so, we don’t get left behind.”

Stuff We Wrote

Number of the week

After 1,810 episodes as the host of “The Late Show,” Stephen Colbert signed off for the final time Thursday.

CBS has said it canceled Colbert because the show was losing $40 million a year as viewers have increasingly migrated away from late-night viewing in the streaming era.

But many in the TV business are skeptical of the claim and believe Skydance wanted to silence Colbert, a frequent Trump critic, to pave the way for its deal last year to acquire parent network Paramount. (The Federal Communications Commission’s approval of the transaction came days after the show’s cancellation was announced.)

My colleague, Stephen Battaglio, has written about what the future of late-night TV talk shows will now look like.

What I’m watching

I watched the “Survivor 50” finale Wednesday with some friends, despite only watching two episodes this season (or ever). It was fun seeing the drama unfold, though I was, like everyone else, shocked at that “last twist” of Jeff Probst accidentally spoiling who lost in the final fire-making challenge.

HER last tour in 2020 was cut short thanks to the Covid pandemic but now Louise is gearing up to go back on the road.

The Borderline singer will play five live shows as part of her Naked/Confessions tour next April, taking in cities including London, Birmingham and Manchester, with tickets on sale today.

And in an exclusive interview to celebrate the announcement, ex-Eternal star Louise says she’s never felt so inspired after her last album Confessions became her fourth top ten record.

“I’m so proud of that album,” Louise tells me.

“That’s really what spurred me on to carry on writing.

“It taught me that it’s OK not to please everybody.

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“I’m enjoying the creative process of not worrying about if people might hate on it.

“Knowing that you just can’t please everyone.

“It’s all about the mindset and the confidence.

“I do think that comes with age as well.”

After saying yes to going back on the road, Louise reveals she’s learned the power of saying no — and was inspired by pop royalty Madonna.

“I am a big fan, I loved the show she did with Sabrina Carpenter. As a woman, for me, it’s about celebrating people and their achievements,” Louise says.

“I hated reading anything negative about that because for me, she is a genius. I’m at that stage where I’m trying to embrace everything and go with it, but I am also saying no.

“I just wrote a song about saying no and I love it.

“The basis of the song is when you finally learn to say, ‘That’s not for me.’

“We all live in a world where we don’t want to say no to anything for a multitude of reasons.”

The tour, which kids off in Sunderland on April 8 next year, will see Louise picking her favourite tracks from her debut album Naked — which turns 30 in 2027 — and from Confessions for the set list.

And Louise — who will play The Mighty Hoopla festival in London next weekend — has promised to throw in some brand new tunes too.

Louise, who has scored nine Top Ten solo singles including 2 Faced and Pandora’s Kiss, adds: “I get that people will want the hits. It’s about celebrating Naked and Confessions — but I definitely will do new stuff on the tour.

“I don’t want to play it particularly safe.

“The one thing I have learned in this industry is that you have to keep changing.

“You have to keep finding new ways to motivate yourself. Whether that be music, what you’re wearing, the lyrics you’re writing.

“Now I know the lane that I’m in and I know what I want to do.”

Girls single minded

THEY have been together for over a decade, represented the UK at Eurovision and performed at Wembley Stadium.

Now, British girl group Remember Monday have given Bizarre’s Howell the exclusive that they’ve just completed work on their debut album in Prague – and have today dropped the first single, Delusional.

The trio, made up of Lauren Byrne, Charlotte Steele and Holly-Anne Hull first started work on the track two years ago, but only finished it last summer with the help of McFly’s Danny Jones and Dougie Poynter, after being introduced to them at the Capital Summertime Ball.

Lauren, who posed with her bandmates for the single artwork, said: “It feels like it was the first song that started the whole new era.

“After that session, it was like, this is the kind of music that we want to be working on now.”

Holly continued: “We just wanted to kind of hone in on our sound, really solidify what we want to say moving forward.

“I don’t know if we can say, but . . . well, we’re releasing an album.

“The sound that we’re going down is quite nostalgic. Like, we really love the Nineties rom-com energy of music.”

The group will support McFly on tour this summer.

They admit their path is not always easy given that they are independent artists without the financial backing of a major record label.

Referencing the title of their single, Charlotte said: “Our whole band is run and fuelled by delusion.”

Lauren added: “It’s weird to be around. But we do just talk about things as if they are happening regardless of whether we have the funds or contacts. We just speak it into existence.

“And it actually has worked. I don’t even know how we’ve got to this stage.”

It’s working so far ladies.

Good for you.

Too pretty for this ditty

SONGWRITER Linda Perry has revealed she almost turned down Christina Aguilera’s request for her song Beautiful after admitting she thought she was too pretty to sing it.

Linda wrote the track which ended up being one of Christina’s most enduring songs from her 2002 album Stripped.

Appearing on the Zach Sang Show, Linda said she played American star Christina, pictured at the Abbey’s 35th anniversary party in Hollywood, the track and explained: “She was like, ‘ I want that.’

“And I’m thinking, ‘No, you’re like, a hot chick. I’m not giving you this song. No way. Are you kidding me?”

It was only after Christina sang the track for Linda that she changed her mind, adding: “It broke the ice between the both of us when I saw that.

“That’s when I discovered beautiful people are actually insecure and just as damaged as I am.”

Sphere come all the Girls?

THE SPICE GIRLS might fancy zig-a-zig-ah-ing their way into a Las Vegas residency, but I’m told bosses at the Sphere aren’t interested in a quick nostalgia cash-in.

Insiders have confirmed bosses will only give the green light if Victoria Beckham, Melanie C, Melanie B, Geri Horner and Emma Bunton are all on board.

My Sphere insider said: “The Spice Girls would be a massive draw, but this couldn’t be done as a one-off or a short residency.

“The costs involved in creating a Sphere show are enormous. There’s special cameras, bespoke visuals and millions of dollars in production costs before a ticket is sold.

“They’d need all five on board and would want 40 to 60 shows.”

Last month Posh Spice teased that she was keen for the shows to go ahead, saying: “How good would the Spice Girls be at the Sphere? I love the idea of it.”

The venue, which has mind-blowing wraparound screens, has already hosted U2, The Eagles and No Doubt.

TREVOR NELSON was handed a top gong at last night’s Audio Academy Arias.

Rylan Clark hosted the bash at The Roundhouse in North London, which saw Radio 2 legend Trevor honoured with a Special Recognition Award.

He was handed the gong by my pal Craig David, who spoke about Trevor’s impact on the British music scene.

It was a great night for Radio 1 DJ Greg James too, with his Breakfast show landing the top prize in its category, while BBC Radio 6 Music’s Beth Ditto was handed Best New Presenter.

LOUIS TOMLINSON reckons there’s one man who could tempt him into a collaboration – fellow Doncaster star Yungblud.

Ex-One Direction singer Louis admitted he’s not keen on teaming up with artists for the sake of it, but working with the rock wild man would feel different.

Louis explained: “I really like his music and he’s from Doncaster, my hometown, I think that would make it even more interesting.”

But he joked that their might be a slight age gap issue.

Louis laughed: “I’d be the senior one in that conversation.”

Doncaster might be running the UK music scene soon . . . 

MY fellow Spurs fan AJ Tracey has joined talkSPORT as a World Cup pundit.

The Thiago Silva rapper will join footballer-turned-Strictly star Jimmy Floyd Hasselbaink and Burnley ace Kyle Walker on the station’s line-up for the big event this summer.

CRUZ BECKHAM And The Breakers lead the new music releases today with their catchy new single, Yeah, Yeah, Yeah.

DJ Sonny Fodera also drops his new tune, Let Me Be In Your Arms, ahead of his performance at Radio 1’s Big Weekend tonight.

LEGENDARY recording studio Abbey Road has announced its fifth annual Music Photography Awards.

This year’s judging panel is packed with music industry royalty, including Raye and Nile Rodgers.

Photographer to the stars, Rankin, is also on the panel ahead of the VIP ceremony on September 24.

Rankin said: “With another stellar judging panel joining us, I can’t wait to get stuck in and review the 2026 submissions. What are you waiting for?”
Submissions are open now.

Last week, news organizations and Disney bloggers learned that the Mouse House had filed building permits with the city of Anaheim related to a parking structure at Disneyland Resort.

That immediately sparked rumors about a third park — a long-held dream of Walt Disney Co. fans who want to see more rides, themed areas and Mickey-related shopping destinations.

But that will remain a dream — at least for the foreseeable future.

Anaheim city officials confirmed as much in an internal email about one of the news articles, noting to City Council members and the mayor that the permits were, in fact, for minor parking lot improvements within the existing Toy Story parking structure off Harbor Boulevard.

The email, which was reviewed by The Times, said the improvements were not related to an already-approved expansion of Disneyland Resort, or “what could ultimately be developed on the property in the future.”

A Disneyland spokesperson told me the permits are related to painting and striping at the Toy Story parking structure. So much for a third theme park.

It’s not the first time there’s been a hullabaloo about an additional park at Disneyland Resort.

In the early 1990s, there were serious talks about a Disneyland expansion called Westcot Center, a West Coast version of Walt Disney World’s Epcot in Florida. The plan at one point was to include three hotels, a public plaza and a number of retail, dining and entertainment options all around a central lake. At one point, both Anaheim and Long Beach were vying to be chosen as the site.

But that all collapsed in the mid-’90s amid financial concerns. Disney later built California Adventure, and briefly teased the idea of a third theme park complex with both a water park and amusement park that could complement the two-park resort. But that but never came to fruition.

The idea came up yet again about 10 years ago at an annual shareholders meeting in San Francisco, when former Chief Executive Bob Iger batted down speculation about a third park.

“We have plans at Disneyland for an expansion that we have not announced but those plans at the present do not include a third gate,” he said at the time.

More on that expansion later, but the truth is Disney simply doesn’t have enough land in Anaheim to build out a third theme park. I spoke with Len Testa, president of theme park travel site TouringPlans.com, who laid out the issues for me.

A third park would probably need a minimum of 80 to 120 acres of land to accommodate big new rides, as well as necessary behind-the-scenes facilities like employee break rooms and other back-of-the-house infrastructure.

“They’re landlocked,” he said. “And to acquire that land now in any way that would keep the campus centralized and avoid the logistics of a far-flung transportation network, that would be prohibitively expensive.”

That’s not to say that Disneyland Resort isn’t expanding on the land it does have.

Two years ago, Anaheim approved expansion plans for a project known as DisneylandForward, which will allow the company to build new attractions alongside shops, restaurants and hotels.

Development plans include a bigger Avengers campus with two new rides, as well as a “Coco” ride and “Avatar”-themed area in California Adventure, as well as a new parking structure.

Although it’s not a park, adding new lands and rides is “mission critical” for Disneyland Resort, Testa told me. After all, to drive attendance, you need to regularly open new attractions.

And these new rides can’t just be any old rides — they have to be “epic, mammoth blockbusters” that no one’s seen before, which takes time, space and money, he said.

Disneyland Paris is a good example. The European tourism resort saw a notable boost in attendance after it opened a World of “Frozen”-themed land in March.

“When you have that type of expansion and you can fill the park, you feel very, very good about that,” Disney Chief Financial Officer Hugh Johnston said last week at the MoffettNathanson media, internet and communications conference. “When we leverage our [intellectual property] and take that IP and build big new attractions, not little things … it’s these big new things that actually tend to just really bring in the consumers.”

That’s also key when you consider Disney’s growing competition from Universal Studios, which recently opened Epic Universe in Orlando and siphoned off some attendance from Walt Disney World.

And while the company’s TV and film business is vital, its theme parks still throw off most of the cash — new Disney CEO Josh D’Amaro recently called the parks the “physical centerpiece of the company.” And of course, they retain a deep link to Disney’s heritage.

As Walt himself noted, Disneyland is a “living” entity that would “never be finished.”

Stuff We Wrote

Film shoots

Number of the week

Lionsgate’s musical biopic “Michael” retook the top spot at the box office last weekend with a haul of $26.1 million in the U.S. and Canada.

The film, which chronicles the early career of singer Michael Jackson, has had remarkable staying power atop the charts since it debuted in late April. The film’s weekend revenue was down only 31% in North America compared with the previous weekend.

Overall, “Michael” has now made an estimated $703.9 million in worldwide box office revenue, with $421.1 million coming from international markets.

What I’m watching

Now that WNBA season is in full swing, I’ve been watching my L.A. Sparks and caught the game against the Toronto Tempo on Sunday. It was a rough game, but here’s hoping the Sparks can start turning things around, and quickly.

Welcome back to The Times’ Lakers newsletter, where we’re not in Cancun just yet.

I fortunately have gotten some much-needed sleep during the week since the Lakers were eliminated, but NBA news never rests, especially during this pivotal offseason that could reshape the entire roster.

With almost half of the roster spots in flux, we’ll start with one player who we know will be back next season.

Luka Doncic fourth in MVP voting

He led the league in scoring but Luka Doncic finished a distant fourth in the most valuable player voting, which was announced Sunday before Game 7 of the Eastern Conference semifinals.

While Oklahoma City’s Shai Gilgeous-Alexander won his second consecutive MVP in a landslide, Doncic didn’t receive a first-place vote. Gilgeous-Alexander finished with 939 total points and 83 first-place votes. Nikola Jokic was second (634 total points, 10 first-place votes) and Victor Wembanyama was third (569 points, five first-place votes). Doncic, who had 250 total points, only had one second-place vote, and even fifth-place finisher Cade Cunningham had two first-place votes that contributed to his 117-point total.

This MVP discussion was one of the most competitive in recent memory. A fourth-place finish, especially without a single first-place nod, doesn’t quite do justice to how productive Doncic’s season was. He averaged 33.5 points, 7.7 rebounds, 8.3 assists and 1.6 steals per game. Despite playing without Doncic for the last month, the Lakers maintained a top-four seed in the competitive Western Conference and won 50 games for the second consecutive year. It was just the fourth time in the last 20 years that the league’s scoring champion didn’t receive a first-place MVP vote.

Some of the MVP race comes down to campaigning. Wembanyama, along with stellar play, repeatedly made his case during interviews. Doncic brushed off any chances to do the same.

Doncic preferred to let his play speak, but the message didn’t quite get through. During one of the most magical Marches in league history, Doncic dropped from second in NBA.com’s MVP ladder to fourth.

The season-ending hamstring injury on April 2 didn’t give him a chance to restate his case.

The more disappointing effect of the injury was that Doncic was not close to returning in time for the postseason, where he watched from the sideline as the Lakers got swept by the Thunder.

“It’s very frustrating,” Doncic said last week in his exit interview immediately after the season-ending loss. “I know some people wanted me back, but obviously I wasn’t close to clearing. … If I could be out there, I would be, 100%. Everybody in that room knows that. But it was very tough. Like I said, this is the best time to play basketball. I was sad not to be able to help my team.”

Doncic said he will not play for the Slovenian national team this summer while he prioritizes time with his daughters and recovering. His second daughter Olivia was born in December, and Doncic, who missed two games to be present for the birth, quietly managed a custody battle during the season after he and his former fiancee split.

The last 15 months have been tumultuous for Doncic, but he grew as a leader for the Lakers, coach JJ Redick said, specifically in his dedication to building off-court relationships with teammates after the shocking trade that brought him to L.A. left him in a daze for months.

“I don’t think we got the best version of Luka, the person, [last year],” Redick said. “He was great, but he was phenomenal this year as a teammate and a leader. And obviously, as a player, the guy had a tier one season relative to the rest of the league.”

Still first in the Lakers’ hearts

Will Marcus Smart and Deandre Ayton be back with the Lakers next season?

(Kenneth Richmond / Getty Images)

Doncic took his role as a leader so seriously last season that it started during free agency when he placed recruiting calls to Marcus Smart and Deandre Ayton. With both players facing player options to return, Doncic didn’t commit to trying to woo anyone back.

“We’ll see,” Doncic said. “Can’t tell you nothing.”

Most of the Lakers’ roster could change next season, but Doncic is still at the center of every decision. General manager Rob Pelinka said it’s an “ongoing collaborative process” with Doncic regarding any offseason moves.

Pelinka said the roster will be “retrofitted” around Doncic. It wasn’t that long ago that a superstar still in his prime fell in the franchise’s lap, which shook up every existing blueprint. The new archetype are three-and-D players and rim-running centers.

Ayton was supposed to be a solution at center when he signed last year. When asked how he is approaching his player option, Ayton said after the season-ending game that he hadn’t made a decision yet, but that he had enjoyed his time with the organization thus far.

“It’s purple and gold, that’s about it,” said Ayton, who was the No. 1 pick in the same draft in which Doncic went third. “Just being honored and happy to be on this platform. And another chance, and all of that. There’s great players I learned [from] here.”

Ayton flashed his potential. He was a force during the first-round playoff win over Houston. The Lakers needed him in that series and he delivered. But he also acknowledged that it was “a very humbling experience” being on a team that did not need him to score, instead asking him to primarily rebound and defend the rim with consistency.

Considering that Ayton is coming off career-lows in points (12.5), rebounds (eight) and minutes (27.2) per game, it might be hard for him to command a better salary than the $8.1-million option he has on the table.

Smart can opt into $5.4 million. The 32-year-old could decline the player option with hopes of securing a long-term contract, whether with the Lakers or elsewhere, after he proved he could still be an effective defensive spark plug and offensive shot-maker. Had a late-season right ankle injury not lingered so long, Smart, who played only 62 regular-season games, could have been in the conversation for an all-defensive team nod.

The Lakers need strong defensive players around Doncic and Austin Reaves if the duo reunite as the team’s backcourt of the future. The chemistry on and off the court between the guards was one of the highlights of the season and a reason to be hopeful that it could work in the future.

Doncic called playing with Reaves and LeBron James “an unbelievable experience.” Pelinka said at his end-of-season news conference that Reaves has expressed interest in returning to the Lakers. James’ future is more uncertain: Pelinka said the team will give James space to decide on his own, although he “would love” to have the NBA’s all-time leading scorer back.

Favorite thing I ate this week

Pho with rare beef and beef balls from Pho Show in Culver City.

(Thuc Nhi Nguyen / Los Angeles Times)

I was playing hurt the last few days of the season. I sniffled, sneezed and hand-sanitized my way through Game 4 and the end-of-season news conference with Pelinka and Redick then scooped up the ultimate sick day dinner: pho.

The pho tai bo vien (rare beef and beef ball pho) from Culver City’s Pho Show didn’t heal me completely, but it sure helped. I basically slept for three straight days after the Lakers’ season ended. Now between the remaining playoff games across the league, I’ll be catching up on TV shows, reuniting with the friends I neglected for months and enjoying my rent.

In case you missed it

Letters to Sports: Another split decision on future of LeBron James and the Lakers

Lakers continue retooling of organization with plans for more hires

Lakers want LeBron James and Austin Reaves to return next season

‘I don’t know.’ LeBron James unsure if he’ll return for 24th season or retire

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

The World Health Organization (WHO) has declared that an Ebola outbreak in Uganda and the Democratic Republic of the Congo (DRC) is a “public health emergency of international concern”, setting off alarm bells around the world.

The WHO’s announcement on Sunday came as several countries are battling to contain a hantavirus outbreak linked to a cruise ship trip to South America.

While the cause and treatment for the two viruses differ, news of their outbreaks has caused world leaders and health agencies to question what this means for international travel and cross-border coordination in containing them. These questions are particularly pertinent following the COVID-19 pandemic, which resulted in global lockdowns due to the lack of preparedness for the spread of the coronavirus.

But as the WHO faces a funding crisis, is the world better prepared now if another pandemic occurs – or could it be even less so?

Here’s what we know:

Why is the WHO facing a funding crisis?

Every time a health emergency occurs anywhere in the world, the first response of the WHO is to determine the danger the disease poses and then implement a plan to respond to it.

But since 2025, the United Nations health agency has been struggling financially due to a lack of funding from donors.

WHO Director-General Tedros Adhanom Ghebreyesus warned in May 2025 that global health would be at serious risk without enough donor support and that the agency was facing “the greatest disruption to global health financing in memory”.

The crisis deepened after the United States, which had previously covered nearly one-fifth of the WHO’s budget, officially withdrew from the organisation in January this year. US President Donald Trump announced the decision in January 2025, alleging the WHO had mishandled the COVID-19 pandemic and other international health crises.

As a result, the programme budget for the agency’s 2026-27 projects has been set at more than $6.2bn, a 9 percent decrease from the previous year.

In response, the WHO revised its financial plans and scaled back spending by cutting back some of its critical programmes, which has significantly curtailed pandemic preparedness, health experts told Al Jazeera.

“Funding cuts to the WHO have directly weakened disease surveillance efforts, which in turn affect the readiness and preparedness to deliver an effective response to epidemics and pandemics,” Kaja Abbas, associate professor of infectious disease epidemiology and dynamics at the London School of Hygiene & Tropical Medicine and Nagasaki University, said.

Following the recent hantavirus outbreak, passengers and crew members from more than 20 countries on the affected cruise ship, MV Hondius, required coordinated monitoring, contact tracing, medical evacuation, and public health guidance across borders.

Under the International Health Regulations (IHR), the WHO helps to facilitate communication and response efforts among countries, deploys experts, supports laboratory testing and organises emergency responses in case of an outbreak.

Following the Ebola outbreak in the DRC and Uganda, the WHO has deployed experts, personal protective equipment (PPE), laboratory support and emergency funding while coordinating regional preparedness efforts.

But these sorts of efforts are at risk with the current funding crisis, Krutika Kuppalli, an infectious diseases physician in Dallas, in the US state of Texas, with expertise in emerging pathogens, global health and outbreak response, told Al Jazeera.

As infectious diseases do not respect borders, rapid international coordination is essential, she added.

“Weakening WHO through funding cuts risks delaying outbreak detection, slowing response times, and reducing the world’s ability to contain emerging threats before they spread globally.”

In a statement to Al Jazeera, the International Pandemic Preparedness Secretariat (IPPS), an independent entity which helps world leaders prepare and respond to pandemics, highlighted that preparedness relies on consistent funding.

“Sustained investment and strong multilateral coordination are essential to maintain the systems, partnerships, and scientific capabilities needed before the next pandemic threat emerges,” IPPS said.

What else is hampering a global response to another pandemic?

Besides funding issues, the WHO has been struggling to get world leaders to agree on a pandemic treaty for 2026 amid a pathogen-sharing dispute.

In May 2025, it adopted a Pandemic Agreement, which sets out what it describes as a “comprehensive approach to pandemic prevention, preparedness and response that improves both global health security and global health equity”.

But UN member nations have not been able to reach a consensus on the Pathogen Access and ⁠Benefit-Sharing (PABS) aspect of the agreement – or “annex” – due to differences over ensuring every country receives equitable access to vaccines and treatment after data on disease samples have been shared.

Talks on PABS mainly focus on setting up a system to ensure countries can quickly share pathogens that could cause pandemics while receiving fair access to vaccines, tests and treatments that result from their use.

Following talks on PABS in May this year, the WHO chief urged countries to keep working with urgency and said the next pandemic was “a matter ⁠of when, not if”.

“The PABS annex is the last piece of the puzzle not only for the Pandemic Agreement,” he added.

Kuppalli told Al Jazeera that getting agreement on this is crucial, as international cooperation is essential during emerging outbreaks.

“Countries must rapidly share pathogen samples, genomic sequencing data, and epidemiologic information so diagnostics, vaccines, and therapeutics can be developed quickly,” she said.

“Delays or political disputes over information sharing can cost valuable time in the early stages of an outbreak, when containment is most possible,” she warned.

Why is antivaccine sentiment growing?

During the COVID-19 pandemic, when the US and a handful of other countries began rolling out coronavirus vaccines, many people resisted the vaccines, fearing adverse reactions as social media was flooded with misinformation about their safety and purpose.

According to a July 2025 report in The BMJ (formerly the British Medical Journal), antivaccine sentiment among the leadership of US health agencies has also been on the rise. Robert F Kennedy Jr, US health secretary, is among those leaders who often promotes unverified claims about the dangers of vaccines and also opposed the COVID vaccine.

In the report for the BMJ, authors Anna Kirkland and Scott Greer argued that if health agencies are led by such people, it will “likely mean that vaccination information campaigns are reduced, vaccine hesitancy increases, insurance coverage for vaccinations is limited, and public sector capacity to vaccinate is reduced”.

“Research money will be wasted on investigating already debunked links between autism and vaccination, while vaccination infrastructure, such as vaccination programmes run by local governments, will be eroded,” they added.

This is a major issue because public trust is critical during outbreaks, Kuppalli said.

“If large portions of the population reject vaccines or public health guidance, it becomes much harder to control transmission, protect healthcare systems, and reduce deaths,” she said.

“Equally concerning are funding cuts to vaccine research and development. Pandemic preparedness depends on investing in vaccines before a crisis occurs, not after,” she added.

Last August, the US Department of Health and Human Services (HHS) cancelled about $500 million in contracts and grants dedicated to mRNA vaccine development. These cuts affected 22 research initiatives and clinical trials focused on emerging pathogens, pandemic flu, respiratory syncytial virus (RSV), and COVID-19 boosters, according to Harvard University’s TH Chan School of Public Health.

Kuppalli said the development of mRNA vaccines targeting H5N1 avian influenza is an important effort in preparing for the possibility of a pandemic.

“Reductions in funding for these types of programmes risk slowing scientific progress, limiting manufacturing readiness, and leaving the world less prepared when the next outbreak emerges,” she said.

Is the world economically prepared for a pandemic?

Amid antivaccine movements and funding cuts, the current state of the world economy is also making it challenging for world leaders to prepare a pandemic response.

The US-Israel war on Iran has resulted in a sharp rise in oil and gas prices, which has in turn upended the world economy. High fuel costs have disrupted supply chains and international travel, resulting in a spike in the cost of medicines. In the United Kingdom, for example, pharmacies are charging 20 to 30 percent more for over-the-counter medicines. In India, chemists are reporting price rises of common painkillers of as much as 96 percent.

“Wars and economic pressures also strain supply chains, divert government resources, displace populations and weaken already fragile health systems. These all increase the risk of outbreaks spreading unchecked,” Kuppalli warned.

“Emerging infectious diseases are becoming more frequent and more complex, yet many countries are reducing investments in preparedness rather than strengthening them. The result is a growing mismatch between the scale of the threat and the resources available to respond,” she said.

IPPS told Al Jazeera that pandemics and disease outbreaks have devastating economic consequences. “In 2020 alone, the global economy contracted by around 3 percent of GDP, representing trillions of dollars in lost output, alongside widespread job losses and trade disruption.”

“Sustained investment in pandemic preparedness and response (PPR) can help prevent such losses by ensuring that vaccines, therapeutics, and diagnostics are ready to deploy rapidly when new threats emerge,” IPPS said.

Investing in research and development during peacetime ensures that when the next pandemic threat arises, the world has products and systems in place to respond quickly, protect lives, and avoid the economic losses experienced during COVID-19, it added.

“Sustained and diversified funding for pandemic preparedness is not just a health priority; it is also an economic safeguard.”

Has there been any progress at all since COVID-19?

“The pandemic taught all of us many lessons, especially that global threats demand a global response,” Ghebreyesus said in February, six years after the COVID-19 pandemic hit. “Solidarity is the best immunity,” he added.

Besides adopting a Pandemic Agreement last May, in 2022, the WHO launched a fund in collaboration with the World Bank. As of February this year, the fund has “provided grant funding” totalling more than $1.2bn, the WHO says. It has “helped catalyse an additional $11bn that has so far supported 67 projects in 98 countries across six regions, to expand surveillance, lab networks, workforce training and multi sectoral coordination”, it adds.

In 2023, the WHO also set up the Global Health Emergency Corps “in response to the gaps and challenges identified during the COVID-19 response”. The Corps mainly supports countries experiencing public health emergencies “by assessing emergency workforce capacities, rapidly deploying surge support, and creating a network of emergency leaders from multiple countries to share best practices and coordinate responses”.

As a result of all this, Kuppalli said, there are reasons to be hopeful.

“One of the clearest lessons from recent outbreaks is that the global scientific and public health community can collaborate remarkably quickly when faced with an urgent threat,” she said.

She noted how during COVID-19, scientists around the world rapidly shared genomic sequences, clinical data and research findings in real time.

“The development of highly effective COVID-19 vaccines in less than a year was a historic scientific achievement and demonstrated what is possible when there is political will, funding, international cooperation, and regulatory flexibility,” she said.

“In addition, advances in vaccine platforms, particularly mRNA technology, mean we now have the capability to design and begin producing candidate vaccines much faster than in the past,” she explained.

“While many challenges remain, including funding, misinformation, and geopolitical tensions, the scientific progress made over the last several years has unquestionably improved our ability to detect emerging threats and develop medical countermeasures more rapidly than ever before,” she added.

CANNES, France — The movies of Na Hong-jin aren’t hard to love — they’re as obsession-worthy as the stylish rigor with which they are made. His 2008 debut, “The Chaser,” found new febrility in the post-Fincher serial killer thriller. “The Wailing” somehow added ghosts, demon-possessed children and inky black crows to the mix with a near-crazed sense of showmanship.

That was 10 years ago. Na, 51, now sits on the other side of a project that has consumed him for years, a sci-fi action film called “Hope” that arrives with expensive CGI, a pair of A-list stars (Michael Fassbender and Oscar-winner Alicia Vikander) and James Cameron-sized franchise ambitions. It will undoubtedly make Na’s gallows-humor-inflected brand more global, even if it lifts him out of the cult niche that’s nourished him to date.

Cannes is an unlikely place to launch “Hope.” That could be seen as a sign that the festival’s increasing accommodation of blockbuster bigness doesn’t need Hollywood. Na sits in the corner of a Côte d’Azur waterfront lounge on a glorious midday, the sky an almost abstract blue. He tugs at his goatee distractedly. His world premiere is tonight.

Neon, the distributor currently enjoying a six-year Palme d’Or winning streak, will release “Hope” in America sometime after its summer bow in Na’s native South Korea. The following conversation has been edited for length and clarity. It also contains significant spoilers.

A scene from the movie “Hope,” directed by Na Hong-jin.

(Neon)

When did you realize that you had a big sci-fi alien monster movie in you?

The idea came to me in 2017 in Seoul. The premise started off with somebody watching news in a diner or a small restaurant. It was that image that I had in my head. So I started developing that initial image in more detail. By 2018, I was able to write my first draft.

“Hope” brings to mind several genre classics, from “Jaws” and John Carpenter movies like “The Thing,” to something more homegrown such as Bong Joon Ho’s “The Host.” Were those inspiring to you?

I must have looked all the genre films that I could find, including the ones you mention, before I went into filming. And, as I hope you noticed, I was looking more at films from before 2000 and I tried to reflect that look.

It seems like you’re using Cannes as a moment to pivot or reinvent yourself. Is that intentional?

I didn’t intend for this to be a turning point in terms of style or direction going forward. I never thought of it that way. What I really dwelled on was thinking about how to tell this story in a way that was approachable and entertaining for people.

Why did you set the story in the demilitarized zone?

If you look at it from a universal perspective, what happens in this very shabby, humble, small, insignificant space potentially creates an impact that can go on infinitely. I think none of the characters in the film do anything with any malice. I guess the underlying story I want to tell is that there is no reason for evil intention behind anything, but innocent acts can build up to something tragic.

Michael Fassbender and Alicia Vikander are wonderful surprises in the movie as some rather dignified aliens. What led you to them?

When I was casting the alien roles, I had a bigger story in mind. I don’t know whether there’ll be a sequel after this one, but if so, that sequel is going to be centered around them. So picking the right actors was very important for me. We asked them to learn this invented alien language, which they prepared and came onto set knowing.

How important to you is comedy and releasing tension with laughs?

Very. I try to really think it through and if it comes out the way I intended, that gives me such a thrill. I tried to incorporate it in many places.

A lot of the movie feels like a virtuoso chase sequence, people barreling down the road, guns blazing. But it took me a minute to realize that the more interesting question is: Who’s doing the chasing? Is “Hope” meant to make us examine our own violence?

Yes, very much so. And two of the major chase scenes were designed so that what starts off as righteous somehow tilts toward being unjust. I wanted the action to bring up that transition in perspective.

You’ve premiered at Cannes before but, in a way, it feels like the wrong festival for a movie like this. You’re laughing because I think you agree with me.

It goes without saying. I’m incredibly nervous. And I feel so grateful that you’re treating me so nicely and gently.

A scene from the movie “Hope,” directed by Na Hong-jin.

(Neon)

Why did it take you 10 years to make this film?

There was a pandemic in the middle of that. But except for the pandemic where everything stopped, I was working my ass off before and after. It still took this long. I’m a little concerned myself, like: How did this happen?

With “Hope,” are you saying goodbye to the filmmaker you once were?

Not at all. Throughout the entire process of making this film, I was bloodthirsty. I was thirsting for blood. I have another script written already.

And maybe now it’ll go faster because there won’t be a pandemic. Are you hoping that this movie is going to have an impact on the Korean film industry?

It’s not my place to say that. I’m not sure. I want things to be freer.

Would it be a mistake to read this film as an allegory for what’s happening now in the world? Is it a plea for understanding?

I don’t regard it as a plea for understanding. Rather, let’s hope people will be able to relate to it and be empathetic about the story and realize for themselves, understand for themselves. Maybe there’s something more to it, but you take away what you will from that.

Your dark humor flares on occasion. Did you make it a point to try to preserve that?

Well, you can’t just do something like this without having that. It’s not fun.

This doesn’t feel like an “Avatar”-style film. There’s an openness to it, a sense of exploration. Do you believe in heroes?

I do believe in heroes, but, as I tell in the story, anyone can be a hero.