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Sunday morning, Oct. 9, 2022, around 8 a.m., I was about to take a shower when I decided to check my cellphone one more time. Thank God I did: If I hadn’t, I would’ve been half an hour late on assisting in one of the most explosive stories ever to hit L.A. politics.
Via Slack, Times assistant managing editor Steve Clow asked if I could serve as a second set of ears on audio that my colleagues had unearthed involving four of the most powerful L.A. políticos at the time: City Council President Nury Martinez, Councilmembers Gil Cedillo and Kevin de León, and L.A. County Federation of Labor President Ron Herrera. I was still in my birthday suit (sorry for the visual, gentle readers, but I’m sworn to report the facts on this job) when I played the snippet Clow shared: Martinez describing the Black son of then-Councilmember Mike Bonin as “su negrito” — his darky.
I put on my shorts and told my wife I wouldn’t be helping at her restaurant that day.
Clow sent me more clips over the next hour, each crasser than the other — I remember gasping audibly at the part when the four were laughing as Martinez referred to Oaxacans as “ugly.” That morning, my colleagues Benjamin Oreskes, Dakota Smith, Julia Wick and David Zahniser published their first story on the fiasco, which turned out to be a secretly recorded conversation from a year earlier that someone had posted on Reddit just the day before.
The scandal quickly became a national sensation, with even then-President Joe Biden weighing in. L.A. wretched in collective disgust and demanded action, which definitely came: Martinez and Herrera quickly resigned, while Cedillo — who had already lost his reelection bid — would stay on until his bitter end, and De León wouldn’t leave until challenger Ysabel Jurado destroyed him in his 2024 reelection bid. The electoral repercussions of the audio leak can still be felt four years later in this election, as Nithya Raman stages a strong challenge against incumbent Karen Bass — a sentence no one would’ve believed in the fall of 2022, when Bass was on the cusp of winning her first term, and Raman was the lone democratic socialist on the council.
I would’ve figured the anniversary of something as titanic as all of the above would’ve sparked more commemorations than just my columna this week. Nope! L.A. has moved on to the point that Cedillo wasn’t booted from a group photo that included current District 9 council candidate Jose Ugarte, former Assemblymember Wendy Carrillo, former Mayor Antonio Villaraigosa and current Assemblymember Mark Gonzalez — because even Chicanosauruses can survive a political asteroid, I guess?
Having political leaders spew racist, homophobic nonsense now seems like the good ol’ days in an era where infernos destroy or stink up swaths of L.A., immigration agents terrorize immigrants from Westwood to the Eastside, and a spokesperson for a sitting American president denies that the commander in chief suggested Iran bomb the City of Angels, even though he said it during a campaign rally.
I shouldn’t really be surprised, I guess: L.A. infamously loves to forget its own history. But I would urge all you readers to read the great, Pulitzer Prize-winning coverage my colleagues did in the aftermath of the audio leak scandal, because it captured the city at its worst — but also its finest as residents fought back and demanded politicians do better.
Four years later, we can only hope this upcoming election shows more of the same.
The week’s biggest stories
Domenic Hix looks back as a large wave crashes on the shoreline in Laguna Beach on Friday.
(Allen J. Schaben / Los Angeles Times)
Tropical Storm Rachel in SoCal
California real estate
California crime
In memoriam
More news
Editor’s pick
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Things to do
(Illustrations by Lindsey Made This; photograph by Charles Phoenix)
Today’s recipe
(Rebecca Peloquin / For The Times)
This recipe makes apple butter that is less sweet than most; use more sugar if you like, but don’t use less or there won’t be enough to properly preserve the pureed apples.
Have a great day, from the Essential California team
Jack Dolan, investigative reporter Hugo Martín, assistant editor, fast break desk Kevinisha Walker, multiplatform editor Andrew Campa, weekend writer Karim Doumar, head of newsletters
Several years ago, DreamWorks Animation veterans Joel Crawford and Januel Mercado pitched the studio an original story centered on friendship and steeped in Filipino culture.
That draft became the animated film “Forgotten Island,” which opened in late September and counts singer H.E.R., Liza Soberano and Dave Franco among its voice cast. The movie focuses on best friends Raissa and Jo, who will soon be separated when Raissa goes to college in the U.S., and the final adventure they take to the fantastical island of Nakali.
The movie opened to a softer $13 million in the U.S. and Canada and has so far made $23.6 million at the domestic box office over two weekends. Globally, “Forgotten Island” has brought in $38.5 million on an $80-million production budget.
That opening haul is lower than the average for original animated films from a major studio, which is about $14.6 million, according to the FranchiseRe movie industry newsletter. But the studio is hoping the movie — which has garnered a strong 95% rating on Rotten Tomatoes — will pick up steam and benefit from the relative lack of animated competition at the box office until the early November debut of “The Cat in the Hat,” developed by Warner Bros. Pictures Animation.
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“Forgotten Island” is a big bet for Glendale-based DreamWorks Animation, which like many studios, has largely depended on sequels to drive box office success.
Original animated stories — or original movies at all — have become rarer gambles in Hollywood these days, when sequels and reboots feel like safer options. But Crawford and Mercado knew they wanted to develop a new story together.
The pair, who wrote and directed the film, have been friends for nearly two decades after they met at DreamWorks Animation as storyboard artists. Together, they’ve worked on 2011’s “Kung Fu Panda 2,” 2013’s “The Croods” and 2022’s “Puss in Boots: The Final Wish.” The two bonded over their similar sense of humor and their love for movies, and their longtime friendship was apparent in their easy banter during a joint interview shortly after the “Forgotten Island” premiere last month.
Early on, Crawford and Mercado knew they wanted to tell a story set in the Philippines that celebrated Filipino culture. Mercado is Filipino American and Crawford’s wife is Filipino, so a movie that authentically represented Filipino culture was important to them. In the film, the island of Nakali has many creatures inspired by Filipino folklore, and the characters casually use Tagalog words alongside English.
“There’s a sophistication in terms of respecting that the audience is smart, and doing our part as filmmakers to make sure that the visual storytelling and the context gives everything the audience needs to know,” Mercado told me.
Audiences, too, are more comfortable with content in other languages these days, as I wrote last week about Neon’s Korean-language thriller “Hope.” After all, kids will sing Korean lyrics in K-pop songs, and even “Puss in Boots: The Final Wish” interspersed Spanglish into the story.
“It feels timely to update the way we tell stories, to not treat the audience like, ‘They won’t understand this,’ but really treat them with respect,” Crawford said. “It just felt right to chase authenticity and let go of expectations, especially of what an animated movie should be and has been, and really do something fresh because it’s just coming from who we are.”
In the last few years, animation has been a powerhouse at the box office. Disney and Pixar’s “Toy Story 5” and Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” have each crossed $1 billion at the global box office, two of only five movies to do so this year. In 2024, Disney and Pixar’s “Inside Out 2” was the highest grossing movie in the U.S. and Canadian markets.
Original stories have been tougher. Pixar has recently struggled to match the theatrical success of its prior original films and the slower start for “Forgotten Island” may be a sign of similar hurdles for new stories. But culturally accurate storytelling has paid recent dividends — just look at the success of Netflix’s “KPop Demon Hunters,” which won two Oscars, broke streaming records and sold out theatrical singalongs.
“We believe that there is a platform and space for everyone’s story, for people to feel seen and to know they matter,” Mercado said. “Even when they see a story that is specifically Filipino, if we’ve done our job right, we’ve shown you that you could connect to the story, whether or not you have this experience with the Filipino community or the culture.”
With “Forgotten Island,” Mercado and Crawford also want to push the boundaries of animation beyond its perception as films just for kids. Later this year, films such as Laika’s PG-13 rated “Wildwood” and Brad Bird’s noir film “Ray Gunn” will test the audience appetite for more adult animated and original fare.
“We’re in a time of massive sequels,” Crawford said of stories today. “When you expand where you’re telling them and who is telling them, you naturally get originality. This year has been really exciting for original stories in both animation and live action. You are taking a chance on originality, but it pays off.”
The Warner Bros. film was plagued by very mixed reviews from critics, as well as a challenging marketing campaign. The film stars Cruise as an aging oil tycoon whose drilling operations trigger a catastrophic climate change disaster. Worldwide, the film brought in $20 million on a production budget of $125 million.
It’s been a tough theatrical year for Warner Bros., which has seen a string of disappointments before “Digger.” Beyond the cinema, the company is now in the process of being absorbed by Paramount Skydance, with the merger set to finalize Tuesday.
What I’m watching
It’s been yet another busy week, so about the only thing I was able to watch was a few WNBA playoff games. Since the Sparks were left out of the playoff picture again, I’ve sort of adopted the Golden State Valkyries as the next best California team to root for, and what a wild game that was over the weekend against the Las Vegas Aces.
The newbies have a lot of work to do: The Lakers lost 50.8% of their points, 55.7% of their rebounds and 47% of their assists from last year. As coach JJ Redick acknowledged during his preseason press conference alongside Rob Pelinka, “There’s a lot of minutes … up for grabs.”
All things Lakers, all the time.
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We know three of the starters. We start with the biggest question mark in that rotation:
Position battle we’re watching most this preseason
Austin Reaves has tormented the NBA with his crafty finishes in the lane and step-back threes. In many of his new Lakers’ teammates, he has found equally frustrating counterparts, defenders that twist him into knots like he does to them.
It’s the best — and most important — problem for the Lakers to have. The Lakers’ deep group of perimeter defenders have the most to prove and could be the biggest X-factor in the season’s success.
The wing group felt so unsettled late into the offseason that the Lakers were among the final teams willing to wait out the Jonathan Kuminga sweepstakes. The 6-foot-7 forward did not make his decision until Aug. 26, spurning the Lakers for the Minnesota Timberwolves.
The Kings’ Darius Acuff Jr. dribbles under pressure from Laker Ziaire Williams during a preseason game in Sacramento on Monday.
(Thearon W. Henderson / Getty Images)
The only other offseason bandaids the Lakers could acquire were Williams and Thybulle. After signing minimum contracts, they were both in the starting lineup for the Lakers’ preseason opener Monday.
Williams, the 6-foot-9 forward from Sierra Canyon High, is relishing the chance to play for his hometown team. The former top-10 pick is on his third NBA team in six seasons, never finding solid footing with Memphis or Brooklyn. He is coming off a career-high 10.3 points per game for the tanking Nets. The expectations will be drastically different with the Lakers and the Lancaster native is ready to meet them.
“There’s not really anything I’m not comfortable with,” said Williams, who reported he currently weighs 215 pounds, up 30 from his previously listed weight with Brooklyn. “If it’s a smaller guy bringing the ball up, I pick up 94 [feet]. If it’s a bigger wing who likes to play off a live dribble and jab step, being more physical off the ball.”
Thybulle is listed at 6-foot-5, but renowned for a nearly 7-foot wingspan. Not only does he torment opponents with his length, his defensive anticipation is “top-tier,” Reaves gushed.
The Washington alumnus was a two-time second-team all-defensive honoree with the Philadelphia 76ers. The hope has always been that his three-point shot could match that defensive talent.
Thybulle is a 34.9% three-point shooter, averaging only 2.6 attempts per game during his career, although his attempts increased in Portland. Thybulle and Williams (32.2% on threes in his career, four attempts per game) are consistently shooting threes after every practice. Williams made all three of three-point attempts in Monday’s preseason game while Thybulle made two of four.
Lakers forward Sandro Mamukelashvili drives to the basket in front of Kings guard Daeqwon Plowden during a preseason game in Sacramento on Monday.
(Sara Nevis / Ap Photo/sara Nevis)
“For me personally, at this point, [it’s about] having the confidence in my shot to know that when it comes, I’m ready for it, as opposed to just hoping for the best,” Thybulle said. “I think it goes a long way as well.”
Mamukelashvili offers three-point shooting that stretches the floor. Redick described the 6-foot-9 forward as “an offensive connector” who can revive seemingly dead plays with a simple pass or a cut. After shooting 38.9% from three last season (115-of-296) with Toronto, he’s a potential starter at power forward, but the defensive matchups could be different when he and Walker Kessler share the floor compared to one of the other perimeter-oriented wings pairing with Kessler.
Young wing players including Adou Thiero and Cameron Carr have also impressed coaches and teammates with their athleticism and eagerness to learn. Reaves affectionately hailed Thiero, who was Reaves’ primary matchup during offseason pickup games, as a “freak of nature” and “one of the best athletes in the league.” That talent was obvious during his injury-plagued rookie season when Thiero scored his first NBA basket on a high-flying dunk last November.
Redick said Thiero’s development in the summer has been “unbelieveable.” The most critical part has been his health, said Thiero, who battled nagging injuries to both knees last season.
Between the veterans trying to prove themselves and the young players hoping to make an impact, the Lakers could go six or seven deep at the wing, Redick said. Depth is a critical ingredient of this era of the NBA. The Lakers are confident in theirs.
“We got some dogs on this team,” Williams said. “Everyone plays one through four. All the wings are great. There’s no slack; you see four or five wings out there playing hard, everybody else has to pick it up a notch.”
Position we should watch this preseason
Lakers center Kevon Looney drives to the basket under pressure from Kings Dylan Cardwell and Nique Clifford during a preseason game in Sacramento on Monday.
(Thearon W. Henderson / Getty Images)
There is no reason to panic about Kessler’s preseason absence. He jammed his left pinky finger on the backboard in practice last week and Redick said Kessler is “day-to-day.”
But the sight of the star center on the sideline is still an unnerving way to start preseason games, especially after the Lakers invested so much to get Kessler. The 7-foot-2 center, who cost the Lakers four first-round draft picks and a four-year, $130-million contract, is supposed to be a lynchpin of their defense. Without him, the Lakers’ entire plan could fall apart.
The only true center the Lakers have behind Kessler — who only played in five games last year because of a shoulder injury — is Kevon Looney. The former UCLA star started in Kessler’s place Monday, playing 18 minutes with nine rebounds, three assists and two points. Mamukelashvili, a power forward, can also rotate to center.
The Lakers have so much riding on the center position this year. Their backup options don’t feel strong enough to bear the weight of a possible Kessler injury. But Redick said the team’s wing players could shoulder some of that burden.
“Loon, Mamu, those guys, they’re not going to be Kessler,” Redick said. “Mamu is versatile enough that he can do different things, whether that’s a hedge or a switch or a drop, and we’ll figure out what works best for this team with that when we’re in man. Then with Loon, I think he’s smart enough and savvy enough that he can get the job done. But again, none of that matters if we’re not guarding the basketball.”
Looney, 30, is the unexpected veteran on a team of 20-somethings. Redick used the three-time champion’s experience with the Warriors for inspiration on the first day of practice, saying Looney faced plenty of adversity during those years. The Warriors fell behind in multiple series and still clawed back to win, Redick said. The Lakers expect Looney to stablize the team during the inevitable rocky periods of the season.
“What a great vet,” Kessler said. “He’s done it before. He knows what it takes to win a championship on and off the court.”
On tap
Tuesday at Warriors, 7 p.m. PDT
The Lakers open the preseason with a road back-to-back. Expect that while the Lakers have no pressing injury concerns, most of the key players will be on an early load management schedule.
Thursday vs. Kings, 7:30 p.m. PDT
The Lakers’ third game in four days – a workload that should be banned in the preseason – will be the debut of Lakers public address announcer Derrin Horton. The former KTLA broadcaster will take over for franchise legend Lawrence Tanter, who died last week at 76. Tanter retired from his game day role in June after 43 iconic years as the “Voice of the Lakers.”
Favorite thing I ate this week
From Broken Spanish Comedor, the ceviche (left) and the camote, a coal-roasted Japanese sweet potato served with pork rinds.
(Thuc Nhi Nguyen / Los Angeles Times)
I’d been reading great things about Broken Spanish Comedor, and after finally trying the new Culver City restaurant, I’m surprised to report that my favorite dish from a modern Mexican restaurant was a Japanese sweet potato. The camote was an ideal combination of textures thanks to the creamy coal roasted sweet potato and crunchy pork rinds and sweet, smokey and spicey flavors. We also ordered the ceviche, which came with a deserved heat warning, and the chicharron. The server insisted we get the hand-pressed tortillas and who’s saying no?
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The Tom Cruise-led movie “Digger” cratered at the box office this weekend, limping to a fifth-place finish with $8 million in the U.S. and Canada in its theatrical debut.
The Warner Bros. film was expected to do poorly after polarizing reviews from critics and a challenging marketing campaign. The film had a production budget of about $125 million. Worldwide, the film brought in just $20 million in its opening weekend, meaning the studio will probably post a significant loss from the release.
A representative of Warner Bros. did not respond to a request for comment.
Amazon MGM Studios’ “Verity,” starring Anne Hathaway, easily lapped “Digger,” coming in first at the domestic box office with a haul of $32.6 million. The film made $62.5 million worldwide.
The underwhelming performance from “Digger” marks a rare misfire from the usually bankable Cruise and adds to a difficult year for Warner Bros.’ film studio, whose lineup of movies has struggled to connect with audiences. That’s in stark contrast to 2025, when the studio ran up a string of hits such as “Sinners” and “Weapons.”
It also comes as Paramount Skydance’s $111-billion acquisition of Warner Bros. Discovery is set to close Tuesday. As part of the merger, there have already been several management shake-ups, including the exit of Warner Bros. film chiefs Pam Abdy and Michael De Luca. The duo oversaw the studio for the last four years, providing a mixed bag of hits and misses for the Burbank-based studio.
The deal is expected to dramatically reshape Hollywood by combining two of the major studios, a move that is expected to lead to massive layoffs. Paramount has already told Wall Street that it’s planning $6 billion in cost cuts.
“Digger” is the result of nine years of work, as director Alejandro González Iñárritu started on the project before the pandemic. The film is a satire about an impending climate change apocalypse that’s triggered by the drilling operations of oil tycoon Digger Rockwell, played by Cruise, who looks nearly unrecognizable clad in prosthetics and graying hair.
In a post-screening, onstage discussion last week, Cruise noted the carefully handcrafted props and sets.
“Everything is practical,” he said. “It was so beautiful, and I just have to say … AI can’t do that.”
Sony Pictures’ “Resident Evil” came in second at the box office this weekend with $12.5 million in its third weekend in theaters. Paramount’s “Heart of the Beast” ($11 million) and A24’s “Primetime” ($8 million) ranked third and fourth.
As of last week, Warner Bros.’ domestic box-office haul this year was $437.7 million, representing about 5.6% of the total theatrical revenue in the U.S. and Canada, according to Rentrak data.
Last year, Warner Bros.’ total at this time was $1.8 billion, aided by back-to-back successes starting with “A Minecraft Movie,” which went on to become the highest-grossing movie at the domestic box office during that calendar year.
The studio does not have any film in the top 20 of domestic box-office earners this year, with Emerald Fennell’s adaptation of “Wuthering Heights” ranking at 21 with $84 million. Bets on films such as Maggie Gyllenhaal’s “The Bride!” cratered, while DC Studios’ “Supergirl” misfired.
Every fall, I teach a Latino History of Orange County course at Chapman University — from the Portola expedition all the way to Huntington Beach’s MAGA Latina councilmember, Gracey Van Der Mark. The lecture last week focused on how anti-Mexican politics have always worked in Orange County and usually go on to be copied nationwide.
I usually, sadly, have to update this lecture every year because the lowlights just keep coming. That’s why this time around, one of my PowerPoint slides ended with “2026: Anaheim?”.
Haven’t you heard? A lawsuit accuses Anaheim mayor Ashleigh Aitken of calling her chief of staff a “dirty Mexican.”
Stay classy, O.C.!
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TimesOC writer (and my fellow Anaheimer) Gabriel San Román first reported on the allegation last month. He revealed that a lawyer for Aitken’s chief of staff Berenice Ballinas was seeking mediation from the city after his client suffered a “sustained pattern of harassment, discriminatory treatment and, most recently, retaliation” while doing her job. A legal claim filed soon after offered pages of alleged incidents detailing what Ballinas claimed she had to deal with when her boss supposedly had too much to drink while on city business.
It’s an ugly read, with incidents at Disneyland’s Club 33, Angel Stadium and other Anaheim landmarks. Yet no passage is more damning — yet more Orange County — than when Ballinas claimed Aitken once called her a “dirty Mexican” in front of then-city attorney Jim Vanderpool and said another time that the mayor didn’t want “a Mexican” like Ballinas to drive her car while Aitken was supposedly what the British satirical magazine Private Eye would call “tired and emotional.”
The mayor, a Democrat who’s running for reelection, has denied the explosive charge in an official statement and during a recent council meeting. And yet the allegation against her now enters Orange County’s long, sad spectrum of anti-Mexican political history.
Just part of the list: Proposition 187. Poll guards. Trying to give local police immigration-enforcement powers. When then-Orange County supervisor Ronald Caspers called a group of Mexican American county employees who demanded promotions “bandidos” during a 1972 supervisors meeting, then suggested the supes move the county seat away from Santa Ana because the city “does not have a normal ethnic balance” — in other words, it was too Mexican.
Or how about when a Newport Beach council member, Dick Nichols, opined during a 2003 council meeting that he opposed expanding the grassy areas of Corona del Mar State Beach because Mexicans “claim it as theirs, and it becomes their personal, private ground all day”? (Asked to apologize, Nichols doubled down by saying, “Where the hell am I in any way discriminating or being a bigot by making a statement that is blatantly true?”)
My hometown is not exempt from this sad parade. Anaheim’s schools, parks and swimming pool were segregated until the 1950s. In 1999, the Anaheim Union High School District board of trustees voted to sue Mexico for $50 million for educating the children of undocumented immigrants (The Times’ write-up was the first time I appeared in the paper, although the writer misspelled my last name).
Why all the O.C. anti-Mexican hate? You’ll have to enroll in my Chapman class for the full explanation. But the main reason is that Mexicans have long functioned as O.C.’s demonized minority. When millions of O.C. residents have grown up believing the powers that be that all Mexicans do is work low-paying jobs and underachieve in life, no wonder politicians bash them again and again — and no wonder many Anaheim residents aren’t giving Aitken the benefit of the doubt.
On Friday, the Anaheim City Council announced after a closed session that it would launch an independent investigation into Ballinas’ allegations. Aitken had an eventful Friday of her own. She admitted on Instagram that she has an “unhealthy relationship” with alcohol and sighed to CBS Los Angeles that Ballinas was “somebody who I thought was my right-hand person.” And while local activists have demanded she resign, O.C.’s ascending liberal machine isn’t asking for her head the way they would’ve if it were a Republican official: Mayor Anaheim gave the opening remarks at the Orange County Labor Federation’s annual Solidarity Awards gala on Friday night to cheers.
Stay classy, O.C.!
The week’s biggest stories
Republican gubernatorial candidate Steve Hilton visits patrons at Victorio’s Ristorante in North Hollywood, where a watch party was held for the CNN governor’s race debate Wednesday night.
(Jason Armond / Los Angeles Times)
California politics
A sexually suggestive ad from Republican gubernatorial candidate Steve Hilton has drawn millions of views — and condemnation from allies on the right and Democrats.
The poll’s findings contrast the results of the June 2 primary, in which Bass carried 35 Latino-majority neighborhoods compared with Raman’s seven.
Helicopter tragedy
Paramount-Warner Bros. merger
David Ellison said the merged Paramount and Warner Bros. Discovery will be called Skydance — the moniker he picked nearly two decades ago when he began building his Hollywood empire.
Although the name of the corporate parent will change, the two historic studios will continue to operate under their names.
As Ellison names his new empire, the message is clear: He owns Hollywood, writes news and culture critic Mary McNamara.
More news
Editor’s pick
More picks
Things to do
Retro candies, zombie-themed chips, ghost-branded coffee and large-scale movie characters can all be found at the Horror Boodega snack shop in Burbank.
(Stephanie Breijo / Los Angeles Times)
Today’s recipe
(Genaro Molina/Los Angeles Times)
For culinary content producer Owen Han, his nonna’s recipe for meatballs is as classic as they come. She does not brown the meatballs but instead poaches them in the copious tomato sauce (she called it salsa di pomodoro, or sugo, but you might know it as marinara) so they are extra tender.
Have a great day, from the Essential California team
Jack Dolan, investigative reporter Hugo Martín, assistant editor, fast break desk Kevinisha Walker, multiplatform editor Andrew Campa, weekend writer Karim Doumar, head of newsletters
Director Na Hong-jin’s action movie “Hope” opened in 1,500 U.S. cinemas this month, marking the biggest domestic theatrical footprint for a Korean-language film since the Academy Award-winning “Parasite.”
That’s a big bet, particularly for a foreign film. But after the success of “Parasite,” the growth of Korean shows such as Netflix’s “Squid Game” on streaming and the broader acceptance of subtitles in film and television, it was a bet Neon was willing to make.
The indie studio snapped up North American and English language rights to “Hope” for an undisclosed price before the film’s world premiere in the spring at the Cannes Film Festival.
Right off the bat, Neon knew the film would be positioned in South Korea as a big action thriller and massive event film for director Na, and wanted to match that.
In the film, which includes Alicia Vikander and Michael Fassbender in its cast, a group of people fight back against a creature that rampages through a Korean village.
“The reality is that just because a movie has subtitles, doesn’t make it an art film or a niche film,” Elissa Federoff, Neon’s chief distribution officer, told me this month. “And this, to us, felt like a big action blockbuster.”
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She continued, “To me, it was this movie that certainly cinephiles were going to be curious about. But I also knew that we could cross over to a broader audience if we gave it a shot.”
So far, “Hope” has grossed more than $8 million domestically and $45.6 million worldwide on a reported production budget of at least $45 million.
Neon expected to reach Korean and Korean American audiences with “Hope,” but the film also over-indexed with Latinos, who represented 27% of the audience, according to PostTrak theatrical data.
Such a wide national release is unusual for foreign films, which typically play in specialty theaters on fewer than 100 screens. Though its domestic box office total doesn’t indicate that the film fully crossed over to mainstream audiences, “for a foreign film, it’s very successful” and has done “solid business,” said David A. Gross, who writes the FranchiseRe movie industry newsletter.
Neon, of course, has experience with Korean cinema. It distributed 2019’s “Parasite,” which became the first non-English-language film to win Best Picture. After “Parasite” won the Oscar, it was shown on 2,000 screens, about 17 weeks after its release. The Bong Joon Ho-directed film ended up grossing more than $53 million domestically and brought in more than $263 million worldwide.
The film put Neon on the map in many ways, Federoff said, and also pushed the boundaries for what the industry considered a best picture nominee. Films such as “Parasite” and “Hope” should also expand what studios consider to be mainstream fare.
“Studios and distributors are still boxing things out a little bit and thinking of these as not as accessible or not for a general commercial audience,” Federoff said. “And I would totally disagree with it.”
Though “Hope” is a long way from the domestic box-office success of “Parasite,” these kinds of swings are important to keep the pipeline of original films humming and to vary the types of fare mainstream audiences can see at their local theaters.
Although art house films once skewed toward older audiences, indie films are now popular with younger generations, who have also become accustomed to reading subtitles.
That could bode well for future foreign language films looking to make inroads with mainstream audiences. While giving a wide release to a foreign language film could be seen as risky, it’s a move Federoff believes can help bolster creative filmmaking and keep people engaged at cinemas.
“My hope is that studios start to trust their audience and respect their audiences a little bit more,” she said. “I think we can all do this. I think we can all say that we just have to have more risk taking involved with what we do. There’s a lot of incredible international cinema out there that should be seen by everybody.”
Paramount and the states fight back
Paramount Skydance and the state attorneys general are defending their proposed settlement in the face of skeptical questions from Sen. Cory Booker (D-N.J.), arguing that the judge overseeing the case should approve the agreement without the deeper review the senator has requested.
On Thursday, U.S. District Judge Araceli Martínez-Olguín told both sides to answer Booker’s questions before she ruled on whether to approve the proposed consent decree. She said at the time that she would issue a ruling “in due course.”
On Monday, both sides issued separate filings that argued the terms of the settlement were adequate. In particular, the states pushed back on assertions that the consent decree was too weak, saying it “reflects a reasonable compromise that addresses the competitive issues posed by the proposed merger in the markets alleged in the complaint.”
“The decree’s enforcement provisions have teeth,” the states wrote in their filing.
The proposed legislation would provide a 20% credit on above-the-line and below-the-line U.S. labor costs for eligible productions, including postproduction and visual effects work — two industries that have increasingly moved overseas.
The uncapped credit could increase to 30% with several uplifts, including for independent productions or filming in a federally declared disaster area, such as Los Angeles County.
What I’m watching
It’s fall, which means I’m all in on “Dancing with the Stars,” as I have been since Season 2, when Drew Lachey won with pro partner Cheryl Burke back in 2006.
This season feels like it was made for millennials like me, with contestants such as Julia Stiles, Harry Shum Jr. and Jenna Dewan. But my favorite dance last week was actually Guillermo Rodriguez’s paso doble.
