production

Famous for its walls bearing scribbles and sketches left behind by patrons for over 60 years, El Batey, a bar in Old San Juan, is a Puerto Rican institution serving locals and tourists alike.

It was inside this famed establishment that filmmakers Lorraine Jones Molina and Cristian Carretero first met one night back in 2008. Since then, the two have joined forces in both life and art; they are a married couple, as well as parents and close collaborators on film projects.

Their first feature, “Esta Isla,” which is now available on VOD, made history as the first Puerto Rican film to win at the Independent Spirit Awards in February, taking home the John Cassavetes Award honoring a production made for under $1 million. At the 2025 Tribeca Film Festival, it received three prizes, including best new narrative director.

A politically charged, coming-of-age road-trip movie, “Esta Isla” follows Bebo (Zion Ortiz), a young man from the “caserios,” or projects, and Lola (Fabiola Victoria Brown), a well-off girl unhappy in her bubble of privilege. Violence forces Bebo to run away to the mountains. Lola tags along and together they come across a series of people who expand their worldview.

There’s a grounded, earthy lyricism to the images captured in “Esta Isla” that show a Puerto Rico that’s at once lush and entrancing but also undiscovered and unseen in cinema.

Fabiola Brown, pictured above, plays “Lola” in the new Puerto Rican film “Esta Isla.”

(Experimento Ludico)

Key to their professional success thus far, the filmmakers believe, is their loving personal bond. “We’re always together and talking about ideas. When we were working on ‘Esta Isla,’ it helped a lot to really dig deep and have long conversations about certain details and topics,” Carretero says during a recent video call. “We do mostly everything ourselves, just me and Lorrie. Sometimes I do camera, Lorrie does sound. We keep it pretty small.”

In 2010, Carretero and Jones Molina founded the production company called Experimento Lúdico in the western town of Mayagüez with the intent of decentralizing production on the island. Most opportunities for filmmaking are still based in the San Juan metropolitan area.

“I’m from Arecibo, from the north, and Cristian is from here, from Mayagüez. That’s part of who we are, and we want to tell these stories from here. It’s part of resisting. It feels like somebody has to do this,” Jones Molina says with a laugh, while sitting next to Carretero.

Lorraine Jones Molina and Cristian Carretero are the filmmakers behind the Puerto Rican road trip movie “Esta Isla.”

(Experimento Ludico)

When Carretero and Jones Molina first met, it was the documentary scene that sustained Puerto Rican cinema because those stories could be told with fewer resources. Karen Rossi’s 2007 environmentalist doc “Isla Chatarra,” for example, inspired Jones Molina.

She and Carretero later directed the 2016 medium-length doc “Seeds, Chronicles of the Earth,” about GMO experimentation on the island.

Most of the fiction production on the island then pertained to Hollywood films, such as “Pirates of the Caribbean: On Stranger Tides” (2011). In the 2010s, however, a string of fiction films, including Ari Maniel Cruz’s “Under My Nails” (2012) and “Before a Rooster Crows” (2016) and Ángel Manuel Soto’s “La Granja” (2015), pushed local storytelling forward.

And while those movies, just like “Esta Isla,” don’t address the socioeconomic issues facing Puerto Ricans didactically, their mere existence is in itself a statement. “Making Puerto Rican films in Puerto Rico is political,” says Jones Molina. “Talking about who we are, our identity, our culture, our history and saying that we are here and we exist is political.”

Residents in San Juan are currently experiencing a water crisis, and while the scarcity hasn’t directly affected Jones Molina and Carretero in Mayagüez, this problem is not new and has only turned more urgent in the aftermath of Hurricane Maria.

That’s why they deliberately wrote a scene in “Esta Isla” showing people getting water from a water truck.

“It’s crazy that we filmed that a couple of years ago to talk about that issue, and it’s just gotten worse,” says Carretero. “Now we have a drought, and you have to have water rationing. It’s something that is reflective of a bigger problem in the island: the neglect of the most important needs of the citizens.”

Puerto Rico’s status as a colony of the U.S., where the interests of corporations supersede the well-being of the local population, is the source of many of its challenges. And for a long time, even referring to Puerto Rico as a colony was taboo. A history of persecution on behalf of the U.S. government ingrained fear in Puerto Ricans.

“The FBI would keep ‘carpetas,’ or files with information on regular people, who were suspected of organizing or fighting for independence,” Carretero says. “People were being surveilled by the FBI, and they’d pay family members or people they knew to survey them.”

“Esta Isla” touches on the troubled relationship between Puerto Rico and the U.S. via Lola’s deceased father, who is a stand-in for Filiberto Ojeda Ríos, a Puerto Rican revolutionary and leader of the pro-independence militant group Los Macheteros. After years on the run, the FBI assassinated him in 2005. In the film, the character Cora (Teofilo Torres) lives in the mountains and works the land. The location used for his house carries great significance.

“The inside shots, with the bullet holes, and the windows, and the books, all of that is from Filiberto’s actual house where he was assassinated,” says Jones Molina. “When you go there, you see all those bullet holes; it’s heavy.”

To that, Carretero adds: “There’s an inferiority complex that the colony perpetuates, which has to do with not knowing where you come from. Once you know all these names and all the stories of women and men who’ve worked for the good of Puerto Rican people, here and in the States, it opens up this whole other space for inspiration that’s from our ancestors”

Carretero and Jones Molina found the core concept for “Esta Isla” on the first page of Octavio Paz’s seminal novel “The Labyrinth of Solitude,” where the Mexican author discusses adolescence as a moment in a person’s life where they open up to the world, while at the same time noting that societies themselves also go through a coming-of-age.

Zion Ortiz, pictured above, plays “Bebo” in the new Puerto Rican film “Esta Isla.”

(Experimento Ludico)

“Puerto Rico is still an evolving organism. It’s a country, a people and a culture still evolving,” Carretero explains. “We’re still trying to understand who we are and where we’re going. Are we a country? Are we not? Are we part of the U.S., or not? Are we Americanos, or somos latinoamericanos? Tantas preguntas that are still unresolved.”

Jones Molina continues: “There’s this idea that you have to just be grateful that you’re a part of the United States and don’t complain. But when you question that, and when you want to really look at why you love and care about your country and your culture and want to educate yourself, then you’re definitely going through this kind of coming-of-age.”

For this filmmaking couple, reaching maturity as artists forged in the complex context of a modern colony hinges on acknowledging their limitations and still persevering.

“We also wanted to show that you can make films with very little; you don’t have to wait for the perfect moment or all the different resources. That’s what we call tropical realism. Not only the style of the filmmaking, but it’s also the means, and how that matches your reality,” explains Carretero. “We cannot pretend to be something that we are not. We have to develop our own language, our own way of filming, our way of telling our stories.”

The United Kingdom is clearing the way for Ukraine to locally assemble the Storm Shadow/SCALP cruise missile, adding another layer to Kyiv’s rapidly expanding long-range strike arsenal. Storm Shadow/SCALP was first used by Ukrainian forces years ago and became the weapon of choice for standoff strikes against high value targets. Since then, stockpiles of these missiles have dwindled, but Ukraine’s own defense industry has made large leaps in producing increasingly advanced standoff weapons, which will apparently include a version of Storm Shadow/SCALP in the future.

British Prime Minister Andy Burnham arrived in Kyiv today for his first overseas trip since taking office, bringing with him a significant new commitment to Ukraine’s long-range strike capabilities. The U.K. government has authorized defense contractor MBDA to release classified information relating to British-made components incorporated into the SCALP long-range cruise missile. The move is intended to allow France and Ukraine to establish local assembly lines for the weapon inside Ukraine.

SCALP is the French designation for the air-launched missile known in British service as Storm Shadow. The two variants share substantial French and British technology and are produced by MBDA. According to the U.K. Ministry of Defense, Storm Shadow has a range in excess of 300 nautical miles, although in its export configuration it has an officially stated range of around half that.

The weapon is an air-launched, conventionally armed cruise missile designed for precision attacks against fixed targets well beyond the immediate battlefield. Its primary targets include command facilities, hardened infrastructure, and other high-value installations.

Storm Shadow/SCALP

The announcement removes a major technology-transfer barrier surrounding British-origin components in the Franco-British weapon, allowing the French-Ukrainian production project to move forward.

Ukraine is already heavily dependent on Western deliveries for some of its most capable long-range weapons, while European stocks of Storm Shadow and SCALP missiles have been depleted by years of procurement limitations and transfers to Kyiv.

Local production could eventually give Ukraine a new source of these weapons closer to the battlefield and reduce its dependence on foreign stockpiles.

At the same time, the Storm Shadow/SCALP project is only one part of a much broader Ukrainian effort to build a sustainable deep-strike capability.

Ukraine has spent the past several years rapidly expanding its domestic long-range strike industry, with long-range one-way attack drones currently forming the largest and most mature component of that arsenal. Ukrainian forces are now capable of launching large numbers of domestically produced strike drones against targets hundreds and, in some cases, more than a thousand kilometers from Ukraine. Relatively inexpensive one-way attack drones can be launched in mass and used to overwhelm air defenses, attack energy and industrial infrastructure, and impose a sustained cost on targets deep inside Russia.

Alongside those relatively inexpensive systems, Kyiv is pushing ahead with domestically developed cruise missiles intended to provide a substantially heavier payload and more sophisticated guidance and penetration capability. The most prominent example is the FP-5 Flamingo, developed by Ukrainian defense company Fire Point, while other indigenous cruise-missile programs are also progressing.

Video showing the launch of an FP-5 Flamingo cruise missile:

Випробувальний пуск ракети “Фламінго”

Ukraine is also moving into the ballistic-missile arena. Domestic ballistic-missile programs have progressed toward testing and deployment, with Ukrainian officials and industry working toward serial production of systems intended to extend the country’s ability to strike targets deep inside Russia. With their high speed and steep terminal trajectories, ballistic missiles provide a substantially different challenge to Russian air defenses.

Western-supplied systems such as Storm Shadow/SCALP and the Army Tactical Missile System (ATACMS) short-range ballistic missile have meanwhile provided Ukraine with critical combat experience and an immediate deep-strike capability while its domestic missile industry matures.

Rather than simply replacing missiles consumed in previous campaigns, the planned Ukrainian production of Storm Shadow/SCALP is particularly significant because it could eventually give Kyiv another sophisticated cruise-missile type within an arsenal that is becoming increasingly indigenous.

A domestic assembly capability could provide Kyiv with greater control over production rates, sustainment, and replenishment while reducing the logistical burden associated with obtaining complete weapons from foreign stockpiles. Potentially, Ukraine might also have the option to adapt the missile according to its own requirements. This could include changes to the guidance system or warhead, and perhaps even adaptation for launch from the ground.

The limited availability of the Su-24M/MR Fencer swing-wing combat jets that currently launch Ukraine’s Storm Shadow/SCALP missiles are currently a limiting factor and there is no realistic means of replacing them. It was expected that Mirage 2000 fighters transferred to Ukraine by France would be modified to launch SCALP, but this has so far not been confirmed. Should Ukraine receive the French-made Rafales that it plans to, then SCALP compatibility would be provided from the outset.

Maybe even more importantly, it would allow these weapons to be used however Ukraine wants, without geographical and target type restrictions that are currently dictated by whoever donates them. It could also result in critical technology transfer, including about low observable cruise missile design, that Ukraine can gestate and deploy into other programs. Finally, it’s possible this could even be a future export for the country, especially if it can produce a variant that is adaptable and economical.

It is unclear when locally built Storm Shadow/SCALP missiles will join Ukraine’s strike arsenal. However, establishing an industrial production line for a sophisticated cruise missile is a major undertaking, particularly inside a country that remains under sustained Russian missile and drone attacks.

As noted in the opening of this article, the United Kingdom supplied Storm Shadow missiles to Ukraine beginning in 2023, giving Kyiv a long-range precision-strike capability that was previously unavailable from most of its Western partners. Soon after, France committed to sending SCALP missiles, and Italy, another Storm Shadow operator, has similarly supplied the missiles to Ukraine.

It was a television show tailor-made for Los Angeles: a highly anticipated Netflix crime drama about a team of ex-special forces operators who outsource their skills to criminals in the city.

The production was backed by a prominent indie studio and had a critically acclaimed lead actor attached. And with a budget of more than $100 million and a crew of 350, the series seemed like a shoo-in for California’s film tax and TV credit.

But last month, shortly before filming was set to begin, producers were stunned to learn the film didn’t make the cut based on a formula the state uses to rank projects by the number of jobs they produce and their spending levels. After two applications for a tax credit had been rejected, they opted to shoot the series in New Jersey, where it was much easier to qualify for film incentives.

“We were shocked,” said a producer on the project who declined to be identified because of the sensitivity of the matter. “This is the birthplace of entertainment. It shouldn’t be so hard to shoot here.”

Despite improvements to the state’s tax incentive program, Los Angeles and California continue to struggle to keep movies, television series and even game shows from fleeing elsewhere. Production levels have failed to bounce back since the pandemic and the labor strikes by writers and actors, and they remain at historic lows.

Film activity in the L.A. region plummeted in the second quarter of this year, with shoot days for feature films and TV productions falling 20% and 30%, respectively, compared with already anemic levels from a year ago, according to FilmLA.

The fallout has been devastating for local film crews and businesses. L.A.’s signature industry has shed some 57,000 jobs in the past four years, while more than 80 film and television production services businesses have closed since 2022. The production crisis has even become a political flashpoint alongside affordability, crime and homelessness in the race for mayor and governor.

The story of how L.A. steadily lost much of its homegrown industry to other locales is a tale of hubris, escalating costs, political inaction and fierce competition from states and countries hungry for a piece of the Hollywood pie. California eventually adopted a very limited film tax credit plan in 2009, but even then production had already gone elsewhere.

Filmmaker Jonathan Nolan, on the set of “Fallout,” has been at the forefront of efforts to keep Hollywood at the center of the entertainment industry.

(Lorenzo Sisti / Prime Video)

This account is based on interviews with more than a dozen producers, studio executives, lawmakers and film industry veterans.

Despite warning signs that runaway production was causing an exodus of talent and jobs, many took for granted that L.A. would remain the epicenter of film and television.

Film activity in Los Angeles has plummeted to historic lows, with devastating consequences for crews and vendors. This series examines how L.A. lost its dominant perch as a film and TV destination and what can be done to bring Hollywood back home.

“I’ve been around long enough … to realize that things kind of die slowly and then they die quickly,” said Jonathan Nolan, a writer, director and producer, whose credits include the HBO series “Westworld” and “Fallout” on Amazon.

Nolan, who championed efforts to get the state to expand its tax incentives, lamented that L.A. once “stood in for everywhere. Now L.A. doesn’t even stand in for itself.”

‘The X-Files’ and the birth of Hollywood North

Like the fall of Rome and the decline of Detroit, Hollywood’s spiral did not happen in a single day, but rather unfolded over decades.

Before World War II, Los Angeles’ production hegemony was uncontested. An abundance of sunny weather and a range of landscapes, along with highly skilled artisans, from set designers to scenic painters, re-created the entire world on Hollywood soundstages and backlots.

That began to change during the late 1940s and early 1950s when studios broke with tradition and filmed abroad, attracted by Europe’s cheap labor and the desire among directors for more realism in movies.

William Wyler’s 1953 classic “Roman Holiday,” starring Audrey Hepburn and Gregory Peck, was one of the first, shot entirely overseas on the streets of the Italian capital and at Cinecittà studios.

Still, as productions went on location, often for creative reasons, Hollywood remained the center of entertainment gravity.

“Roman Holiday,” starring Audrey Hepburn and Gregory Peck, was one of the first big American studio films to be shot entirely overseas.

(Paramount Pictures)

In 1993, when there were four broadcast networks, cable TV relied on set-top boxes and streamers were, well, party decorations, a relatively unknown television writer named Chris Carter began pre-production on a new supernatural drama series that he had created.

For the pilot’s opening scenes, he needed a forest, one that was dark and moody. There, a terrified teenage girl would be filmed fleeing before she was consumed by a blinding flash of light and then found dead, bearing unexplained marks on her body.

“It became clear that not only were there not great forests in the ‘zone,’” said Carter, referring to the 30-mile-zone (TMZ) around L.A. that producers try to shoot within to avoid mandatory union surcharges. “But there were better forests in Vancouver.”

As it happened, during the 14-day shoot, Carter, who was working with a tight budget, discovered that Vancouver supplied numerous benefits.

The grim weather naturally provided a spooky atmospheric backdrop while the city “beautifully doubled for almost any place in the U.S. without having to pretend too much,” he said.

Carter’s pilot became “The X-Files,” the wildly popular and groundbreaking 1990s TV series that ran for nine seasons (plus two revival seasons), redefined the science fiction genre and spawned two feature films.

The success of “The X-Files” propelled Vancouver’s reputation as “Hollywood North.”

(Associated Press)

“As David Duchovny said, ‘two weeks became five years,’” quipped Carter.

While other productions such as “Wiseguy” had filmed in British Columbia years earlier, “The X-Files” unintentionally cemented Vancouver’s reputation as “Hollywood North,” fueled by Canada’s favorable exchange rates, skilled crews, lower labor costs and, eventually, tax credits.

The show’s colossal success helped create the model still in play 33 years later for outsourcing movie and television production to regions where tax incentives are higher and production costs are lower.

“It was simply a choice I made for the location, not for the financial benefit,” said Carter. “It wasn’t part of my calculus, but it ended up being a fact of life.”

Throughout the 1990s a steady stream of TV shows and movies shot in Canada. The 1994 adaptation of “Little Women” starring Winona Ryder was largely filmed in Vancouver, with a stand-in for Orchard House, Louisa May Alcott’s home in Concord, Mass., built in a local forest.

But, at the time, few saw what was happening as an existential crisis in the making.

For one thing, L.A. was in the midst of a production boom, prompting the development of the $77-million Manhattan Beach Studios, a 22-acre production facility in 1996. (The studio is now fielding offers by its bank lenders after its owner, the real estate investment firm Hackman Capital Partners, defaulted on over $2 billion in mortgages on several studio facilities it had acquired in recent years.)

Losing the ‘golden goose’

Canada’s booming film business inspired other U.S. states to get in on the action. Louisiana became the first to pass a film tax incentive, enhancing it in 2002; New Mexico and Georgia followed with their own programs.

Helping to fuel the film tax credit frenzy was none other than the Motion Picture Assn. The Washington, D.C.-based advocacy group for the major film studios and streamers for years aggressively lobbied lawmakers and even governors in other states to adopt their own film programs.

Eventually, nearly 40 states and some 80 countries and territories were offering film incentives in the form of transferable tax credits, grants or rebates.

“Everybody thought, ‘We are Hollywood. Why do we have to do anything?,’” said Lori Balton, a top location manager, whose list of credits spans nearly 40 years and includes such films as “Heat” and “Once Upon a Time in … Hollywood.”

“They always thought that they had the golden goose. And it was going to keep laying eggs and instead, it packed up its bags and moved.”

Earlier this year, while speaking at Burbank City Hall chambers, Sen. Adam Schiff (D-Calif.) dropped some sobering data: 45% of all U.S. films and scripted television shows were shot abroad in 2025, up from 33% in 2022.

Like most filmmakers, Miles Millar would prefer to work in Los Angeles, where he lives, but he hasn’t done so for 25 years, since he was a co-producer and writer on the CBS action series “Martial Law.”

“It is not financially viable to shoot the kinds of shows we do here,” said Millar, whose work includes “Smallville” and “Beetlejuice Beetlejuice.”

It was too expensive to film in Los Angeles, so the Netflix hit “Wednesday” shot its first season in Romania before relocating the show to Ireland.

(Netflix)

When Millar and his “Wednesday” co-creator and co-showrunner Alfred Gough began pre-production on the first season of the Netflix hit series about five years ago, L.A. as a location wasn’t even discussed.

They settled on Romania. Tim Burton, “Wednesday’s” executive producer and primary director, “loved the idea,” said Millar, noting that the director was predisposed to its gloomy and gothic wonders, having once visited Dracula’s castle in a Transylvanian mountain village with rocker Alice Cooper.

“We built the whole town of Jericho and six standing sets at a huge scale. There was no way you could even begin to construct the level and scale of sets that we did, in L.A.,” he said. “We’re talking about the difference of tens of millions of dollars.”

Still, the former Eastern Bloc country had its challenges. The crew didn’t speak English and its promised tax rebates never materialized.

When “Wednesday” was picked up for a second season (it is now filming its third), the show moved to Ireland, where it received more than $23 million in tax credits last year, according to the country’s Tax and Customs office.

“The last thing I want to do is shoot thousands of miles away from my family for nine months, year after year,” Millar said. But it has come down to “where do we get the most bang for the buck?”

Outsourcing scores and VFX

Other critical components of filmmaking, including visual effects and musical scoring, have also been outsourced over several years.

L.A. was once home to 18 film scoring stages that could accommodate full symphony orchestras. Today only three remain, driven away partly by high labor costs and cheaper overseas competition.

Similarly, many visual effects studios have moved elsewhere. Vancouver alone has dozens of visual effects studios, including Sony Pictures Imageworks and a major branch of Industrial Light & Magic.

“We’ve allowed that piece of the market to leave,” said Marielle Abaunza, president of the California Post Alliance, an advocacy group backing a state bill offering post-production firms their own tax breaks, similar to what New York offers.

“For 16 years, places like New York have slowly been building up their talent, their facilities, their relationships with filmmakers and their relationships with studios,” Abaunza said.

Even as other states and foreign governments invested in their own film industries and began luring away productions from California, lawmakers in Sacramento were initially skeptical of giving tax breaks to producers. Some critics saw them as little more than a handout that diverted resources from more pressing needs such as healthcare and education.

“If you’re on the outside looking in, there is this false sense that everyone who works in Hollywood has to be rich whether you’re crew or not,” said Amy Baer, a producer and former Sony executive who now runs Artists Equity, Ben Affleck and Matt Damon’s production company.

As production losses mounted in L.A., a coalition of labor and industry groups lobbied then governor and actor Arnold Schwarzenegger to take action.

Schwarzenegger, a longtime champion of tax credits, was able to get a program passed as part of an economic stimulus provision of the state’s 2009 budget. It was dubbed “The Ugly Betty” bill, named after the ABC show that had relocated from L.A. to New York.

Though hailed as a significant step, the new film sweeteners had some key limitations. The pool of money was small — capped at $100 million annually over five years. And it couldn’t be applied to offset the cost of actors’ salaries, a key driver of budgets.

In reality, the program was too small and restrictive to compete with a growing crop of rivals that had larger tax breaks and fewer restrictions.

Chief among them was the United Kingdom, which soon began to attract a number of big-budget movies thanks to a hugely popular 25% cash rebate on production expenses, including money spent on actors’ salaries and other above-the-line costs.

In a paradigm-shifting move, Warner Bros. purchased Leavesden Studios outside of London in 2010, investing more than $160 million into the facility. Much of the blockbusters “Wonder Woman” and “Barbie” were filmed there.

Although the California program was tripled to $330 million annually starting in 2014, it did little to halt the continued exodus of film work. Marvel Studios began moving its production operations to Georgia, enticed by the state’s uncapped tax credits that could be used for actors’ salaries. Both “Black Panther” and “Avengers: Infinity War” were filmed largely at Trilith Studios in Fayetteville, Ga. Another historic town east of Atlanta attracted so many movies and TV shows it became known as “Hollywood of the South.” (Last year, Marvel shifted most of its operations to the U.K. in search of even bigger cost savings.)

Marvel Studios, which filmed blockbusters such as “Black Panther” in Georgia, has since shifted operations to the U.K.

(Film Frame / Marvel Studios)

While numerous studio facilities lay empty here, streamers and studios have built major production hubs outside of L.A. Though it still shoots dozens of productions in L.A., Netflix has spent billions to operate production hubs abroad while constructing massive facilities in places like New Jersey and New Mexico.

“Everyone kept saying, if we have more tax credits, then at least we’ll be able to bring production back,” said Monica Levinson, a veteran producer who has worked on FX’s “Love Story” and the movie “Zoolander.” “Well, that didn’t happen. And the crews got better and better out of the country.”

Rising costs

As the rest of the world courted Hollywood, L.A. did little to help itself.

Despite recent improvements to streamline and reduce costs, the city’s film approval system remains a maze of multi-layered permitting, fees and complex logistics, location managers say. The Greater L.A. area has more than 100 jurisdictions, many of which have their own rules, regulations and permitting fees for filming.

Filming in L.A. also has become more expensive compared with other film hubs due in part to higher labor costs and mandatory staffing requirements, such as paid on-set fire safety monitors, and traffic and parking controls.

What’s more, unlike New York, the city doesn’t have its own film commissioner who could advocate for the industry.

An L.A. commissioner would be “somebody that is beating the drum 365 days a year that is not aligned with a special interest other than creating more production in California, which makes our state and our people prosperous,” said Scott Budnick, a producer on the wildly successful “The Hangover” franchise who lobbied for the state’s enhanced film tax credits.

For a time, the loss of market share was masked by a surge in local TV shoots as studios spent heavily to supply content to their new streaming platforms.

But the pandemic and back-to-back strikes by actors and writers roiled the industry. Studios laid off thousands, cut back on films slates and slashed TV spending and it never rebounded. Film incentives became even more critical for those deciding where to shoot.

By the time Gov. Gavin Newsom announced a plan in October 2024 to more than double funding for the film and TV tax credit program, to $750 million annually (closer to New York’s annual allocation of $800 million, although it retained annual caps and doesn’t count actors’ salaries), the industry outlook was bleak.

“I think there was a tipping point between COVID and the strikes that shone a very bright light on the fact that the majority of production had fled the state,” said Baer, the producer.

There are a few bright spots, however.

The critically acclaimed HBO hit medical drama “The Pitt” is filmed almost entirely on the Warner Bros. lot in Burbank, and has injected tens of millions into the local economy while sustaining nearly 1,000 jobs. Two other Emmy-award winning series, Apple TV’s “The Studio” and HBO’s “Hacks,” which just ended, also shot locally.

At Jonathan Nolan‘s urging, Amazon agreed to relocate his post-apocalyptic series “Fallout” to Los Angeles in 2024 after filming its first season in New York, Utah and Namibia. The show received $67 million in California tax credits for its second and third seasons.

Walton Goggins plays the dual role of Cooper Howard and The Ghoul in Amazon’s post-apocalyptic series “Fallout.”

(Courtesy of Prime Video)

“We want to keep shooting here,” Nolan said. “I don’t want to pack my kids off to the back end of beyond just for the privilege of being able to continue doing what I’m doing.”

To build support for the expanded credits, Nolan last year allowed state lawmakers to visit the sets of “Fallout,” including at the Melody Ranch in Santa Clarita.

“I think they were struck by just how big an endeavor this is,” said Nolan, whose brother Christopher is director of “The Odyssey,” (The epic film was shot across Greece, Sicily and several other countries.) “These are hundreds or thousands of jobs on one production alone, hundreds of millions of dollars being put in the local economy.”

Nolan and others in the industry admit the California program is imperfect.

Mayor Karen Bass, who backed the tax credit program in 2009 when she was speaker of the California Assembly, has touted the success of the expanded incentives, saying they’ve created “thousands of good-paying union jobs … right here in Los Angeles, bringing direct investment to our community.”

Since the expanded program went into effect last July, 179 projects have generated $7.2 billion in direct production spending, bringing nearly 38,000 cast and crew jobs to the state, according to the California Film Commission.

“We remain committed to supporting the entertainment industry here and feel optimistic and energized by the response from the community to the program’s modernization and enhancements,” Colleen Bell, the commission’s executive director, said in a statement.

Bass, who is up for reelection, said she would redouble efforts to remove tax credit caps and further reduce film permitting fees “because this industry is core to the history, culture and economic power of Los Angeles.”

The question, however, is whether L.A. is still core to the film industry.

Earlier this year, writer and director Ryan Coogler, who won an Oscar for his “Sinners” screenplay, began filming the pilot for a reboot of “The X-Files.”

During the “Happy Sad Confused” podcast, Coogler called the drama “one of the most beautiful American television shows ever made” and assured fans that while he planned to put his own stamp on the seminal series, his version would pay homage to the original.

“We intend on having both monsters of the week and also the overarching conspiracy,” he said.

And like the original series, it was shot in Vancouver.

Final voting for the 78th Emmys is now underway, which means The Envelope is bidding adieu to the TV awards season — and already gearing up for the film one.

This year, I’ll be in Venice while columnist Glenn Whipp heads to Telluride and movies editor Joshua Rothkopf leads our team at the Toronto International Film Festival. You can catch a daily roundup of our TIFF coverage, including exclusive photo and video highlights from our studio activation, right here in the Envelope Sept. 11-14.

Until then, enjoy highlights from this week’s issue below, and Glenn’s last newsletter of Emmy season on Friday.

Digital cover: Dakota Fanning

(David Urbanke / For The Times)

This week’s digital coverline is inspired by Dakota Fanning’s busy, busy schedule — with two Emmy-nominated shows, a film with sister Elle in the can, an Apple TV thriller in production and more — and, among her many credits, the one fans still bring up to her the most: “Man on Fire.”

“When people ask, ‘Do you even remember doing “Man on Fire”?’ I’m like, ‘Yeah, of course I do. What do you mean?’” she tells contributor Kara Warner of Tony Scott’s 2004 thriller, starring Denzel Washington as the bodyguard to Fanning’s 9-year-old kidnapping target. “I think about the memories with Denzel and with Tony, and getting to live in Mexico City for six months when you’re 9 years old is pretty spectacular.”

‘The Comeback’

(Christina House/Los Angeles Times)

For those of us who’ve been following the peaks and valleys of Valerie Cherish’s career since 2005, the end of “The Comeback” is bittersweet at best: While the series has achieved greatness by adhering to the old showbiz adage “always leave them wanting more,” I’d be happy to visit with the fictional actress for another two decades (or more).

There’s some solace, I suppose, in knowing creators Lisa Kudrow and Michael Patrick King feel the same way. In a moving essay for The Envelope, the pair share how the spirit of Robert Michael Morris, who played Valerie’s friend and hairdresser Mickey in Seasons 1 and 2, aided them during a crucial moment in production on Season 3. RIP, Mickey — and “The Comeback.” You are, and will be, sorely missed.

Viva Las Vegas!

Perhaps even more than Hollywood — and thanks in large part to Hollywood — Las Vegas is subject to cliched depictions in popular culture. But a new wave of Emmy-nominated series are showing a different side of Sin City,” writes contributor Whitney Friedlander.

“The Vegas we wanted to show and explore was Shyanne’s Vegas, which is so specific to her,” “Margo’s Got Money Troubles” director of photography Tari Segal tells Friedlander, referring to Michelle Pfeiffer’s character. “It would have that more aged, timeless quality of downtown Vegas, [and] it would have the income bracket of a Vegas that she would be comfortable in.”

More stories from our Aug. 20 issue

“God of War” has a new Kratos.

Dave Bautista will take over as the lead in the Amazon Prime live-action TV series based on the widely revered video game franchise of the same name.

“Sons of Anarchy” alum Ryan Hurst had initially landed the role of one of the most famous dads in video game history, but in June he suffered an injury on-set while performing a stunt.

Hurst was announced as Kratos in January, and in a social media post he said that he used to play as Kratos. “Now I get to be him,” he wrote. “Grateful to pick up the axe, and honored by the fans who made this story legendary.”

Hurst needed surgery after severely tearing his bicep, and the recovery time would push production into 2027, which reportedly conflicted with filming schedules. Earlier this year, Hurst completed filming on four episodes of the first season of the highly anticipated show, but those will be scrapped and reshot with Bautista stepping in, and production resuming in the fall.

“God of War,” based on PlayStation’s ancient-mythology themed video game, follows Kratos — a Spartan by birth who later becomes the Greek god of war — and his son, Atreus, as they set off on a journey to spread the ashes of their wife and mother, Faye. Along the way, Kratos tries to help mold his son into a better god, and Atreus teaches his dad how to be a better man.

Bautista, a WWE wrestling champ turned movie star of Greek and Filipino descent, will join a cast that includes Callum Vinson as Atreus, Mandy Patinkin as Odin, Ed Skrein as Baldur, Max Parker as Heimdall, Ólafur Darri Ólafsson as Thor, Teresa Palmer as Sif, Alastair Duncan as Mimir, Jeff Gulka as Sindri, Danny Woodburn as Brok, Sonya Walger as Freya, Island Austin as Thrud, Ben Chapple as Magni, Louis Cunningham as Modi, and Evelyn Miller as Gna.

Emmy-winning director Frederick E.O. Toye, known for “Shōgun,” “The Boys” and “Fallout,” is helming the first two episodes of the forthcoming series.

Paramount Skydance’s proposed $111-billion takeover of Warner Bros. Discovery could result in 4,500 jobs eliminated in Los Angeles over a three-year period, according to a new report.

Los Angeles County supervisors earlier this year wanted to explore the potential economic impact of David Ellison’s proposed union of two historic Hollywood studios. The report, completed this week by CVL Economics, paints a sobering picture of the potential aftermath of the debt-laden deal, including the prospect of an estimated $1.26 billion in lost wages.

“Los Angeles County’s film and television economy is already undergoing a significant structural contraction,” the report said. “The proposed merger of Warner Bros. Discovery and Paramount Skydance introduces an additional source of risk into that already changing market.”

California Atty. General Rob Bonta is leading a coalition of 12 states attempting to block the merger on antitrust grounds. A trial has been set for March. Paramount and other groups, including cinema chain owners and some Hollywood unions, have agitated for a settlement to curtail months of uncertainty over whether the deal will go through.

The proposed merger has been controversial in Hollywood due to fears of widespread layoffs. The Writers Guild of America has brought its own lawsuit to thwart the deal.

The goal of the county’s report was to provide “a comprehensive assessment of the merger’s production workforce implications,” amid the ongoing decline of L.A. based film and television production work. Los Angeles has witnessed the elimination of more than 50,000 entertainment jobs since 2022.

The 120-page report, from the county’s Department of Economic Opportunity and Film Office and requested by Supervisor Lindsey Horvath, found that more than 15,000 corporate roles would be at risk, including an estimated 2,495 jobs based in Los Angeles County.

The two companies would have an overlapping workforce within its linear cable channel divisions, film and television studios, streaming operations and corporate functions, including marketing, technology and advertising sales.

“Effects on crews, crafts, post-production personnel, vendors, and production-serving small businesses,” could also be substantial, the report said.

Paramount, in a statement, said the report highlighted the industry’s troubles and made a case for the merger.

“LA County’s own economic report underscores what we have been saying all along: our industry is in decline, production is down and jobs are being lost — and lost for good if we don’t act,” Paramount said. “Our plan to invest $30 billion annually in production and release at least 30 films a year.”

That commitment, Paramount said, would lead to “more jobs over time, and ultimately, a stronger, more durable entertainment industry for generations to come.”

Paramount has received clearances from the U.S. Justice Department and 65 other regulators around the globe to complete the merger.

For now, Bonta’s lawsuit is standing in the way.

Paramount has promised investors the deal would lead to at least $6 billion in cost savings through the consolidation of operations. The company has said the merger would ultimately be good for consumers and workers because a combined Paramount-Warner Bros. would have greater resources to compete with tech giants that are investing heavily in entertainment.

But the report pointed to the high level of debt that Paramount would have to take on — nearly $82 billion — to buy the stock of Warner Bros. Discovery shareholders to finalize the takeover.

“If revenues underperform or planned savings prove more difficult to achieve, pressure to identify additional cost reductions could increase,” the report said.

The two companies already are carrying substantial interest costs due to their existing debt structures. “In the quarter ended June 30, 2026, the two companies reported a combined $712 million in operating income and $737 million in net interest expense,” the report said, meaning that the companies were producing less profit than what was needed to support their debt obligations.

Despite Paramount predicting cost savings and reduction in debt over time, “those savings will take several years to fully realize,” the report said.

David Ellison was hoping to wrap up his $111-billion merger with Warner Bros. by September.

(PATRICK T. FALLON/AFP via Getty Images)

Television production in Los Angeles could be especially vulnerable, in large part, because Paramount and Warner Bros. already have moved most of their feature film projects outside of L.A. High levels of TV production continues at Warner Bros. complex in Burbank and Paramount’s and CBS’ soundstages in Hollywood and Santa Clarita.

“The economic impact extends well beyond employment,” with an expected elimination of $547 million in tax revenue, including $78.6 million in local taxes, the report said.

It noted that Warner Bros. and Paramount films were “particularly employment-intensive.”

“Their theatrical releases carry 2.74 times as many screen credits as the average theatrical release, while their streaming films carry twice as many,” the report found.

The document also highlighted a pre-existing pull-back in production at the two studios in recent years — something that Ellison plans to correct.

Paramount was struggling to remain solvent prior to the Ellison family’s purchase of the media company last year. Warner Bros. had scaled back offerings following Discovery’s $43-billion takeover of WarnerMedia in 2022 as it struggled to contain the debt from that deal.

“Between 2019 and 2025, Warner Bros. Discovery and Paramount accounted for a net reduction of approximately 195 major U.S. releases,” the report said. At the same time, other major distributors combined “added about 67 projects.”

Ellison is looking to finalize his massive Hollywood deal — folding CNN, HBO, TBS, Food Network and the Warner Bros. film and television studios under Paramount — as quickly as possible. He must hold together Paramount’s coalition of financiers and manage rising expenses, primarily legal fees and escalating obligations to Warner shareholders.

The state attorneys general, including from Colorado, Oregon, Nevada, Washington and New York have argued that the blockbuster merger — the largest in Hollywood in decades — would violate the century-old Clayton Antitrust Act.

Paramount hoped the trial over Bonta’s lawsuit would begin in November but U.S. District Judge Araceli Martínez-Olguín set the trial for March 2.

If the deal goes forward, just four studios — a post-merger Paramount-Warner, Disney, NBCUniversal and Sony Pictures — would control 86% of movies that are widely released (in more than 3,000 movie theaters), according to the attorneys general lawsuit. Paramount has argued that projects from Amazon MGM, Netflix and Apple should be included because they compete with the traditional companies for talent and audiences.

Paramount-Warner Bros. would also own more than 50 cable channels, including HGTV, Animal Planet, BET, MTV and Comedy Central.

In this week’s episode of The Envelope podcast, “The Pitt’s” Noah Wyle reflects on 25 Emmy nominations for the series, responds to criticism of casting decisions, and previews Season 3 of the HBO Max medical drama, now in production.

Kelvin Washington: Hello, and welcome back to The Envelope. It’s been a little while. Kelvin Washington alongside Yvonne Villarreal. We also have Mark Olsen. Good to see you. This is one of my favorite things, because I learn so much from you two. And by the way, I got a big shout-out from somebody at the other job that I do —

Yvonne Villarreal: You have another job?

Washington: Which one do you want to talk about? I have 17 of them. But she was saying how she was listening to something and then she said, “I want to hear more about it.” So she Googled, we came up and she was blown away to see it, and we did such great jobs. So she’s a big fan of you two. Shout out to Larissa if she watches again. But let’s get into, of course, Emmy nominations. You have surprises, you have ones you kind of expected, snubs, the whole nine. Let’s start with you, Yvonne. Anything jump out?

Villarreal: Leading the pack was “The Pitt,” which I think everyone expected, and coming in close second was “Hacks.” But I think the third most-nominated show that was thrilling to see have a big showing was “Widow’s Bay.” It was this latecomer to the race, and it’s just this show that has taken people by storm. The word of mouth has really grown. And I know, Mark, you got Matthew [Rhys] in an upcoming episode here. It’s just nice to see how that show’s performed.

I was a little bummed that we didn’t get a [big] showing of “The Comeback,” the third season. That was maybe my snub mark.

Mark Olsen: Not that it’s a causal thing, but I was excited to see a guest from the [podcast], Riz Ahmed, was nominated for the show “Bait,” [which is] kind of like a meta-psycho-emotional biography of an actor caught in conflict between his community and his career. And then also, I have to say, Meg Stalter from “Hacks,” I thought was exciting. For no other reason than to have her on that red carpet, to maybe get a little time on the telecast and the chaos that that just promises.

Villarreal: I want to know who she’s going to come dressed as. She always stuns on the red carpet with who she is sort of making fun of.

Washington: You need a little bit of that, a little chaos. That’s what makes those things interesting. For me, I was just thinking about, again, how we’ve had so many folks who were known for films now all of a sudden becoming television stars. Seems a little weird to say it, but Jason Bateman being one of them, nominated for a couple of shows. So it’s just been incredible to see some people’s transition into that, where 15, 20 years ago, it‘d almost be the downfall of your career to do so much TV. Now it’s a cool addition to your career. Let’s get into it. You mentioned “The Pitt,” Yvonne. And Noah Wyle, you had a chance to have a chat with him. Tell me a little bit more about it.

Villarreal: They got the big news about their 25 nominations while on set. They’re in production on Season 3. And when we caught up with Noah, he had just wrapped filming the episode that he wrote and directed this season, Episode 3. And it was really fun to catch up with him, especially considering how much he’s shouldered in portraying Dr. Michael Rabinovitch, a.k.a. Dr. Robby. You know, this is a character that’s had a really deep mental health journey the past two seasons. Season 2 picked up with him on the eve of a three-month sabbatical, and we think he’s finally going to get this break that he needs to deal with some of the things he’s been going through. But as the season progresses, we see him really confronting just how much of a mental breakdown he’s at right now. And we talked about that. He shared a lot about what’s coming up in Season 3. And we also get into some of the advocacy efforts he’s been involved with.

Washington: You know what I find interesting about that is, when you look at the folks from “Law & Order: SVU” and some other shows, [they’re] just a character, but all of a sudden folks really look at you as this advocate and they’ve turned around and become very passionate about those things, and I can see how that would be the case [here] as well. All right, let’s get into it. Yvonne and Noah, here’s their conversation.

Wyle on the Warner Bros. lot in Burbank in June.

(Christina House / Los Angeles Times)

Yvonne Villarreal: Noah, thanks so much for taking the time. We’re on the Warner Bros. lot inside an office space because you are deep in the throes of production on Season 3 while navigating the awards circuit. Tell me what that’s like. What is your headspace right now? Have you learned anything from last year?

Noah Wyle: It feels like we’ve just come back, even though today we started shooting Episode 4 already, which is amazing that we’re almost a third of the way through the season. It feels really good to be back. It’s odd that this is Season 3. It still feels like a new show. Everybody’s still energetic and excited to be there. The awards stuff hasn’t really kicked into overdrive yet, so it hasn’t been too much of a distraction. It’s just been really exciting, especially for our cast and crew who are so well represented in the nominations.

Villarreal: It was really staggering. Is there a moment from the last award season that stands out? An interaction or an experience going through that?

Wyle: The first one that comes to mind was an impromptu meeting I had with Stephen Graham after the Emmys where we bumped into each other on the street and he said some lovely things to me, and I said some lovely things to him. It was the first time I’d ever met him, then Keith David walked by, who was an old friend. It was a very collegiate moment. That was the time I actually took a breath that night and was like, “Hey, look at this — oh, my God, look at all of this.”

Villarreal: Where are the trophies?

Wyle: They’re on the mantle at the moment, at home.

Villarreal: Next to the Golden Globe made by your daughter?

Wyle: Yep, it’s right there in the center.

Villarreal: I want to review the show’s chart. “The Pitt” leads this year’s Emmy nominees with 25 nominations overall. You are nominated in the lead actor category, as well as directing. Do you feel like you’re better equipped or prepared to deal with the spotlight and attention that the show’s receiving now versus when you were doing “ER” at the height of its moment?

Wyle: Oh, I thought you were going to compare it to last year. Comparing it to 30 years ago, yes, I’m way better equipped.

Villarreal: Tell me.

Wyle: Just older, wiser. You’ve been to the dance before, know it for what it is. There’s nothing that’s going to be shocking about the process. Also, I have enough life perspective to just be extremely grateful and present for it and just be really excited about it.

Villarreal: How aware are you that the spotlight is on you? What does that feel like?

Wyle: I’m not that aware of it because I feel mostly cloistered once we start production on Soundstages 21 and 22. Occasionally the tours go by and I see [people] get all excited. But for the most part, I live a pretty hermetic life when we’re working. So except for when I Instagram scroll or one of my kids brings me news from out there, I don’t really get out much.

Villarreal: Your mom is a nurse. What does she think of this moment? Does it feel any different than during your “ER” days?

Wyle: Yes. I think back then it was just a novelty that she was working in a hospital and her son was on this extraordinarily popular medical drama at the same time. Now we’ve had an opportunity, especially the last couple years, through the [medical apparel] company Figs, to go to Washington and do some lobbying together, which allows her career, my career, to sort of work hand in hand. And for me to have a different perspective on who she was as a woman while she was a nurse working, because I only really saw her as Mom through those years. To answer your question, how was her perspective different? I think she’s, dare I say it, maybe a little more proud of me than she used to be. She’s said as much. I think in the old days she was proud of me being successful in having my dream of becoming an actor come true. Now she’s proud of me because she feels that I’ve used that platform to do some humanitarian good works outside of personal aggrandizement.

Villarreal: How many times is she visiting the set?

Wyle: Oh, I don’t let anybody visit this. By design, we keep a very closed set. In fact, if you come as a visitor, you have to put on scrubs so you fit in — and you feel really uncomfortable and you can’t wait to leave. That’s how we roll.

Villarreal: I want to dig into Season 2. When we pick up with Robby, it’s the eve of his three-month sabbatical, and we think maybe it’s this much-needed break. But as hour by hour goes by, it becomes clear that he’s maybe viewing this as a death sentence. What intrigued you, what worried you, about what he was facing in Season 2?

Wyle: Once we decided that we wanted to put, at the center of this medical drama that was an exposé and sharp look at the medical world, in 2026, a mental health journey of one particular person and have as part of that mental health journey be suicidal ideation, which speaks to a lot of the prevalence of that in this profession, once we committed to that idea, it was really exciting to walk it through. And to play the first half of the season as a guy going on vacation to get his head clear and play the second half of a season as a man buttoning up every aspect of his life in the event that this was a one-way trip. And leaving that almost to the Fates to decide as the day unfolded, looking for signs and signals to determine which way that should go. And increasingly as the day goes on, to be met with both the increasing desire to make it a one-way trip and the community that desperately don’t want him to, and ultimately keep him on this side of that edge.

Villarreal: You wrote two episodes in Season 2, and in “8 p.m.” we really see Robby’s mental health journey come to a head. What was that like, to put dialogue to what he was feeling internally, for you as the actor playing him?

Wyle: That particular dialogue was gifted to me by a doctor who shared with me that that was exactly what he said to his wife one morning when he was going through something very similar. And the way that it resonated with me when he said it, the way it went straight to my heart, I knew if I spoke it as simply, it would speak to other people. And rather profoundly, I got a letter by a young man who said that exact dialogue was so reminiscent of what was going inside his own head that it kept him from harming himself and was the catalyst for having him reach out to get help. Because it was so truthful, because it came from such a truthful place, it had a multiplier effect when we put it on TV. So to get to voice it to the world, that was extremely significant to me. It was the masks just really starting to fall to the point where you can no longer keep it in. And the Duke character [played by guest actor nominee Jeff Kober] is the only person who he felt he could share it with, because it’s enough objectivity, away from the hospital, without any kind of preconceived history. And it’s obviously somebody who’s been down a very bumpy road himself and won’t judge the decision one way or the other. He’ll just sit there, almost Buddha-like, and absorb it.

Villarreal: I know during the pandemic — this was sort of what was the impetus for the show — you were getting a lot of messages during that time, people messaging you about “ER” and what that did for them. How do you shoulder those types of interactions?

Wyle: That one made me cry. My hands started shaking. … You always want your work to have impact, you want it to have meaning, you want people to glean something from it that’s relevant to their own lives. And I’ve been very fortunate in my career. I remember back in the “ER” days, when Carter got sober, people would write me and say, “You helped me deal with my drug addiction.” When I was on “Falling Skies” and played the grievous loss of a spouse, people reached out to me. I’ve been a lightning rod for pain a couple of times in my career. And you asked me, how do I shoulder it? I think I sort of see it as a gift. When you have that connection to somebody, when they respond that way, it’s the ultimate compliment. And you’ve built a bridge where there didn’t exist one before. It’s even better if you build them between two strangers that don’t know each other, that now have commonality that has nothing to do with you.

Villarreal: Not to compare the two professions, but does it make you see the work you do as an actor a form of public service? We see how, when people are at their lowest moments in the hospital, they’re watching TV, they’re connecting with characters, with their family members, in these rooms. And then also what you just described, the interactions that you’ve had with these people [who were] inspired to become healthcare workers, shows you how they connect with the characters.

Wyle: As you’re saying that, that’s what birthed “The Pitt.” I was getting letters from people telling me that my work had meaning to them at the very moment when I didn’t feel like my work had meaning at all, because it had no relevance, because we were in the middle of a pandemic. Who wants to see a guy jump around in a costume while people are out there really being sick? And suddenly, I felt like I didn’t have a skill that actually could hurt or help anybody. It was only sort of a frivolous skill. Then those letters turned into the DNA that the show became.

Villarreal: Seeing what Robby is facing, how do you establish boundaries for yourself in terms of taking it in — dealing with the burnout, and overwhelming emotion of it?

Wyle: It’s a process. I am engaged in several modes of therapy to offload this and be able to surf it from both an artistic curiosity perspective and a need for balance. It’s interesting work, this work, and I do it with the full support of a loving wife and family who understand that this is different than what most people do for a living.

Villarreal: You seem to be giving yourself a lot of work these days in addition to acting in this hit show. As the No. 1, you’re writing and your directing. Do you like stress, Noah?

Wyle: I know it sounds odd, but my brain works really fast and it works nonstop. I don’t know what to do with myself most of the time. But when I’m engaged in [creative work], especially directing, it is a full-course meal for me. I feel totally alive and in my happy place. This last week, getting to direct a piece that I wrote, was even more fun because I’d pictured it already in my mind when I was writing it, which is a form of prep. But then you get to give it to everybody else to see what they want to do with it and what you’re creating communally suddenly becomes the third version of it, which I think is really great.

Villarreal: We like a tease here. Is there a note from this recent episode that you wrote and directed that was interesting to give that won’t make sense to us until we watch it?

Wyle: A directorial note? More glitter!

Villarreal: The episode you directed in Season 2, you had the interesting job of dealing with vomit.

Wyle: Yes. Vomit is hard. We’ve been making movies for a long time and we still haven’t come up with a decent vomit rig. I’m not selling Rob Nary, our special effects supervisor, down the drain here with this comment, but it is really hard to come up with a piece that doesn’t look like it’s on the side of a guy’s mouth when he’s throwing up. And you can put stuff in a guy’s mouth and have him spit it out, but to really get a good projectile vomit, you need to have some sort of cannon apparatus. And it has to come from a place that looks localized to the mouth, and it has to be the same diameter of the actor’s mouth. We went through, I don’t know, five designs on that thing and still ended up with something I thought was passable but not impressive — not “Pitt”- level impressive.

Villarreal: Interesting. Do you feel like you’ve upped the ante —

Wyle: I feel like I’ve put a challenge out there to somebody to come up with a decent vomit [effect]. It’s not as easy as it sounds.

Villarreal: It was also the episode where we get the passing of Louie [guest actor nominee Ernest Harden Jr.], and it was such a heartfelt moment and a reminder of the people that are there day-to-day or frequently, and the humanity that you still want to show them.

Wyle: Valerie Chu wrote a hell of a script. Valerie is a wonderful writer, and that episode just dramaturgically was a little different than the other ones because it did put more of an emphasis on the nursing staff than it did the doctors. Usually, we walk into a room and walk out of a room with a doctor. This time, we walked into rooms and out of rooms with the nurses, and we really tried to highlight the whole range of services that nurses give — pushing medications, double-checking doctor’s orders, holding hands, bringing blankets, wiping asses; all of the dirty work that goes into palliative care and treatment. That was the thesis. How do we exemplify those actions? Then, of course, at the center of it was Louie’s passing and the conferring of dignity to somebody after they’ve died was the theme I wanted to focus on. In the beginning, he’s a bloody mess, almost unrecognizable, and certainly not dignified. Then, through the cleaning and the preparation and then eventually the service — that’s on a clock because we’ve got other Louies to treat — we confer him his dignity. We fill in the backstory of his narrative. We give context to his life and honor the man. That was the lens progression we were going for and heart progression we were looking for.

Villarreal: What did it say to you that Robby committed those life details to memory from those interactions?

Wyle: To me, that is what you carry with you. It’s odd, the things you remember about somebody. It’s odd, the things that land with you. Usually, they resonate with something that you’re vulnerable to or have experienced. But with Robby, who never had a family and always seemingly wanted one but never allowed himself, the idea of somebody who had one and lost one is particularly profound. And as we get into subsequent episodes that we’re dealing with now, we see that Robby’s sense of loss predates Louie and his mentor, Adamson, and it goes back to almost an original sin.

Villarreal: A lot of people wanted you to take home Baby Jane Doe to heal and deal with some of your stuff.

Wyle: I don’t think you should throw a drowning man a baby. It doesn’t seem like a good, logical thing to do for either one of them. I think Robby went home and wished that he had the capacity to be someone who could have taken that baby home for a little while. And that was probably one of the things that nagged at him along that trip. If you wish you were better, then why wouldn’t you come back and try? And as we watch him begin to try to evolve and work through some of the things that have been stumbling blocks for him in becoming a fully evolved human, that’ll be one of them, hopefully.

Villarreal: I want to return to an earlier point, which is, you’ve done a lot of advocacy work. Even before “The Pitt,” you were arrested in 2012 in Washington, D.C., alongside 100 activists from the disability rights group ADAPT during a demonstration urging Congress not to cut Medicaid. Recently, you joined healthcare workers along with your mom at a rally on Capitol Hill. You also spoke at a congressional hearing focused on declining entertainment jobs in L.A. and the push for federal production tax incentives. How has using this spotlight and your voice for causes that are important to you deepened your experience with “The Pitt”?

Wyle: Well, that’s a very apropos question because I wrote into Episode 3 [of Season 3] a character based on a guy I was with when I was arrested with back then. A really wonderful guy, sort of a self-advocate and kind of a grump, total badass activist who has muscular dystrophy and has a tracheotomy. And so I thought, why don’t we put that character on the show and put him as a patient? And then I thought, “Well, who the hell is going to play that guy?” I called this guy and said, “Hey, I got a part for you, man. I need you to do it for me.” And we flew him out with his aide. And he came in, shot two days last week. He was phenomenal. The representation that we are going to give people in that community is going to be unprecedented, but it comes from a 30-year friendship I’ve had with this guy from some of the wars we fought together through the years, so it all dovetails together. I’m using one to feed the other at the moment and seeing where it’s applicable and where I think it could do the most good.

It’s just an amazing confluence of events. I’m an Angeleno who thinks there should be work here. I have an opportunity to bring a show here and employ 300 people nine months a year and be an advocate for other shows to follow a similar economic model to try and take full advantage of the generational talent that’s here. That’s just an alignment of my values and opportunities that seems almost blessed at the moment, but it’s not effortful. When you read it like that, it makes it sound like Mr. Smith.

Villarreal: Well, so many choose not to put their voice out there in those ways, but you’ve decided to do it

Wyle: I’ll speak up for my city.

Villarreal: What’s so great about a show like “The Pitt” is we get to watch regular, decent people doing competent work. Some call it competency porn. What do you think is our attraction to that?

Wyle: I think it’s twofold. I think on one hand, it’s wish fulfillment. You want to believe that there’s really competent, smart people in those jobs, so that, God forbid, if anything happens to you, that’s what you’re gonna encounter. And then I just read an article, I forget who wrote it, I wish I could cite it, that talked about this other aspect of watching people do work that has meaning, that actually makes a difference, touches a vacuum that we feel we don’t have in our lives and it’s a different kind of wish fulfillment. It’s almost like, “I want to be doing something more with my life that has absolute physical and tangible connection to another human being that makes a difference, that has a net positive.” And I think that’s interesting.

Villarreal: Sort of what you were feeling during the pandemic.

Wyle: It’s exactly what I was feeling during the pandemic: “How can I make more of this time on Earth and serve more than myself?”

Villarreal: I want to talk about “The Pitt” fandom because they are passionate and vocal. Has anything surprised you about their response to the show?

Wyle: Only everything. The embracement, the passion, the creativity, the advocacy, the identification, the continued support. It’s really been incredibly gratifying. It’s exactly what you hope, you know, that your work will do, spark a conversation and maybe a bit of change. But you certainly, you never anticipate reaching the levels that this one has where people are just gaga for it.

Villarreal: Recent cast departures have obviously drawn some criticism. As the No. 1 on the show and an executive producer, how do you navigate fan response when it’s negative? What are you learning about how to take that in?

Wyle: It’s nuanced. It’s new for me, new for all of us in a way. You try to put it in perspective, and it’s relatively small in relation to the overall [response], in terms of the more vocal critics. But at the same time, this is who’s watching. This is why you’re telling a story. If it’s touching a nerve that’s unintended, address it. Figure out a way to do it more sensitively, to come at it from a different point of view. We’re certainly doing the best that we can in there, but it’s impossible to anticipate what’s going to resonate and why. And I can’t tell you how many times I was surprised at what people thought was funny or what people thought was horrific or offensive. And it’s an interesting barometer of where we are as a country. It’s an interesting cross section of where the population’s at. But in terms of how it affects the creative work, it becomes a slippery slope if that’s the tail that wags the dog. So every year, we come in and we sort of have to gut-check ourselves and do a postmortem on the season. What worked well, what didn’t work well. And what is going to be part of this narrative as we go forward? Cast changes are gonna be part of that. That’s inevitable.

Villarreal: How about in relation to your character? Some of the discussion about what’s playing out onscreen, it’s been interesting to see how people look at Robby and maybe some of his flaws that come out. What do you see as his blind spot?

Wyle: Well, can we start with [we’re] watching a guy who’s going to kill himself? The guy is going to kill himself today, most likely. He’s going to leave and not come back. And as that reality gets increasingly clear to him, he acts continually beneath his grace. He doesn’t necessarily want people to miss him. He doesn’t necessarily want [them] to overidealize him because he doesn’t want them to mythologize him. So some people he was really tender with, and some people he was really harsh with, and some he will carry regret with, and some he probably wishes he had gone further. But all of that pathology was on display as a cry for help for anybody that was really looking to see it, more than I felt it was indicative of how he felt in a normal frame of mind in those relationships. I think he pushed Abbot [Shawn Hatosy] so far away. He pushed Dana [Katherine LaNasa] so far away. He was overly harsh with Mohan [Supriya Ganesh]. He was almost paternal with Javadi [Shabana Azeez]. He had a different vibe and energy with everybody. But ultimately, it was to sort of say goodbye in a way that he felt would be most appropriate. And I’m glad people felt that it wasn’t appropriate, because it was a man setting fire.

I did say in casting, I was like, “Can we cast some guys that are like my size that I could yell at that so people feel like it’s a good, fair fight?”

Villarreal: And you were vetoed?

Wyle: No, no, we’re going to sort of figure that out because it’s nice to show volatility in character, but if it’s a character that’s surrounded by women, it’s very difficult thing to depict without it seeming disproportionate in power. So it’s something I was conscious of when I came back this year. I was like, “It‘s difficult to show this character’s rage when it would be super inappropriate to express it with every single person in this room.” So, bring somebody in that can handle it and match it a little bit. And for my money, that’s what Al-Hashimi [Sepideh Moafi] was. She gave as good as she got, and those scenes between us were terrific.

Villarreal: Season 3 will be taking place on Nov.r 12, 2026, right? A lot of that had to do with the anticipation of and preparation for the ramifications of the Big Beautiful Bill on people’s lives. Tell me about that.

Wyle: It’s Thursday, November 12th, which means that tomorrow is Friday the 13th. And there was something fun about playing with the eve of a day that is usually fraught with peril. But this day is fraught with peril for all sorts of reasons. And it isn’t Friday the 13th. It also is coming into the holidays and it’s getting colder. A lot of the social issues that Pittsburgh and a lot [of places] with colder climates deal with are going to come up. People are turning on their heaters for the first time, if they can afford to turn on their heaters; people that don’t have access to housing are gonna be feeling the pinch even more than that. All of that goes into our narrative. And then, as I think you were alluding to, this is in preparation for what’s gonna take place in January [2027] with [provisions of] the Big Beautiful Bill [going into effect], which is gonna throw a lot of people off the rolls in a lot of states and cause a whole ripple effect through the healthcare industry. In anticipation of that happening, people are gonna have to make some very hard choices. They’re going to probably want to hoard medication if they can. They’re gonna try and load up on as many treatments as possible, put as many things into place as they can for that eventuality. And we wanted to highlight what some of those struggles are gonna be because I don’t know that they’re gonna be reported in January.

Villarreal: How fast, when that decision came through, were you getting outreach from healthcare professionals wanting to meet with you, with the writers room, about how can they can help you think about what’s going to happen?

Wyle: We have a great organization that’s an adjunct to the Norman Lear Foundation called Hollywood Health. And they broker all sorts of meetings for us in the writers room with experts from every aspect of the healthcare spectrum you can imagine. And so we really were curious to find out from those experts what the statistics were going to be. And they run models on best-case scenario to worst-case scenario and tell us pretty much with a high degree of certainty what the bandwidth is gonna be. And then we take that data and try to figure out the storyline that would be most effective to tell it. But it starts with trying to get it as accurate as possible in our crystal ball, looking forward to where we’re gonna be.

Villarreal: If you could give one word to Dr. Robby’s mental state in Season 3, what would that word be? Or what would the song he’d be listening to at that moment, walking back into work?

Wyle: I don’t want to tip the bit on a song that we might use and the ones that are in my head are so corny and cheesy that I don’t want anybody to suddenly start cutting memes to it. [Looks at camera.] Because you know you will.

Villarreal: Come on, Noah. Give us a ’90s throwback.

Wyle: “Scar Tissue” [by the Red Hot Chili Peppers].

Villarreal: Oh, that’s a good one. OK, before I let you go, is there any PSA you want to give folks right now about whether they should be consuming lettuce? Is Dr. Robby consuming lettuce?

Wyle: Oh, my God, don’t ask me. My wife and I have huge fights about produce every night. I don’t know what the hell’s going on.

Villarreal: I’m always like: What would Dr. Robby do?

Wyle: I don’t know that Dr. Robby eats a lot of vegetables. I think all of your canned vegetables are safe, says Dr. Robby.

Minnie Driver’s Paris adventures went awry this week when she was involved in a car accident that she’s describing as a frightening close call.

On Thursday, the actor — who has posted a series of “Paris Update” videos for her fans over the last two months while filming the sixth season of “Emily in Paris” — updated fans with a video posted to Instagram in which she appeared in a neck brace and recounted a harrowing close call. “Paris update is that I am actually back in London,” the video began.

“I got into a really bad car accident a few days ago with my friend Ben, and we somehow walked out of it,” she said. “Well, we didn’t walk out of it. We crawled out of it, but we did get out of it alive.”

Driver said the accident wasn’t their fault, and that they were cruising down a country road in the middle of France when another vehicle failed to stop at an intersection.

“We just T-boned it,” she said. “I’m fine. I’ve got a sprained neck, and I’m really in shock and sort of cry all the time, but I’m going to heal.”

According to Deadline, production on “Emily in Paris” will continue as planned aside from one scene involving Driver that had to be rescheduled. She plans to return to her role as Princess Jane when she recovers.

“The reason that I’m not dead, honestly, is the car that we were driving,” she continued in her update, adding that 360-degree airbags in the “tiny Kia” she was riding in saved their lives. “The fact that the entire car didn’t just concertina and crush us is down to the design of that car, which is frankly astonishing.”

Driver assured her followers that the video wasn’t a car ad — “Can you imagine if that’s what I was doing?” — but the actor appeared grateful and wanted to give due credit, all with her sense of humor still intact.

“I’m a mini driver, pun intended. I need to celebrate the car that saved us, because we’ve got families and people who love us, and I am so grateful to be alive,” she said. “So, Kia, you are a baller car company.”

Kratos has built the first landing gear-equipped versions of its stealthy XQ-58 Valkyrie drone, with several additional examples now in various stages of construction. The company is also still producing XQ-58s designed for rocket-assisted takeoffs via static launchers, and Valkyrie production is ramping up overall. Both types offer certain advantages in different operational scenarios. Valkyrie flight test activities are currently paused following the crash of one of the drones on Tuesday, which TWZ was first to report and that readers can get caught up on first here.

In reporting on the crash, TWZ had a chance to speak yesterday with Steve Fendley, President of Kratos’ Unmanned Systems Division, who provided additional updates on the Valkyrie program. The U.S. Marine Corps notably previously announced that it is acquiring a fleet of Valkyries in the landing gear-equipped configuration under its Marine Air-Ground Task Force Uncrewed Expeditionary Tactical Aircraft (MUX TACAIR) Collaborative Combat Aircraft (CCA) program. Fendley also discussed developments across other parts of the company’s tactical drone portfolio.

To provide some quick additional context, the rocket-assisted takeoff (RATO) and landing gear-equipped conventional takeoff and landing (CTOL) versions of the Valkyrie are the two main known configurations of the design. The RATO type, which first flew in 2019, also lands via parachute. Kratos has also developed a special launch trolley that allows RATO Valkyries to conduct runway takeoffs, though they still land using the parachute recovery system.

The CTOL version was first publicly announced in 2024. Drones in this configuration can also be launched via rocket, but then land conventionally. The addition of the landing gear does reduce the available internal payload space, as well, something we will come back to later on. In January, Kratos had told us it was targeting the early 2026 timeframe for a first flight, but we cannot confirm whether this has occurred. The Valkyrie crash on Tuesday did come after “takeoff from a test-range runway,” but Kratos would only say the drone in question was in “test configuration.” Whether or not this may have been the first flight of the CTOL variant is not clear.

More generally, Valkyrie is a highly modular design with an open mission systems architecture intended to be readily configurable to meet customer needs. Kratos has told TWZ in the past that it has developed at least five distinct versions of the drone. The company has also been steadily working to expand the performance envelope of the design.

“We have several CTOL aircrafts [sic] … we’ve been working on it for about a year and a half,” Kratos’ Fendley told TWZ. The CTOL configuration is now “in production. Started on those earlier this year, and again, those aircraft are – some are ready, and some still in the pipeline.”

Overall, work on the CTOL version is pressing ahead, he added, while noting that RATO versions are also still being actively produced. Kratos has customers now for both versions.

The U.S. Air Force was the first known XQ-58 operator, and continues to utilize RATO types in support of research and development and test and evaluation activities. The Marine Corps also has a handful of RATO Valkyries, which it has been using to help lay the groundwork for its future operational fleet of CTOL types, which are now sometimes also referred to as MQ-58Bs. The Marines are hoping to see the delivery of the first of these drones in 2029.

Kratos has also publicly announced a partnership with European aviation giant Airbus to develop a version of the Valkyrie aimed at meeting German requirements for a CCA-type drone. When asked about other Valkyrie sales opportunities yesterday, Fendley told TWZ that there are a “number of other international customers,” but could not elaborate.

“We have a set of customers for each configuration, and in many cases, we have customers that want both configurations,” he did note. “They’ll do test and training ops generally with the CTOL variant, but then for forward-deployed scenarios or for scenarios where they want to maximize the payload capacity, they’ll use the RATO configuration. which allows capacity inside the bomb bay.”

At the time of writing, Kratos’ website says RATO XQ-58s can carry up to 1,200 pounds of stores in their internal centerline bay, as well as payloads weighing up to 600 pounds on a single hardpoint under each wing. The bay itself is also said to be sized around a loadout consisting of four 250-pound-class GBU-39/B Small Diameter Bombs (SDB). The SDB is just under 71 inches long and has a body that is 7.5 inches in diameter. The CTOL has half the internal payload capacity, both in terms of weight and physical space, per Kratos’ factsheet. RATO and CTOL types can both also carry additional payloads weighing up to 600 pounds on two external hardpoints, one under each wing.

As TWZ has noted in the past, the ability to operate from traditional runways and conduct static RATO launches both offer certain advantages in different contexts. As Fendley reiterated yesterday, RATO types offer valuable runway independence for forward-deployed operations, and dramatically expand the total number of potential launch and recovery points. Previously, Kratos has shown a concept for an entirely containerized static launch system, which would offer further operational flexibility.

All of this, in turn, could help enable distributed concepts of operations that are also intended to reduce vulnerability and otherwise complicate an opponent’s decision-making cycles. The U.S. Marine Corps and U.S. Air Force, in particular, see distributed deployment concepts as critical to success in future conflicts, especially a potential high-end fight, such as one against China in the Pacific. The Air Force’s particular set of operational concepts, which it currently calls Aegis Combat Employment (ACE), were baked into the requirements for its CCA drone program from the start.

In general, static RATO launch does impose constraints on maximum takeoff weight and, by extension, on range and payload capacity. Kratos has previously told TWZ that just using the trolley launch method offers an increase “in the 10s of % for both fuel and payload capacity.” How exactly the CTOL’s payload and performance compare to the RATO version in either of these different launch modes is unclear. As already noted, the CTOL version does have less capacity available in its internal bay because of the landing gear.

Kratos Valkyrie Trolley Launch System

Still, as we have previously written:

“The CTOL version offers a single platform with the flexibility to take off from conventional runways, which could allow for heavier overall weights, or to use the existing rocket-boosted method from a much wider array of potential operating locations. In a real-world operational scenario, the drones could fly a rocket-boosted mission to start, recover on a runway at a tertiary site, and then continue to fly sorties from there, or be deployed elsewhere. This would combine the benefits of runway independence, including the difficulties imposed on enemies trying to target what could be widely distributed launch points, during an initial wave, and the advantages offered by normal runway-centric tactical air operations for follow-on sorties.

…

“An XQ-58 that can land like any other fixed-wing aircraft on a runway offers advantages for resetting the drones and getting them back into the fight. It takes far more time and effort to get runway-independent types ready for relaunch after they touch down via parachute. That method of landing also relies on airbags to cushion the impact, and a failure of that element of the system can lead to significant damage. There is, of course, always the potential for accidents while operating from traditional runways. Regardless, a Valkyrie that uses a runway should be able to achieve significantly higher sortie rates.”

“The CTOL variant’s flexibility could also have benefits outside of a tactical scenario. TWZ has previously noted that a landing gear-equipped version would be easier to integrate, overall, with other tactical air assets that rely on traditional runways, which would also be relevant for training and other day-to-day peacetime activities. That being said, a significant portion of the Marine Corps’ future CCA fleets, as well as those that the U.S. Air Force and the U.S. Navy plan to acquire and field, may not ever be daily fliers.”

As noted earlier, Fendley spoke directly to these latter points as important benefits of the CTOL configuration during his interview with us yesterday. There are still tradeoffs with the landing gear-equipped Valkyries, especially since they have to find a runway to touch down on even after a rocket-assisted launch. All of this, in turn, speaks to Fendley’s other comments about interest from customers in operating mixed fleets of RATO and CTOL types.

Kratos XQ-58A Valkyrie Test Flight

Beyond the core RATO and CTOL configurations, “we have many different configurations of Valkyrie for many different mission profiles and scenarios that our customers want to resolve, handle, address with unmanned, uncrewed systems,” Fendley also told us. “The ability for that system to couple with either a fourth-gen or a fifth-gen system and increase the survivability, increase the lethality of either of those systems is fantastic.”

This “has really served us with respect to our customers who want to be able to have a defensive capability like that without expending their entire annual budget,” he continued.

The current price point for Valkyries in either the RATO or CTOL configurations is unclear. Kratos has told TWZ in the past that RATO versions are in roughly the $4 and $6 million unit cost range. Years ago, the company also said it was hoping to eventually drive the purchase price down to around $2 million. Economy of scale benefits could be on the horizon as Kratos works to ramp up Valkyrie production. The company is hoping to see the annual production rate rise to 40 airframes by 2028.

“We have increased our full year 2026 organic revenue growth forecast up to approximately 18 percent to 23 percent as compared to full year 2025, which now also includes an expectation of approximately 10 percent organic growth for our Unmanned Systems business based upon recent contract awards, including Valkyrie,” Kratos’ President and CEO Eric DeMarco said just earlier this week around the comapny’s release of its second quarters earnings report.

Kratos is also seeing a surge in interest across its tactical portfolio more broadly, driven by demand both for reusable platforms and long-range one-way attack drones. In speaking to us yesterday, Fendley specifically highlighted the company’s Tactical Firejet design, also known as Airwolf, which has now been adapted into a kamikaze drone. That work has been done in partnership with Taiwan’s National Chung-Shan Institute of Science and Technology (NCSIST). You can read more about this variant, which is also called the Chien Feng IV (Mighty Hornet IV), here.

“And then, of course, our Mako system, which was our original tactical system, that we have a couple of customers who have become very interested in that,” Fendley also noted. This “is interesting because we developed that system in about the 2015-2016 timeframe, and all was quiet for a long time, and it’s really heated up in the, I would just say, in this calendar year. And I think some of that is based on world events, and some of it is based on the increase in budgets, particularly.”

Mako, also known as the UTAP-22, is a tactical combat drone derived from the BQM-167A Skeeter target drone, which Kratos also produces. Mako was at the center of a number of important experimental U.S. military drone programs in the late 2010s and early 2020s, but had appeared to be overtaken by the XQ-58, as well as more advanced designs from other companies. The design does still offer a tier of loyal wingman-type capability that could also come at lower cost compared to other options on the open market now. Mako might be adaptable to the one-way-attack role like the Tactical Firejet/Airwolf, as well.

In addition, Fendley offered positive assessments of ongoing development of the secretive Apollo, Athena, and Thanatos drones, but said he could not offer additional details given the level of classification surrounding those programs. This also just represents work the company is doing in the classified realm that we know about.

The Valkyrie family does remain front and center in Kratos’ tactical drone portfolio. This only looks set to continue with CTOL versions now being built and production ramping up overall for a growing number of customers globally.

Contact the author: joe@twz.com

Boeing has been cleared to start producing Joint Direct Attack Munition-Long Range (JDAM-LR) precision-guided weapons for the U.S. Navy. The JDAM-LR is essentially a small cruise missile derived from the JDAM family of precision-guided bombs. The weapon will give the Navy, and potentially other services, a new way to bolster stocks of air-launched stand-off munitions. This all follows the Navy’s announcement of successful test launches of JDAM-LRs from F/A-18E/F Super Hornet fighters back in April.

In a press release yesterday, Boeing announced that it had received an Undefinitized Contract Action (UCA) from the U.S. Air Force valued at $75 million related to JDAM-LR production for the Navy. The Air Force serves as the central manager for the joint-service JDAM program. By definition, a UCA means the parties still have to work out the final details of the deal, which could include the price point. UCAs are often used to kick-start work in response to urgent requirements.

“This first production contract is a major milestone for the JDAM LR program, demonstrating our ability to deliver long-range precision-strike capability at a significantly lower cost,” Bob Ciesla, Vice President of Boeing Precision Engagement Systems, said in a statement, underscoring confidence in the new UCA. “Scaling production of the GBU-75 will provide the fleet with an affordable, sustainable solution designed to eliminate long-range land and sea-based threats to U.S. and international forces and enable them to safely and effectively operate in a contested battlespace.”

GBU-75/B is the designation that has been applied, so far, to complete JDAM-LR munitions. Boeing’s release yesterday also revealed that the core component of the weapon, the so-called Payload Delivery Unit (PDU), has now also been designated BSU-111/B.

Like unpowered JDAMs, the JDAM-LR is more of a kit than a munition by itself. The PDU contains the guidance section, systems to interface with the launching aircraft, a pop-out wing kit, and a compact turbojet engine (understood to be the TDI-J85). PDU is then combined with a standardized low-drag 500-pound-class bomb as its ‘warhead’ to create a complete weapon.

As with JDAM variants – which also come in 1,000-pound-class and 2,000-pound-class variations – the modular kit-type design creates immense flexibility for how JDAM-LRs can be configured. In the past, Boeing has shown depictions of what it originally called the Powered JDAM (PJDAM) paired with general-purpose high-explosive bombs and air-dropped shallow-water anti-ship mines. There are many other 500-pound-class bombs with this same form factor already available, including specialized designs intended to reduce the risk of collateral damage.

In terms of guidance, JDAM-LR leverages the GPS-assisted inertial navigation system from the unpowered JDAM family. This guidance method can only be used to target static coordinates. Boeing has previously shown concepts for multi-mode guidance packages that could also include active seekers, such as a radar or imaging infrared system, which would enable strikes on moving targets at sea and on land. Boeing already produces a version of the 500-pound-class JDAM that adds a laser seeker to allow for the engagement of moving targets.

The biggest capability boost offered by the JDAM-LR over existing JDAM types is, of course, the stand-off range. Boeing says the powered version can hit targets more than 345 miles (300 nautical miles) away. A typical underpowered JDAM can still glide after release, but only out to around 15 miles, according to the Air Force. With the addition of a pop-out wing kit, JDAM-Extended Range (JDAM-ER) types have greater reach, extending out to roughly 45 miles. This all depends on various factors, especially release altitude and the speed of the launch platform.

There are also benefits to this design, and to leveraging existing technology from the JDAM family, when it comes to cost and scalability of production. Boeing says it has also invested nearly $100 million of its own money in this program, which traces its roots back to the late 2010s, at least.

What the exact unit cost of a typical JDAM-LR will be is unclear. However, historically, standard JDAM kits have cost between $20,000 and $30,000. The current price point for a TDI-J85 engine is unknown, but TWZ has used the Williams F107, a larger turbojet used in various cruise missiles, as a point of comparison in the past. Past reports have put the F107’s price tag at some $190,000. A typical 500-pound-class low-drag bomb would add another few thousand dollars to that total.

Regardless, for the Navy especially, JDAM-LR offers a lower-cost and lower-risk pathway to bolstering the standoff munition capabilities of its carrier air wings, and stockpiles of those weapons for future fights. The sevice notably cancelled previous plans to acquire a turbojet-powered version of the AGM-154 Joint Stand-Off Weapon (JSOW) glide bomb back in 2021 in favor of a new version of the AGM-158C Long-Range Anti-Ship Missile (LRAM) with secondary land attack capability. In 2024, the Navy also disclosed that it was axing plans to incorporate land attack functionality on the AGM-158C-3 variant. It should also be noted here that LRASM is a very capable, but also very expensive weapon, with unit costs generally pegged in the $3 million range, regardless of version.

Navy carrier air wings do also have access to the AGM-84K Standoff Land Attack Missile-Expanded Response (SLAM-ER) missile, which can be employed by F/A-18E/F Super Hornets. An air-launched land-attack outgrowth of the Harpoon anti-ship cruise missile, the SLAM-ER’s maximum range is reportedly around 170 miles. These missiles also have unit costs in the $3 million range.

British regulators on Thursday cleared tech scion David Ellison’s $111-billion deal to buy Warner Bros. Discovery — the latest international agency to find the blockbuster combination of TV channels and historic film studios wouldn’t dampen competition.

Britain’s Competition and Markets Authority and the government’s culture minister separately reviewed Paramount Skydance’s proposed Warner acquisition, which is facing significant turbulence in the U.S. as California Atty. Gen. Rob Bonta leads a coalition of state attorneys general who are battling to try to unravel the mammoth deal.

“The evidence shows that, after the merger, Paramount will continue to face sufficient competition in the various areas it operates in, including the production and distribution of films and TV content, the supply of children’s channels to pay-TV providers and the supply of streaming services,” the authority said in a statement.

Earlier this summer, Secretary of State for Digital, Culture, Media and Sport Lisa Nandy said she was weighing whether to intervene by launching an in-depth investigation into potential harms that could result from the proposed Paramount-Warner Bros. combination.

Nandy opted not to issue an “intervention notice” after striking an agreement with Paramount that provides “assurances and legally-binding commitments” that the company would not abuse its market clout.

The authority’s approval was significant because Paramount owns CBS News, children’s channel Nickelodeon and Channel 5, one of the largest over-the-air television broadcasters in the United Kingdom.

Warner Bros. Discovery owns HBO, CNN, Cartoon Network and TNT Sports, which broadcasts the Olympics, Champions League and Premier League soccer matches.

Ellison and his team now have won clearances from 66 antitrust regulators, including the U.S. Department of Justice, and regulators in Australia, Germany, France, Italy, China and Canada, among others. The European Commission also approved the deal last month.

“These clearances recognize that the combination of Paramount and WBD will enhance consumer choice and enable a creative-first company to invest in more projects and bring stories to audiences worldwide,” Paramount said in a statement.

Still, the deal is stalled in the U.S.

Bonta and his fellow Democrat state attorneys general have won early victories in their court battle, and a federal judge this week scheduled a March trial — months later than Paramount had hoped — to determine whether the merger would violate the century-old U.S. Clayton Antitrust Act.

Paramount is facing a June 4 deadline to finalize the deal or pay Warner a $7-billion break-up fee.

Bonta and the 11 other state attorneys general, including from New York, Colorado and Oregon, have alleged the merger of two major film studios would give Paramount-Warner Bros. more than 25% of the wide-release theatrical film market. Their lawsuit contends the combined company would own too many cable TV channels — more than 50, including CNN, TBS, HGTV and Comedy Central.

The Writers Guild of America has separately sued to block the transaction, claiming the combination of two historic studios would reduce opportunities and pay for writers.

Ellison, in a guest essay this week, blamed politics for the U.S. friction. “The issue is whether I can be trusted as a steward of Warner’s CNN,” Ellison wrote in his op-ed in the New York Times.

Bonta, in a recent interview with The Times, denied his lawsuit was motivated by politics, saying it was a “meat-and-potatoes” antitrust case.

More than 5,000 entertainment industry workers, including such high-profile stars as Jane Fonda, Ben Stiller, Bryan Cranston and Mark Ruffalo, signed an open letter early this year, calling on Bonta to thwart the merger. The group alleged the transaction would weaken Hollywood with “fewer opportunities for creators, fewer jobs across the production ecosystem, higher costs, and less choice for audiences.”

Britain’s competition authority found the combined company would still encounter competition from Universal Pictures, Disney and Sony Pictures Entertainment and “a range of other smaller studios.”

In addition, the CMA factored in the competition brought by streaming services to traditional forms of movie and TV distribution — one of Paramount’s key arguments.

“Paramount is grateful to the CMA for its constructive engagement and its review of the transaction,” Paramount said in its statement. “These conclusions further demonstrate the misguided and gerrymandered market definitions relied upon by the US state AGs in their antitrust complaint in California.”

The Department of War is challenging the U.S. defense industrial base to transform the way it builds and supplies weapons for the military – stimulating manufacturers to find new ways to enable faster and more efficient procurement. It’s a necessary move, particularly when it comes to weapons stockpiles, as some have been placed on red alert due to high consumption in crisis abroad. Efforts to create a so-called “Arsenal of Freedom” involve shoring-up critical supply chains, injecting predictable long-lead funding, lowering costs, and increasing competition.

Lockheed Martin’s Missiles and Fire Control (MFC) division is reacting by investing in production capacity to accelerate some of its most important munitions facilities – a reflection of how many of its missiles are in high demand. Speaking at a groundbreaking event at the company’s Troy, Alabama, site in May 2026, at which TWZ was present, Lockheed Martin chairman, president and CEO Jim Taiclet addressed employees about a “first landmark framework agreement” that will dramatically accelerate production of PAC-3 MSE (Missile Segment Enhancement) air defense interceptors, which are designed to destroy adversary tactical ballistic missiles, cruise missiles, drones and aircraft.

Taiclet said the “agreement represented a new model for how government and industry could work together with greater speed, accountability and shared commitment to the mission’s execution.” In addition to PAC-3 MSE, Lockheed Martin is also boosting production of its Terminal High-Altitude Area Defense (THAAD) and Precision Strike Missile (PrSM) lines to meet the urgent demand for more missiles. 

Both PAC-3 and THAAD have been integrated together in Joint All-Domain Operations, including with the U.S. Army’s Integrated Air and Missile Defense Battle Command System (IBCS) and during exercises with the F-35 stealth fighter.

The company says it’s planning an $8-9-billion investment through 2030 to expand this munitions footprint across the U.S.. Lockheed Martin has invested more than $7 billion since President Donald Trump’s first term to expand capacity for priority systems, including approximately $2 billion dedicated to accelerating munitions

production. Investment is being channeled into MFC facilities, tooling, suppliers, as well as its workforce. “This effort reflects the power of a commercially-inspired partnership between government and industry,” Taiclet said, endorsing this approach as an obvious method to expand capacity for priority systems.

Paving the way for acceleration

The Department of War’s Acquisition Transformation Strategy is designed to create long-term stability that gives industry the confidence to make necessary investments to change the way it produces equipment. Lockheed Martin was the first in the defense industry to announce a framework agreement like this for munitions acceleration under the new government initiative – initially committing to the tripling of production capacity of the PAC-3 MSE interceptor and then quadrupling the production capacity of THAAD interceptors.

The U.S. government awarded Lockheed Martin a $4.7-billion undefinitized contract action (UCA) in April 2026 for the accelerated production of PAC-3 Missile Segment Enhancement (MSE), which built on a framework agreement signed in January 2026 to ramp up production of the missiles. Production of the PrSM short-range ballistic missile will also quadruple. PrSM, which succeeds the Army Tactical Missile System (ATACMS), received Milestone C approval from the U.S. Army in July 2025, which led to a $4.94 billion contract award. PrSM then made its operational debut earlier this year in operations against Iran. 

“We’re rapidly ramping up a number of munitions. It’ll probably [expand to] include all the munitions that we build here at Lockheed Martin Missiles and Fire Control,” explained Tim Cahill, president of the company division. “We are working in partnership with the Department of War to identify go-quick contract actions that we can put in place, the suppliers we need and what investment is needed, and then determine what we call the enablers to make that happen.”

“It’s not just a case of let’s just go faster, it’s about what we fundamentally have to change across the entire business and in the technical process to go quickly to replenish stocks at a higher level than we ever have before,” Cahill added. “Ultimately, I would expect that we’re going to see all the munitions that we build in some sort of heads of agreement, some sort of a contract to increase the level of production.”

Lockheed Martin’s Master Plan For Accelerating Munitions Production

In addition to PAC-3 MSE, THAAD, and PrSM, the AGM-158 Joint Air-to-Surface Standoff Missile (JASSM) and AGM-158C Long-Range Anti-Ship Missile (LRASM) programs are also ramping up, and Cahill added that the AGM-179 Joint Air-to-Ground Missile JAGM and Javelin shoulder-launched anti-armor weapon are expected to follow suit. “We have been ramping some of these munitions for several years already. Javelin production has increased, as has GMLRS [Guided Multiple Launch Rocket System] and GMLRS Extended-Range, but I would expect they’re going to ramp up beyond those numbers in the next few years.”

The manufacturing process for these advanced weapons is a complex business. It has typically taken as long as three years from contract signature to the delivery of a PAC-3 MSE. Lockheed Martin aims to dramatically cut timelines like this. “Lockheed Martin is not waiting – we have been taking proactive steps to ramp up production and secure materials well in advance,” explained Jason Reynolds, vice president and general manager for integrated air and missile defense. “It takes time for each of those suppliers to actually create those individual subcomponents and ship them to places like our plants in Troy, Alabama, or Camden, Arkansas. Then we do the final assembly. Once we’ve completed that, we have to go through testing and qualification, packaging and signing off, then delivering them to the U.S. government or to our partners and allies that have placed that order. It’s a time consuming process, but we’re doing everything possible to shorten that in the near term.”

One of the critical keys to the change lies in contracting. Cahill says companies have become used to annual contracts, with incremental follow-on options. He says this drove industry to commit to a year’s worth of production at a time, with no real certainty over what the ensuing years would bring. The new government approach presents a commitment of between five and seven years, which provides far greater confidence and predictability for manufacturers to invest in long-lead items to help prevent bottlenecks in the complex production cycle, and ultimately streamlines and expedites the production process.

The long-term approach to procurement has an additional benefit of being able to secure lower prices for components and materials, enabling the prime contractor to invest in a supplier’s capacity with greater confidence. Keeping a production line moving and not having to pause to wait for components to arrive is a significant factor. Securing larger quantities of parts with plenty of lead time enables cost savings and production acceleration.

“For all of us, there’s also economic value there,” explains Cahill. “There is real money in being able to drive efficiencies, knowing what the next seven years will be like. We can take those efficiencies and effectively apply them into self-investment up front, so the U.S. government gets better value in the price of the munitions. They’re ordering more and business gets the opportunity for increased revenue and increased capability.”

“We have thousands of suppliers, particularly underneath our key suppliers all across this nation and in many cases across the world. It’s about what they need all the way down to raw materials. For example, one thing that’s held us up over the years is titanium. Titanium goes into a lot of things, including golf club shafts! So you’re out there competing on the commercial market for materials. Being able to get ahead of that curve and aggregate demand, first of all, increases our priority and allows us to deal with the lead times and plan for that so those don’t become bottlenecks. What we are doing with our suppliers is in effect addressing all those elements.”

It’s not just the contracting that is being overhauled, changing the way these complex systems are actually built is equally important. Lockheed Martin is now increasing both its workforce and the use of robotics, plus it’s bringing in additive manufacturing techniques such as 3D printing to reduce reliance on costly and time-consuming traditional tooling.

“Building missiles faster is a key priority for us, and we can do that a couple of different ways,” added Jason Reynolds. “You can shorten the span time and the lead times of all the different components, and you can actually increase the factory floor [footprint] to increase throughput. We’re doing all of that. We’re working with suppliers to reduce the individual span times, whether it be a rocket motor, a seeker, or a section that we make internally like the guidance section, so that we can build these things faster using automation and advanced manufacturing technologies at the same time. We’re increasing the actual capacity. We’re making additional tooling and test equipment, hiring additional people both here at Lockheed Martin and at our suppliers around the world.”

License production is another means to share the load and unlock expanded production capacity. Lockheed Martin has already licensed PAC-3 MSE production to Japan, which operates a final assembly and checkout facility. “That’s something we’re going to be looking at, because if we can expand our supply base in Europe, for example, where we have potential co-production in Europe, there are some great possibilities there,” says Tim Cahill. “We’re looking at all the elements, everything that might be a methodology to bring those numbers up and make sure that our nation and our allies have the capacity they need. Licensed production could very well be part of that.”

Rapid prototyping and speed to field

New start-up companies and industry “disruptors” are playing a fundamental role in changing the government’s expectations when it comes to driving down costs and rapidly developing and then producing new capabilities. Tim Cahill pulls no punches when acknowledging this and emphasizing how Lockheed Martin is similarly evolving its approach. 

MFC has set-up a Rapid Fielding Center at its Grand Prairie facility in Dallas, Texas, designed to promote the use of latest in production and prototyping technologies. “We are looking at how we can apply some of the emerging technologies to do things quickly, like using Artificial Intelligence and Machine Learning to make our production more adaptive and able to build in mass quantities that we couldn’t build before. We are competing in that space.”

The use of commercial off the shelf products is a recognized means to accelerate, but Cahill cautions that it’s not always a suitable solution. “You’re looking for the most capable parts to meet the requirements and get you there fast. That’s always been part of the dynamic for Lockheed Martin. We always look at commercial parts. Some systems are more conducive to it than others. If you’re building a low-cost drone or a counter-drone system, you’re looking for something that’s treatable – it’s great for those kinds of systems. But as these become more complex – when they have to operate in environments that range from the Arctic to the high desert in the Middle East in the middle of summer – or if they have to go through extreme launch environments or whether they have to survive in the presence of our adversaries trying to counter them. As the requirements get harder and harder, commercial off-the-shelf parts just don’t meet those requirements. They fail because they’re not designed for that.”

“You can’t take an automotive guidance system and run it at Mach 5, run it through the atmosphere at high temperature and have somebody try and disrupt it. In most cases we have to make them more robust and capable, or build parts that are unique to those particular products. We always start with the questions of how we accomplish the mission? How do we give our warfighters what they need to prevail, and we will use commercial off-the-shelf if that fits what is necessary for that mission – sometimes it does and sometimes it doesn’t. Any technology that you can imagine, we are looking for, how might we apply that just like all the new entrants and frankly all the traditional companies are doing much the same. We get the sense of urgency and that’s what we intend to do.”

Lockheed Martin is also involved in deep research around low cost weapons. “There’s a lot of people competing in that space,” Cahill acknowledges. “Sometimes for us when we’re applying our investment, our expertise, it’s more effective to focus on some of the other capability areas. For example, we have introduced a counter-UAS [unmanned aircraft system] called MORFIUS™ X-Rotor, a newly-released airborne high power microwave system that can neutralize more than 50 enemy drones in a single flight.”

MORFIUS is designed for field recovery and reuse and Lockheed Martin says it offers a very low cost-per-kill ratio.

Lockheed Martin is also ready to move ahead with a lower-cost Patriot missile interceptor. “Our PAC-3 Adapted Capability Effector, or PAC-3 ACE, answers the call,” Cahill told TWZ, adding that it will probably be less than half as expensive as the current PAC-3 MSE, but that it would still retain a lot of the capability. “They’re never going to have that full capability because you’ve got to fundamentally remove parts, some of the things that are most expensive.” 

Cahill says that PAC-3 ACE is built on the PAC-3 fire-control system and will be fully linked to the Patriot weapon system and the Integrated Battle Command System. “There isn’t magic here and when you take some of those things off, they become less capable, but that’s absolutely part of the dynamic. This rapidly fielded, complementary PAC-3, will be deployed quickly and enhance the resilience of the U.S. defense industrial base worldwide.”

The price for a barrel of Brent crude oil for October delivery lost 5.16% to $83.39 a barrel, while US crude, or WTI, futures for September delivery declined nearly 6% to $79.66 per barrel.

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Crude declined after US President Donald Trump said fresh talks with Iran would begin later in the day, easing concerns over potential supply disruptions. Additional downward pressure came after Saudi Arabia, Russia and five other key members of OPEC+ agreed in an online meeting on Sunday to boost oil production by 188,000 barrels a day from September, against a backdrop of disruption caused by the Middle East conflict.

“The seven participating countries decided to implement a production adjustment of 188 thousand barrels per day,” they said in a joint statement.

The increase, decided by the key countries in the enlarged Organisation of the Petroleum Exporting Countries, was widely expected by analysts.

“OPEC+ has finished unwinding its voluntary cuts. The next challenge is managing the surplus that could emerge as export flows normalise,” Jorge Leon, analyst at Rystad Energy, said.

He warned, however, that the decision “changes little in the near term because (the Strait of) Hormuz remains constrained. The real market impact will come when normal export flows resume.”

The Gulf countries have struggled to increase exports due to the near-paralysis of the Strait of Hormuz orchestrated by Iran during the war in the Middle East – despite a brief upswing in shipping traffic after a US-Iran memorandum of understanding was signed in June.

Many OPEC+ members cannot produce as much oil as their official targets allow due to a “decline in production capacity”, so increasing targets has become less meaningful, Giovanni Staunovo, an analyst at UBS, said.

Future pause foreseen

The September increase, agreed by OPEC+ countries Saudi Arabia, Russia, Iraq, Kuwait, Kazakhstan, Algeria, and Oman, completes the unwinding of the second of the three production-cut packages introduced by organisation.

“Having completed the restoration campaign, OPEC+ has little incentive to rush into further supply changes. Our base case is a fourth-quarter pause while the group prepares for the 2027 quota negotiations,” Rystad Energy’s Leon said.

“For now, geopolitics is masking the scale of the supply increase. That will become much clearer once export flows normalise,” he added.

It remains unclear when the group will actually be able to increase its oil volumes. Some member countries, such as Iraq, have expressed a desire to significantly boost production.

Russia, though, is confronted with repeated Ukrainian drone attacks on its oil infrastructure that have crimped production, currently hovering around nine million barrels per day – compared with a target of 9.8 million barrels per day.

OPEC+ “faces potentially difficult talks over new production quotas” starting next year following the September increase, according to analysts at DNB Carnegie.

Between late 2022 and 2023, OPEC+ became concerned that oil prices were falling, and agreed to cut oil production in three separate rounds, reducing total output by nearly six million barrels per day.

But Saudi Arabia, Russia, Iraq, Kuwait, Kazakhstan, Algeria, Oman and the United Arab Emirates – before the latter’s exit from the group on May 1 – then changed their strategy by gradually upping production starting in 2025.

“I don’t think cohesion is at risk at this very moment,” Leon said, warning, however, that the UAE’s withdrawal from the group in May has highlighted a weakness in this area.

“RuPaul’s Drag Race All Stars” winner Alaska Thunderf— will step into the spotlight this fall as the newest star to take on the title role of Mary in Cole Escola’s Tony Award-winning comedy “Oh, Mary!”

“You know how when in the ’90s in the Olympics, they would ask the winner ‘What are you gonna do now that you won the gold medal?’ and they’d say ‘I’m going to Disneyland.’” Alaska said in a recent interview. “I literally feel like that.”

Even after being cast, Alaska said it didn’t fully sink in until she began doing press for the production. Now, she’d celebrate with a flip if she could do one.

“It’s really happening, it’s just the best role, in the best play ever and I’m honored and I’m excited and I’m thrilled and I can’t wait,” she said.

The dark comedy follows a miserable Mary Todd Lincoln in the weeks leading to the assassination of her husband, who will be played by the Tony Award-winning actor J. Harrison Ghee. The one-act play reimagines the forgotten life of Mrs. Lincoln with absurdist comedy.

Since its 2024 premiere, the play written by comedian Escola — who also originated the title role — has become a Broadway sensation, earning $1 million in a single week and breaking its own box office record 13 times.

“RuPaul’s Drag Race” star Alaska will play Mary Todd Lincoln in “Oh, Mary!” at the Ahmanson Theatre this fall.

(Shaun Vadella)

The stage production received critical acclaim and earned multiple Tony Awards including best direction of a play for Sam Pinkleton and best actor in a play for Escola.

Alaska is joining a list of famed comedic actors who have played Mary Todd Lincoln, including Maya Rudolph, Meg Stalter, Tituss Burgess and Jane Krakowski. She isn’t letting the hype surrounding the show make her nervous, and said she remains focused on embracing the role.

“I’m really excited to wear the sacred bratty curls and the hallowed hoop skirt,” Alaska said.

The actor, who was also a finalist in “RuPaul’s Drag Race,” earned an Outer Critics Circle Award for her Off-Broadway play “Drag: The Musical,” which she co-wrote alongside Tomas Costanza and Ash Gordon.

Alaska is thrilled to play opposite Ghee, who won the 2023 Tony Award for best leading actor in a musical for their role in “Some Like It Hot.” Ghee said in a statement that they are excited to “set the road on fire with this electrifyingly hilarious play” alongside Alaska.

“I have seen Oh, Mary! three times and relished the beauty of this show — how different people shine so brightly in these roles, and yet you see the influence of Cole all over the production,” Ghee said. “The opportunity to get a crack at Mary’s Husband is beyond a dream come true.”

“Oh, Mary!” runs Nov. 10 through Dec. 6 at the Ahmanson Theatre. Additional casting will be announced in the coming months.

Tax incentives for film and television productions have not been enough to counter a still-sluggish environment for filming in the greater Los Angeles region, according to a new report.

For the three-month period that ended June 30, there were a total of 4,711 shoot days in the greater L.A. area, a nearly 13% decline from the same time last year, according to second-quarter data from FilmLA, a nonprofit that tracks local filming.

Compared to the five-year average, that second-quarter figure is a drop of about 36%.

Feature film shoots were down 20% in the second quarter compared to last year, while TV production decreased by 30%.

Incentivized productions are, however, making up a growing number of shoot days. For instance, 33% of the 443 total shoot days for feature films in the second quarter came from productions that received a tax credit. For the TV category, roughly 28% of the 1,607 shoot days last quarter were for projects that benefited from the tax incentive, particularly for dramas and comedies.

“While there is still much work to do, FilmLA’s quarterly report is proof that incentives are working: local incentivized productions are on the rise,” said L.A. Mayor Karen Bass in a statement.

Shoot days for TV dramas were down 6.4% to 732 days this past quarter, with just over 38% of those days coming from incentivized projects. TV comedy production saw a 43% decline to 57 days, with 21 of them coming from projects that received a tax credit. FilmLA noted that many local comedy productions are based on stage and not accounted for in the latest research.

“Because scripted television production supports more industry jobs than any other production category, helping to attract these types of productions is an important step towards bringing filming back to the region, restoring jobs and strengthening our local production economy,” said FilmLA Chief Executive Denise Gutches in a statement.

But any boost from the incentives was offset by serious declines for productions that are not eligible for the state’s film and TV tax credit program.

Shoot days for reality TV, for instance, were down 40% to 676 days compared to the second quarter of 2025. While large-scale competition shows are eligible for the state’s tax credit, such as Jimmy Kimmel’s “Schooled!” science experiment series for kids, other kinds of popular reality TV shows cannot apply for production incentives.

Filming for commercials in the second quarter was down nearly 22% from last year to 543 days. That total marked a 46% decline compared to the five-year average.

In a bright spot, FilmLA’s “other” category, which captures shoot days for student productions, still photography, documentaries and music videos, climbed 10% in the second quarter to 2,118 days.

That boost came largely from online content shoots, which rose by 47%. Filming for short films and documentaries were also higher in the second quarter, though those two segments had much smaller numbers of shoot days, FilmLA said.

Singer-songwriter Anaïs Mitchell first wrote the numbers for “Hadestown,” a folk musical based on Greek mythology, in 2006. Twenty years later, the Tony-winning smash musical comes to the big screen in a version filmed on the West End in 2025, directed by Brett Sullivan. The production reunites the original Broadway cast — André De Shields, Patrick Page, Reeve Carney, Eva Noblezada and Amber Gray — six years after the show debuted and swept the Tonys in 2019.

There is a timelessness to Mitchell’s work, thanks in large part to the ancient source material, the myths of Orpheus, Eurydice, Hades and Persephone. Developed in partnership with Rachel Chavkin, who directed the Broadway show, the action is set around the 1930s in the American Deep South. The story expresses evergreen themes of love, sacrifice, oppression, addiction and devotion, juxtaposing the tragedy of the way things are against a hope of the way they could be.

There are moments when Mitchell’s songs feel eerily prescient: The show’s villain, Hades (Page), rules the underworld of Hadestown as a fascistic industrialist; his Act I closing number is titled “Why We Build the Wall.” Factory workers sing back to him, “We build the wall to keep us free,” a chorus that foretells the Trumpian rhetoric of 2016 and a reminder that these patterns of division and otherization are the eternal tools of the oppressor.

“Hadestown” is a love story first and foremost, set in a joyous juke joint, the band ringing the stage. The camera follows our narrator, Hermes, played by American theater legend De Shields, as he takes the stage, kissing the heads of his company.

But the show doesn’t start until the 79-year-old De Shields nattily flips his jacket open, to the approving roar of the audience. He introduces doomed Orpheus (Carney), “touched by the Gods themselves,” a born yearner with a gift for song. When Eurydice (Noblezada), a scrappy, skeptical slip of a girl, rolls into town, Orpheus instantly falls head over heels. They have nothing except each other, their love symbolized by a red flower that Orpheus offers.

Party girl Persephone (Gray) brings the summer fun, but her jealous lover Hades wants to keep her all to himself in his domain, trapping the world in a long winter. Orpheus promises to write a song to summon spring again, but a struggling Eurydice is seduced by Hades’ promises of security in Hadestown, and she descends with him, signing her life away to work in his factory. Orpheus tries to rescue his love, but his faith in her is tested on their return to the top — if he turns back to see if she’s there, she’ll be banished to Hadestown forever.

Real-life couple Carney and Noblezada married several months after this production; they met at Noblezada’s audition. Their chemistry makes the emotional devastation of this tragedy that much more real: Every main actor sheds a real tear over the course of the show. Carney’s unique tenor ranges from Jeff Buckley to Freddie Mercury; his rock background and skill with the guitar is required for Orpheus’ lyre-playing and lends to the folk roots of Mitchell’s songs.

Cinematographer Clayton Jacobsen captures unexpected camera angles that a theatergoer wouldn’t get (even one with decent seats), both from down below in the circular pit and above it. He sends the camera soaring over the heads of the audience into intimate medium shots. Sullivan makes the animated and often rowdy crowd an integral part of the cinematic experience, including an extended curtain call with De Shields toasting the audience, sending them out with the warmth with which he brought them in.

There is such a temporal quality to theater, a shared moment in time and space. This production feels like a fleeting moment — a reunion of friends and collaborators retelling a myth that is recounted over and over again. “It’s a sad song, but we sing it anyway,” Hermes reminds us, and it’s a sentiment worth repeating. There may be tragedy, but the summer will inevitably return.

An agreement to ramp up production of the B-21 Raider was indeed structured to at least open the door to orders for more of the bombers, according to prime contractor Northrop Grumman. When the deal was announced back in February, the U.S. Air Force described it as a tool primarily intended to simply help accelerate fielding of the B-21. The service also said that long-stated plans for a fleet of 100 aircraft remained unchanged. Since then, it has separately confirmed that it is reassessing the objective Raider fleet size.

Northrop Grumman CEO Kathy Warden was asked about the prospect of orders for more than 100 B-21s during a quarterly earnings call earlier this week.

“The agreement we reached with the Air Force does allow them to consider accelerating production into a larger program of record, and we are working with them in that analysis,” Warden said. “They are undertaking it now. I expect that by year-end they will come to a conclusion on that, and we’ll certainly keep you updated.”

The deal, as it was announced earlier this year, centers on a 25 percent boost in annual B-21 production capacity. Raider production rate details have been and remain classified, but past reports have said that Northrop Grumman is understood to be able to churn out up to eight of the bombers a year.

As noted, emphasis was placed at the time on production acceleration to support fielding of the first operational B-21s next year. Any possibility of a larger total fleet size was downplayed.

U.S. officials have increasingly voiced support for a fleet of more than 100 B-21s for years now. Just in April, Secretary Pete Hegseth told members of the Senate Armed Services Committee that he saw a need for “a lot more” B-21s. However, the Air Force has repeatedly said there has been no change in the official acquisition plan.

The first sign of actual change being on the horizon came in May. That month, Air Force Lt. Gen. David Tabor, Deputy Chief of Staff for Plans and Programs, made clear that the planned Raider fleet size, or so-called program of record, was at least under formal review at a hearing before the House Armed Services Committee.

“We’re in the process of sharpening our pencils, really getting down to exactly what that [revised program of record] is,” Tabor said at that time, according to Air & Space Forces Magazine. “I think here in the next year, by the time we get to the ’28 [Fiscal Year 2028] budget, we’ll be able to give you a better answer, much more precise answer, and show you our homework.”

The Pentagon’s annual proposed budget for the upcoming fiscal year is typically released sometime in the spring. During the earnings call this week, Northrop Grumman CEO Warden indicated that the final decision on a new B-21 fleet size target is actually expected to come months before then, which makes sense in the context of the lengthy budget planning process.

What that new B-21 fleet number might be remains to be seen, and it is not clear whether it will even be publicly disclosed. In February, an Air Force official told TWZ that any revised figure is expected to be classified. Cost, schedule, and other details about the Raider program continue to be shrouded in heavy secrecy even as the aircraft has moved into increasingly public testing ahead of its planned fielding next year.

In terms of overall progress, the Air Force and members of Congress have repeatedly described the B-21 as a model acquisition effort that has been able to stay within cost and schedule targets despite at least a few hurdles during development.

On “B-21, there’s been good execution throughout the years,” John Greene, Northrop Grumman’s CFO, also said on the earnings call this week. “So, that’s been an enabler to ensure the overall program profitability remains on a direction that’s headed north.”

Air Force officials have also been open about their excitement for what the B-21 will bring operationally, as well as the added capacity that will come from having even 100 of these bombers. The B-21 is notably smaller than the B-2, but it will offer extreme range and other substantially improved capabilities compared to its predecessor. There are also only 19 B-2s still in service, and those aircraft, though highly capable, are very much a ‘silver bullet’ force.

B-21 Takeoff and Landing

The Raiders will replace the Air Force’s aging B-1B swing-wing bombers, as well. There is no clear replacement plan for the B-52 bomber yet, with those aircraft set to continue flying through at least 2050. To ensure their relevance for decades to come, the B-52s are in the process of receiving an extensive array of upgrades, including new engines and radars, but there have been delays. How those efforts continue to unfold might also have implications for the B-21 even though the two aircraft fill very different roles.

By all indications, the B-21 remains on track to begin fielding next year. The Air Force just recently made an announcement about the operational crew complement for the bombers, which will be two pilots. You can read more about this decision and its significance here.

It will still be some time before the B-21 force reaches a true operational capability even after initial fielding begins. Raider deliveries are also set to continue for years, especially if the total planned fleet rises well above 100 aircraft.

Contact the author: joe@twz.com

Josh Grisetti, the Broadway actor who charmed audiences with roles in “Something Rotten!” and TV’s “The Marvelous Mrs. Maisel,” has died, a family member confirmed to The Times on Monday. He was 44.

Grisetti died by suicide Friday, his “Something Rotten!” co-star Rob McClure first announced Sunday on Instagram, adding he is heartbroken and “not ready to even attempt to understand.” McClure also expressed his condolences to Grisetti’s wife and family. The Instagram post included photos of Grisetti and McClure over the years, including at Grisetti’s wedding. The actor married Mackenzie Perpich in 2020.

“Communities around the world will never be the same without him. We love you Josh,” McClure wrote in his caption. “Just a cataclysmic loss.”

On Broadway, Grisetti was best known for starring as Bottom brother Nigel alongside McClure’s Nick. The play follows the pair of brothers as they strive for success in the theatrical world amid William Shakespeare’s unstoppable rise. Grisetti portrayed Nigel Bottom from 2017 to 2018 for the show’s national tour. Grisetti also starred in musical comedies “It Shoulda Been You” and “Broadway Bound.” He appeared in award-winning off-Broadway productions including “Rent,” “Peter and the Starcatcher” and “Enter Laughing,” among others.

Grisetti’s regional credits also include “Spamalot” in Las Vegas, “How to Succeed in Business Without Really Trying” at the Reprise Theatre, “Beauty & the Beast” and “Peter Pan Goes Wrong” in La Mirada.

“Thank you, Josh, for sharing your beautiful energy and immense talent with us,” the La Mirada Theatre said on Instagram.

The actor, in what would be his final Instagram post, announced he departed a production of “Legally Blonde” at the Trentino Music Festival for “personal reasons” before the show’s opening.

The festival also mourned Grisetti in an Instagram post Monday: “Josh was a loving and caring person who was deeply dedicated to his friends, his students, and his colleagues. He was beloved by all who knew him, and he will be deeply missed by our students, faculty, and staff.”

Grisetti, born in December 1981 in Roanoke, Va., acted throughout childhood and performed in a variety of productions, including a kindergarten production of “Peter Rabbit” and high school productions of “Anything Goes” and “Flowers for Algernon.” He officially earned his Actors’ Equity card in 2004 for a production of “Where’s Charley?” at the Goodspeed Opera House, he told Playbill in 2009.

He also pursued a career in TV and film, most notably appearing in the Emmy-winning series “The Marvelous Mrs. Maisel.” He appeared as comedy writer Ralph Emerson in the series’ fifth season. He also had roles in shows “The Knights of Prosperity,” “Nurse Jackie” and “The Good Fight.”

He appeared in the film adaptation of Jhumpa Lahiri’s “The Namesake,” “The Immigrant,” “The Revolutionary Road” and “Men in Black 3,” among other movies, according to IMDb.

Grisetti, who also directed various musical productions, notably brought his talent and experience to Cal State Fullerton and Loyola Marymount University, teaching acting, musical theater and business. He also authored “God in My Head” in 2016, an “irreverent spiritual memoir” that details his accidental meeting with God through a “hallucinogenic journey.”

During his time on “Price of Broadway” in 2015, Grisetti reflected on luck and breaking into the industry. “Luck is required to kind of spark some things in this business a lot of the time, but then talent is what keeps you there,” he told Playbill.

“You start making your own luck, you start forging your own connections and making it happen.”

US President Donald Trump gave his blessing earlier this week to domestic Ukrainian production of the missiles.

Ukraine must make every effort to start domestic production of desperately needed Patriot interceptor missiles as soon as possible, now that Washington has agreed to grant Kyiv the necessary licences, President Volodymyr ⁠Zelenskyy has said.

Speaking to reporters on Thursday after returning from this week’s NATO summit in Turkiye, Zelenskyy said that political approval had been obtained from US President Donald Trump when they met in Ankara and the challenge now was to quickly take the practical steps needed to begin production.

“We resolved this issue ‌politically,” he said. “It’s now very important that our technical teams, all our representatives from different ministries, representatives of the executive branch, start working on this without delay, so that we can get licences very quickly and start production in Ukraine as soon as possible.”

Although Kyiv has received regular donations of Patriot missiles from its allies for its defence against Russia’s invasion, global supplies are running low, and Ukraine is using the interceptors at a faster rate than they can be produced in the US.

Zelenskyy has been pressing the US to allow Ukraine to start producing the missiles itself to overcome the supply shortage.

At a joint news conference with Zelenskyy in Ankara on Wednesday, Trump told him: “We’re going to give a licence to you to make Patriots. This way, you can’t complain that we’re not giving them enough.”

The Patriot is a US-made air defence system. Its PAC-3 interceptor – short for Patriot Advanced Capability-3 – is one of the few Western weapons capable of shooting down the ballistic missiles Russia has ⁠increasingly fired at Ukrainian cities.

Zelenskyy said his meeting with Trump had been a success, and he had also reached agreements with European allies.

“I believe this was a productive summit for Ukraine. In the coming days, we’ll receive a package from the United States, and there were also some separate agreements,” he said, referring to securing more PAC-3 interceptors.

“President Trump has repeatedly emphasised that today, only two to three countries in the world can produce Patriots, because the others are not technologically ready. Ukraine is recognised by America as a country that is ready to do this,” Zelenskyy said.

“Now, after our agreement with the president, our teams, our diplomats, the foreign ministries and defence ministries need to agree on all the remaining technical details. The sooner we reach those agreements, the sooner we will be able to produce Patriots.”

Patriot production will take months

However, Serhii Beskrestnov, an adviser to Ukraine’s defence minister, warned that setting up domestic production of the mobile, surface-to-air systems will take many months.

On his Telegram channel, Beskrestnov said a production licence would typically come with technical process documentation, training for specialists, supplier contacts and foreign consultants to help launch manufacturing.

The main obstacle would be time, rather than Ukraine’s technical or organisational capacity, he said, due to bottlenecks, including the long production cycle for some subcontracted components, which could take 12 to 24 months.

During the NATO summit, Trump praised Zelenskyy for doing “an amazing job”, a sharp change in tone from past criticisms of the Ukrainian leader.

Trump insisted that he remained determined to facilitate a peace deal between Russia and Ukraine.

“It’s not the easiest; not the easiest thing,” the US president said of an eventual peace settlement. “There’s a lot of commitment, and there’s a lot of love of the countries and everything else. But I think we’ve made a lot of progress in the last couple of weeks.”