President Trump’s favorite musical is, famously, “Les Misérables,” but few fans have been storming the barricades to get into the Kennedy Center this season.
The Washington Post reports that sales for the current season of music, dance and theater at the Washington, D.C., cultural institution have declined dramatically since the president’s inauguration and his subsequent takeover of the Kennedy Center’s leadership.
The Post cites data showing the Kennedy Center has sold only 57% of its tickets from September to mid October, many of which are believed to be comped giveaways. That contrasts with a 93% ticket sale rate through the same period last year.
The venues surveyed include the Opera House, the Concert Hall and the Eisenhower Theater, with performances by the National Symphony Orchestra, touring Broadway musicals and dance troupes. Out of 143,000 possible seats for the current season, 53,000 have not yet sold. When fans have bought tickets, they’ve spent less than half as much money from September to the first half of October 2025 compared with the same time last year — the lowest total since 2018 other than the height of the 2020 pandemic.
After Trump’s election, he appointed Republican diplomat and former State Department spokesperson Richard Grenell to lead the Kennedy Center, whose board elected Trump as its president. The new leadership fired several longtime staffers, and prominent board members and leaders like Ben Folds left the organization.
““I couldn’t be a pawn in that,” Folds told The Times. “Was I supposed to call my homies like Sara Bareilles and say, ‘Hey, do you want to come play here?’”
Artists that do perform at the Kennedy Center have noted a change in the audience. Yasmin Williams, a singer-songwriter who performed in September after a contentious email exchange with Grennell, said that “During my Kennedy Center show on Thursday night, a group of Tr*mp supporters boo’d me when I mentioned Ric Grenell and seemed to be there to intimidate me,” yet “playing that Malcolm X video in that space and forcing this current administration to reckon with the damage they’ve caused, while also promoting joy and the power of music to the audience … this is why I do what I do.” (Kennedy Center spokesperson Roma Daravi told the Post that “This is an absolutely ridiculous claim.”)
Grennell, for his part, said on X that that “We are doing the big things that people want to see. We are seeing a huge change because people are recognizing that they want to be a part of something that is common-sense programming.” In August, Trump announced his picks for Kennedy Center honors, including actor and filmmaker Sylvester Stallone, glam-rockers KISS, singer Gloria Gaynor, country music star George Strait and English actor and comedian Michael Crawford.
Do you wish that discovering shows playing at live theaters around Los Angeles was as easy as finding movies in local cinemas? Now it is. A new nonprofit called Theatre Commons L.A. — founded by some of the city’s most prominent theater leaders — launched earlier this week with easy-to-navigate local theater listings for more than 100 houses big and small.
The listings can be filtered by date, neighborhood and genre, and users can simply click on links to buy tickets. I’ve tried it and am happy to report that it takes all the guesswork and Googling out of finding a show that fits your schedule and suits your interests. It also introduced me to a whole host of new shows that I didn’t even realize were playing.
“Theatre Commons LA is about making it easier to make theatre in Los Angeles — and easier for people to find and enjoy it,” wrote Pasadena Playhouse producing artistic director Danny Feldman in an email. “By connecting artists, companies, and audiences, we’re working to build a more connected ecosystem for LA’s bold, local, living theatre.”
That connection is key. Because Los Angeles is a tough city to get a handle on. I’m old enough to remember getting hopelessly lost when I first moved here — crying in my old Toyota Corolla on freeway offramp, clutching a Thomas Guide that I could not make heads or tails of. Ironically, given the subject of this newsletter, I was trying to get to a theater downtown.
Visitors to L.A., and even plenty of seasoned Angelenos, often find the city sprawling and fragmented. The vast landscape is carved up by thriving neighborhoods, each with singular identities molded by unique cultural, business and arts offerings. TCLA aims to bring these diverse theaters together under a common umbrella to pool resources, and promotional and engagement opportunities, as well as to expand a sense of community in a difficult moment for the art form.
“It is no secret that the last few years have been particularly hard for theater in LA from the pandemic to the recent wildfires and curfews,” Center Theatre Group’s artistic director Snehal Desai wrote in an email. “What has become clear during this period is that the Los Angeles theater community is rich in artists, talent and leadership but our resources are scattered and there is not a consolidated place for information and outreach,” he continued. “Theatre Commons LA is a way to bridge those gaps — to share knowledge, opportunities, and support so that everyone, from small ensembles to major institutions, can thrive together. It creates the space our community has been asking for — where artists, institutions, and audiences can come together to imagine what Los Angeles theatre can be next.”
A volunteer steering committee, including Desai and Feldman, launched TCLA and its listings website with the financial support of the Nonprofit Sustainability Initiative. Last month, the Perenchio Foundation made a substantial investment meant to sustain the organization’s future growth, including the hiring of an executive director. (Please see the photo caption above for a list of the other steering committee members.)
Earlier this week also marked The Times’ launch of “The 52 best places to see plays and musicals in Southern California,” curated and written by Times theater critic Charles McNulty, assistant entertainment editor Kevin Crust (who also edits this newsletter) and me. The list contains short summations of each theater’s defining traits and connects to a map that plots each theater in its own pocket of the city. It was a real labor of love and I urge you to use it in conjunction with the new TCLA website to plan your next night out.
I’m arts and culture writer Jessica Gelt, mulling over more than a dozen entertainment options for the weekend. All of them good. Here’s this week’s arts and culture news.
On our radar
Complexions Contemporary Ballet comes to the Music Center on Friday and Saturday.
(Rachel Neville)
Complexions Contemporary Ballet The New York-based company celebrates its 30th anniversary with “Retro Suite,” a collection of works from 1994 to the present, created by co-founding artistic director and principal choreographer Dwight Rhoden. Complexions is known for its high-energy mashup of traditional ballet with hip-hop and street dance, as well as for the multicultural makeup of its troupe and its novel approach to incorporating visual art and theater into its choreography. — Jessica Gelt 7:30 p.m. Friday and Saturday; 2 p.m. Sunday. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org
Children make art at the 2024 Grand Ave Arts: All Access event.
(John McCoy)
Grand Ave Arts: All Access A day of free art, music and culture along downtown Los Angeles’ cultural corridor. Participating institutions include the Broad, Center Theatre Group, Classical California KUSC, Colburn School, Dataland, Gloria Molina Grand Park, L.A. Opera, the L.A. Phil, Los Angeles Central Library, Los Angeles Master Chorale, Metro Art, MOCA, the Music Center and Redcat. 11 a.m.-4 p.m. Saturday. Grand Ave. from Temple to 6th Street, downtown L.A. grandavearts.org
Cyndi Lauper wrote the music and lyrics for the new musical “Working Girl,” based on the 1988 movie.
(Larsen & Talbert / For The Times)
Working Girl This musical adaption of the 1988 film — directed by Mike Nichols, written by Kevin Wade and starring Harrison Ford, Sigourney Weaver and Melanie Griffith — has assembled an all-star team of its own. The music and lyrics are by Cyndi Lauper, Theresa Rebeck has written the book and Christopher Ashley directs. The Wall Street Cinderella story centers on a Staten Island secretary who, tired of being misused, underestimated and passed over, cunningly takes her corporate future into her own hands in a revenge tale that has everyone rooting for the underdog. Yet another La Jolla Playhouse world premiere that has “Broadway hit” written all over it. — Charles McNulty Tuesday through Nov. 30. La Jolla Playhouse, Mandell Weiss Theatre, 2910 La Jolla Village Drive. lajollaplayhouse.org
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The week ahead: A curated calendar
FRIDAY Tiago Rodrigues In “By Heart,” the Portuguese playwright and actor invites 10 audience members onto the stage to learn a poem as he shares stories of his grandmother and explains the connections created by the words. 8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
SATURDAY John Giorno “No Nostalgia,” an exhibition devoted to the late poet, artist and activist (1936-2019) who turned words into performance, sound installation and painting. The show includes a select group of Giorno’s work ranging from early prints to his black-and-white text and rainbow paintings, a selection of materials from Giorno’s archive showing how he pieced together his poems and his 1969 work Dial-A-Poem. 11 a.m.-6 p.m., Tuesday through Saturday, through April 25, 2026. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org
The Los Angeles Chamber Orchestra performs Saturday at Zipper Hall in downtown L.A. and Sunday at the Wallis in Beverly Hills.
(Brian Feinzimer for LACO)
Romantic Resonance When a talented 19th century French pianist named Louise Farrenc became tired of giving concerts accompanying her flutist husband, she founded Éditions Farrenc in Paris, which became one of the country’s leading music publishing houses. She also gained a smallish reputation as a composer of mainly salon pieces for piano. But she had far greater ambitions nearly impossible for a woman at that time to realize. Farrenc composed three large-scale symphonies that are only now, more than a century after her death in 1875, being noticed. Los Angeles Chamber Orchestra’s music director, Jaime Martín, is one of her champions, and he is pairing Farrenc’s impressive Schumann-esque “Second Symphony,” written in 1845, with Brahms’ “First Piano Concerto,” featuring the dauntingly virtuoso pianist Marc-André Hamelin. — Mark Swed 7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
Night of Ritual and Revelry LACMA hosts this after-hours party with a focus on plants. The evening includes open galleries, plant-themed activities, a costume contest, food and drink, plus an outdoor screening of the 1986 cult classic “Little Shop of Horrors” hosted by Meatball. Guests must be 18 or older to attend. 7 p.m. Los Angeles County Museum of Art, Smid Welcome Plaza, 5905 Wilshire Blvd. lacma.org
Ragamala Dance Company performs Saturday at Broad Stage.
(Three Phase Multimedia)
Ragamala Dance Company Ragamala Dance Company — founded and run by the mother-daughter trio Ranee, Aparna and Ashwini Ramaswamy — brings Aparna’s most recent work, “Ananta, the Eternal,” to BroadStage with live music accompaniment. The company specializes in the South Indian dance form Bharatanatyam, and the troupe is known for its soulful embodiment of classical dance techniques and its bold and beautiful traditional costumes. — Jessica Gelt 7:30 p.m. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica. broadstage.org
Songs of Emerging Endangerment This sound installation by artist TJ Shinn, commissioned by the local multidisciplinary arts organization Clockshop, is set to sound hourly from dawn to dusk. The project features a 30-foot-tall sculptural air raid siren that mimics bird calls to map systems of global migration. Opening Saturday, 2-4 p.m., and through Feb. 22, 2026. Los Angeles State Historic Park. 1245 N. Spring St. clockshop.org
SUNDAY Colburn Orchestra Grammy Award-winner Carlos Miguel Prieto conducts the flagship ensemble from the Colburn School of Music in a program featuring Ravel, Dvořák and Schoenberg. 3 p.m. The Saroya, 18111 Nordhoff St., Northridge. thesoraya.org
The Heart Sellers Lloyd Suh, author of “The Far Country,” a finalist for the 2023 Pulitzer Prize for drama, examines the deracinating effects of immigration in his work. In “The Heart Sellers,” two immigrants, one Filipino, the other Korean, strike up a friendship after a chance meeting at that quintessential American crossroads: the supermarket. Set in 1973, after the 1965 Hart-Celler Act abolished the national quota system that restricted immigration from non-European countries, they bond over what they left behind, the strange universe they’ve entered and the challenge of cooking a frozen turkey. Jennifer Chang directs this comedy about the power of friendship to redefine the idea of home. — Charles McNulty Through Nov. 16. South Coast Repertory, Julianne Argyros Stage, 655 Town Center Drive, Costa Mesa. scr.org
MONDAY Bright Harvest: Powering Earth From Space This documentary follows Caltech professors Harry Atwater, Ali Hajimiri and Sergio Pellegrino on their quest to provide an endless supply of clean sustainable energy for the 2023 launch of the Space Solar Power Demonstrator. Followed by a Q&A with the three professors and filmmaker Steven Reich. Admission is free; reservations recommended. 7:30 p.m. Beckman Auditorium, Caltech, 332 S. Michigan Ave., Pasadena. caltech.edu
TUESDAY Carrie A screening of Brian De Palma’s 1976 adaptation of the Stephen King horror novel, starring Sissy Spacek, Piper Laurie, John Travolta, Amy Irving and William Katt, hosted by drag entertainer Jackie Beat. 7:30 p.m. Tuesday. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org
WEDNESDAY Pacific Jazz Orchestra’s Big Band With Jane Monheit Step into the elegant past for a program of timeless swing music, big band standards and seductive ballads. 7 and 9:30 p.m. Wednesday and Thursday. Blue Note L.A., 6372 W. Sunset Blvd. bluenotejazz.com
THURSDAY
Lon Chaney in 1925’s “The Phantom of the Opera.”
(Universal Pictures)
The Phantom of the Opera L.A. Opera’s tradition of presenting classic silent horror films for Halloween continues this year with the 1925 version of “Phantom” starring Lon Chaney. Frank Strobel conducts the L.A. Opera Orchestra performing Roy Budd’s original score live. 8 p.m. Thursday and Oct. 31. The United Theater on Broadway, 929 S. Broadway, downtown L.A. https://www.laopera.org/performances/2026/phantom-of-the-opera
Mark Ryden The new solo exhibition “Eye Am” envisions a lurid, mischievous world via twelve paintings and a selection of drawings. Opening reception 5-8 p.m. Thursday; book signing, 1-3 p.m. Oct. 31; exhibition continues through Dec. 20. Perrotin, 5036. W. Pico Blvd. perrotin.com
Nicole Scherzinger Just months removed from her Tony Award-winning triumph as Norma Desmond in “Sunset Boulevard” on Broadway, the former Pussycat Dolls singer makes her Walt Disney Concert Hall debut. 8 p.m. Thursday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Culture news and the SoCal scene
The Laura Gardin Fraser “Lee-Jackson Monument” at the “Monuments” exhibit at MOCA.
(Carlin Stiehl / Los Angeles Times)
Los Angeles is home to the “most significant American art museum show right now,” writes Times art critic Christopher Knight in his review of “Monuments,” which opened Thursday at the Brick and the Museum of Contemporary Art’s Geffen Contemporary. Featuring nearly a dozen, mostly Confederate, statues that have been toppled or removed from public spaces over the past decade, the show “pairs cautionary art history with thoughtful and poetic retorts from 20 artists, including a nonprofit art studio,” writes Knight.
I wrote a preview of the show, which includes a few backstories about the people featured in the decommissioned statutes. Men like “newspaper owner Josephus Daniels, who helped foment the 1898 Wilmington massacre in which a mob of more than 2,000 white supremacists killed as many as 300 people in the course of overthrowing the city’s duly elected biracial government.”
Times theater critic Charles McNulty wrote a column examining the ways that various playwrights are engaging with the idea of AI in their work. For examples, he digs into two plays, Lauren Gunderson’s “anthropology,” which is staging its North American premiere in a Rogue Machine Theatre production; and Jordan Harrison’s “Marjorie Prime,” which is having its Broadway premiere this fall. “Gunderson and Harrison are looking ahead to see how AI might be super-charging our disembodiment. To anyone paying attention, business as usual is no longer an option. The very basis of our self-understanding is on the line,” McNulty writes.
“Ha ha ha ha ha ha ha” at Pasadena Playhouse, created and performed by Julia Masli and directed by Kim Noble.
(Jeff Lorch)
McNulty also attended opening night of performance artist and comedian Julia Masli’s one-woman show, “Ha ha ha ha ha ha ha,” at Pasadena Playhouse. He describes the 75-minute improvisational work as “less a traditional comedy show than an experiment in collective consciousness. It doesn’t take much to transform a room of jaded strangers into a representative slice of compassionate humanity.” That’s because Masli devotes her time in the spotlight to solving audience members’ problems, finding their shared empathy in the process.
Times classical music critic Mark Swed has been chronicling the departure of the Los Angeles Philharmonic’s beloved musical and artistic director, Gustavo Dudamel. In a recent column, Swed writes about the hoopla on display during the “first three love-fest weeks of Dudamel’s final season.” There was lots of “Gracias Gustavo” merch, and a daylong “Gracias Gustavo” block party at Beckmen YOLA Center in Inglewood, which included a performance by rapper D Smoke. And let’s not forget Tuesday night’s “Gustavo’s Fiesta” at Walt Disney Concert Hall. Dudamel also gave “four soul-searching performances of Mahler’s Symphony No. 2,” Swed writes. “His Mahler is neither overly exuberant nor constrained by grief and Berliner decorum. This performance heralds a new Dudamel, conductor of prophetic grandeur.”
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A rendering of a still image from Refik Anadol’s giant LED wall, “Living Paintings Immersive Editions,” at Jeffrey Deitch.
(From Refik Anadol Studio)
Last September, I wrote a feature on immersive media artist Refik Anadol and his plans to open the world’s first museum of AI arts, called Dataland, in downtown’s Grand L.A. complex across the street from Walt Disney Concert Hall. Anadol hoped to open the museum — which features five distinct galleries in a 20,000-square-foot space — this year. But this week, the artist announced that the project is now set to debut next spring. Anadol also released a first look at one of the galleries called Infinity Room. You can watch the teaser, here.
Everybody is talking about the brazen jewel heist at the Louvre. You can almost hear the key-clacking of dozens of hopeful screenwriters already drafting their spec scripts. The story is too outrageous to feel true — masked men cutting through a window in broad daylight and entering a gallery full of people before escaping without a trace on a pair of motorcycles. The value of the precious jewels they got away with is estimated to be about $102 million. If you have been living under a rock for the past week, you can read all about it, here.
— Jessica Gelt
And last but not least
Did you know that L.A. is experiencing a golden age of pizza? Neither did I. Fortunately, Times food critic Bill Addison has compiled a list featuring 21 of the city’s best slices.
Only Taylor Swift could compel hundreds of Angelenos to spend their Saturday morning at a listening party film screening for an album they’ve already heard.
“The Official Release Party of a Showgirl,” which hit theaters this weekend for a limited three-day run, features the debut of the Swift-directed “The Fate of Ophelia” music video, behind-the-scenes footage and notes from Swift about the inspiration for each of the songs on her new record, “The Life of a Showgirl.” The 89-minute companion film opened to an estimated $15.8 million on Friday and is projected to gross more than $30 million over the weekend.
The box office success comes as no surprise, “Taylor Swift: The Eras Tour” brought in $96 million in 2023 in its first four days in theaters and became the highest-grossing concert film of all time. Hitting 21 countries in 21 months, the Eras Tour itself earned more than $2 billion in revenue, the first music tour to ever hit that milestone.
Even as “Showgirl” seems destined to become Swift’s most divisive album yet — with critics and fans alike split in their reactions — the Taylormania was palpable Saturday morning at AMC Century City, which that day screened “The Official Release Party of a Showgirl” 21 times across three screens.
Madison Story, 34, made sure to catch the film at the luxury Dolby Cinema, calling “Showgirl” Swift’s “most cinematic album yet.”
“When I was listening to it, I just pictured Nora Ephron movies,” Story said. In true rom-com fashion, the longtime Swiftie wore a Lover cardigan. Others sported various Swift tour merch, sequined scarves and showgirl-inspired attire.
Taylor Swift’s new album, “The Life of a Showgirl,” is advertised outside of AMC Century City 15, which is screening “The Official Release Party of a Showgirl.”
(Christina House / Los Angeles Times)
As theatergoers took their seats during the prelude to the show, Swift’s “Reputation” opener “Ready for It?” played over a slideshow of “Showgirl” promo photos. At 10 a.m. on the dot, the screen went dark, then switched to an Eras Tour-style countdown clock — set to 12 seconds, for Swift’s 12th studio album (which, naturally, also features 12 songs).
When Swift finally graced the screen to introduce the program, audience members were mesmerized. Hardly anyone made a peep.
“I’m Taylor, the official hypothetical showgirl in question,” Swift said, telling the crowd that in making the movie that’s not quite a movie, she was, as always, “trying to surprise you guys.”
“I hope you guys have a blast. I hope you sing along,” she said.
Despite Swift’s invitation, and the help of lyric displays for each “Showgirl” track, the crowd was surprisingly quiet throughout the screening aside from a few rounds of applause and occasional laughter at Swift’s trademark awkward-girl charisma. (“My bread is actually a music video star!” was a crowd-pleaser.)
“I feel like her quirkiness has been the same since she did [her] debut [album], and it’s neat to see that that has lasted through all the different iterations and eras,” said moviegoer Kelley Sheets, 30.
Sheets and her friends Sarah Borland, 29, and Ariana Diaz, 30, were taken aback by the quiet atmosphere in the auditorium, especially compared to “The Eras Tour” movie.” They suspected the album might be too fresh for people to feel comfortable singing and dancing along.
Attendees’ low energy may have also been a symptom of the morning showtime. Still, their delight was clear from their wide smiles and intermittent head bobbing, most pronounced during the ear-catching “Opalite” chorus.
As expected, some of Swift’s more questionable lyrics — many of which were exponentially funnier as clean versions — garnered some chuckles, and “Actually Romantic,” an alleged Charli XCX diss track, notably concluded without applause. But claps were generous for Swift’s closer, which saw the artist sincerely thanking her fans for being her muse.
“This album was completely inspired by the most incredible time of my life that was so exciting, because you made the Eras Tour what it was,” Swift said.
“The way that that tour felt, the way that it just kind of lit up my whole life, was such a through line of making this music,” she said. “So thank you for being that unknowing inspiration behind the scenes. I was internalizing all of that love and putting it into that record.”
During Swift’s album rollouts more than a decade ago, she hosted listening parties she dubbed “secret sessions.” At these intimate gatherings, the singer gave select fans a sneak peek at her new music, explaining the inspiration for each track and even playing some songs live.
Nick Eittreim, 28, was always jealous of the fans who got to attend those parties. With “The Official Release Party of a Showgirl,” he said, “It’s like I’m finally invited to that ‘secret session.’”
Rachel Birnam, 30, said while the “secret sessions” were “such a special thing, it’s nice that this is accessible to everybody.”
Taylor Swift fans Nick Eittreim and Melissa Roberts, both 28, arrive for “The Official Release Party of a Showgirl” at AMC Century City 15 on Saturday.
(Christina House / Los Angeles Times)
Anthony Cendejas, a manager at AMC Century City, said the theater has been noticeably busier with the release of “The Official Release Party of a Showgirl.”
“More people than usual are dressing up,” Cendejas said, adding that many theatergoers have followed up their AMC visits with a stop at “The Life of a Showgirl” TikTok fan activation, running until Oct. 9 in the Westfield Century City Atrium. The immersive experience allows visitors to take photos and videos on a series of sets replicating those in “The Fate of Ophelia” music video.
Jamie Phillips and her daughters Rowan, 11, and Finley, 12, visited the TikTok activation Saturday afternoon. The trio also brought the biggest Swiftie in their family, their Saint Bernard named Lincoln, along with them. In their family photos, Lincoln wore a feather boa to match Rowan and Finley’s.
Jamie Phillips, left, takes a photo of her daughters Finley, 12, center, and Rowan, 11, with their dog Lincoln at a TikTok fan activation for Taylor Swift’s new album.
(Christina House / Los Angeles Times)
When the Phillips family heard “The Life of a Showgirl” for the first time, Jamie Phillips said, “All of us were pleasantly surprised.”
“Usually it takes me, particularly with her albums, a lot of listens to be like, ‘OK, it’s OK,’” she said. But this one they loved on the first go-around.
The trio hadn’t yet made it to “The Official Release Party of a Showgirl,” but they hoped to squeeze it in Sunday along with a “Gilmore Girls” anniversary event at the Grove.
In the meantime, they couldn’t wait to get back home, where their “Showgirl” merch was waiting for them.
Spider-Man and a Hollywood tour guide were having it out.
They stood right outside Jimmy Kimmel’s studio on Hollywood Boulevard, arguing about whether ABC was right to yank the host’s TV show off the air last week after he commented on the political response to right-wing activist Charlie Kirk’s killing.
“I like Kimmel!” said the Spider-Man impersonator, who wore pink Nike sneakers and leaned in close so he could hear through his thin, face-covering costume. “What he said is free speech.”
A tour bus drives past what was Jimmy Kimmel’s studio on Hollywood Boulevard on Sept. 18, 2025.
(Genaro Molina/Los Angeles Times)
Todd Doten, a tour agent for Beverly Hills Tours of Hollywood, pushed back. He said he believed broadcasters are held to a different standard than private citizens, and that the Federal Communications Commission — which pushed to get Kimmel’s show canceled — “has somewhat of a point.”
The men verbally sparred beside singer Little Richard’s cracked star on the Walk of Fame. Then Doten patted the selfie-hawking superhero on the back and they parted ways amicably.
The scene on Friday afternoon captured the Hollywood that Kimmel embraced and aggressively promoted: Weird, gritty and surprisingly poignant.
Ever since he began filming at the El Capitan Entertainment Centre in 2003, Kimmel has been one of the famed neighborhood’s biggest ambassadors. He drew tourists to the storied Hollywood Boulevard, which — despite being home to the Academy Awards, TCL Chinese Theatre and the Walk of Fame — has long struggled with crime, homelessness and blight. He used his celebrity to help homeless youth and opened a donation center on his show’s backlot for victims of the January wildfires.
And he filmed many a sketch with Hollywood itself as the bizarro backdrop — including one returning bit called “Who’s High?” in which he tried to guess which of three pedestrians was stoned.
Protesters in front of Jimmy Kimmel’s theater a day after ABC pulled the late-night host off air indefinitely over comments he made about the response to right-wing influencer Charlie Kirk’s death.
(Genaro Molina/Los Angeles Times)
Now, locals and entertainment industry officials alike worry what will happen if Kimmel’s show permanently disappears from a Hollywood still struggling to recover from the writers’ and actors’ strikes of 2023 and the COVID-19 pandemic that literally shut the neighborhood down. While his suspension has sparked a roiling debate over free speech rights nationwide, in this neighborhood, the impact is more close to home.
“A hostile act toward Jimmy Kimmel is a hostile act toward Hollywood itself and one of its great champions,” former Los Angeles Mayor Eric Garcetti told The Times on Friday.
“Hollywood is both a place and an idea. It’s an industry and a geography. Jimmy is always big on both. He actually lives in Hollywood, at a time when not a lot of stars do.”
Miguel Aguilar, a fruit vendor who often sets up near Kimmel’s theater, said Friday that business was always better on the days “Jimmy Kimmel Live!” filmed because so many audience members bought his strawberries and pineapples doused in chamoy. He was stunned when a Times reporter told him the show had been suspended.
“Was it canceled by the government?” Aguilar asked. “We used to get a lot more customers [from the show]. That’s pretty scary.”
A man holding a sign advertising at a nearby diner said he worried about Kimmel’s crew, including the gaffers and makeup artists.
“How many people went down with Kimmel?” he asked.
And Daniel Gomez, who lives down the street, said he feared that nearby businesses will suffer from the loss of foot traffic from the show, for which audience members lined up all the way down the block.
“Tourists still will come to Hollywood no matter what, but a portion of that won’t be coming anymore,” Gomez said as he signed a large canvas outside the theater on which scores of fans and free speech advocates wrote messages about the show being axed.
Protesters in front of Jimmy Kimmel’s theater in Hollywood.
(Genaro Molina/Los Angeles Times)
“It’s pretty bad that he got shut down because of his comments,” Gomez added. “Comedians should be free to say whatever they want.”
In a joint statement, a coalition of Hollywood labor groups including the International Alliance of Theatrical Stage Employees and Screen Actors Guild–American Federation of Television and Radio Artists, said the kind of political pressure that Kimmel faced as a broadcaster “chills free speech and threatens the livelihoods of thousands of working Americans.”
“At a time when America’s film and television industry is still struggling due to globalization and industry contraction, further unnecessary job losses only make a bad situation worse,” the statement read.
During his monologue Monday, Kimmel made remarks about Tyler Robinson, the Utah man accused of fatally shooting Kirk. He said the “MAGA gang” was “desperately trying to characterize this kid who murdered Charlie Kirk as anything other than one of them and doing everything they can to score political points from it.”
Ingrid Salazar protests outside of the “Jimmy Kimmel Live!” studio on Thursday.
(Juliana Yamada/Los Angeles Times)
While Kimmel’s remarks could be interpreted in different ways, Kirk’s supporters immediately accused the talk show host of claiming Robinson was a Trump ally, which many of Kimmel’s supporters reject. Kimmel himself has not publicly responded.
Kimmel also mocked President Trump for talking about the construction of a new White House ballroom after being asked how he was coping with the killing of his close ally.
Nexstar Media Group responded on Wednesday, saying it would pull the show from its ABC affiliate stations because of Kimmel’s comments. Walt Disney Co., which owns ABC, then announced it would suspend “Jimmy Kimmel Live!” indefinitely.
Nexstar’s decision to yank the show came after FCC Chairman Brendan Carr, a Trump appointee, threatened to take action against ABC and urged local ABC affiliate stations to stand up the network.
“We can do this the easy way or the hard way,” Carr told right-wing podcast host Benny Johnson. “These companies can find ways to change conduct and take action, frankly, on Kimmel, or, you know, there’s going to be additional work for the FCC ahead.”
Trump wrote on his Truth Social account: “Great News for America: The ratings challenged Jimmy Kimmel Show is CANCELLED. Congratulations to ABC for finally having the courage to do what had to be done.”
He also targeted late-night hosts Jimmy Fallon and Seth Meyers, calling them “total losers.” He pressured NBC to cancel their shows, writing: “Do it NBC!!!”
The president this summer praised CBS’s decision to cancel “The Late Show With Stephen Colbert” after this season, writing on Truth Social on July 18: “I absolutely love that Colbert’ got fired. His talent was even less than his ratings. I hear Jimmy Kimmel is next.”
Pedestrians walk across the street from the “Jimmy Kimmel Live!” theater a day after ABC has pulled the late-night host off air indefinitely.
(Genaro Molina/Los Angeles Times)
While the show is in limbo, it is unclear what will happen to Kimmel’s iconic theater in the historic former Hollywood Masonic Temple, a neoclassical 1921 building fronted by six imposing columns.
Disney owns the building, as well as the adjacent 1920s office building that contains the El Capitan Theatre and the Ghirardelli Soda Fountain and Chocolate Shop. Kimmel’s production company, 12:05 AM Productions, occupies four floors — 26,000 square feet — in the six-story office building, according to real estate data provider CoStar.
Disney did not respond to a request for comment.
Garcetti, who long represented Hollywood on the L.A. City Council, said Kimmel was a major advocate for renovation of the old Masonic lodge and other revitalization Hollywood projects.
And after the Oscars returned for good to the Kodak Theatre (now Dolby Theatre) across the street in 2002 after several years outside of Hollywood, Kimmel “helped usher in what I call Hollywood’s second golden age, when the Academy Awards came back and people saw actual stars in nightclubs and restaurants,” Garcetti said.
When Garcetti was showing off the city to officials with the International Olympic Committee years ago in an effort to host the Games, Kimmel met their helicopter on the roof of a Hollywood hotel to brag about the neighborhood.
Jimmy Kimmel, host and executive producer of the late-night talk show, “Jimmy Kimmel Live!” celebrates as he receives his star on the Hollywood Walk of Fame Jan. 25, 2013.
(Reed Saxon/Associated Press)
At the 2013 Hollywood Chamber of Commerce ceremony awarding Kimmel a star on the Hollywood Walk of Fame, Garcetti quipped: “When you came here to Hollywood Boulevard, this place was full of drug dealers and prostitutes, and you welcomed them with open arms.”
Kimmel joked that his parents brought him to the Walk of Fame as a 10-year-old and left him there to fend for himself.
“I’m getting emotional,” he said during the ceremony. “This is embarrassing. I feel like I’m speaking at my own funeral. This is ridiculous. People are going to pee on this star.”
Kimmel’s star is by his theater, near the stars for rapper Snoop Dogg — and Donald Duck.
On his show in May, pop star Miley Cyrus told Kimmel she developed a serious infection after filming on the Hollywood Walk of Fame last year, where she rolled around on the sidewalk. Part of her leg, she said, started to “disintegrate.”
“Have you been to the Walk of Fame in the middle of the night?” she asked.
“I live here,” Kimmel said.
“I thought it was my last day,” Cyrus responded.
Hundreds of protesters have gathered outside Kimmel’s theater in recent days, decrying the suspension of his show.
The cancellation occurred right after Dianne Hall and Michael Talbur of Kansas City got tickets to a live taping of the show and traveled to Los Angeles. So, they attended a protest Thursday instead.
Hall said she was expecting Kimmel’s monologue “to be something rude toward the [Kirk] family” but was surprised when she actually listened to it.
“I kept thinking, ‘Surely something bad was said for him to get fired,’ ” Hall said. “But it was nothing like that.”
Hollywood resident Ken Tullo said he’s “not a protesting type of guy, but enough’s enough” and he did not want his daughters to grow up with a fear of speaking freely.
“The current administration cannot laugh at themselves,” Tullo said, “and they don’t want anybody else to laugh.”
Times staff writer Roger Vincent contributed to this report.
Ahead of a 50th anniversary screening of “Jaws” this month at the AMC Theatres in Century City, even the trailers were nostalgic.
Moviegoers saw previews of Marty McFly taking flight in a DeLorean in 1985’s “Back to the Future,” the Von Trapp family sharing a musical picnic in the Austrian hills in 1965’s “The Sound of Music” and Tom Hanks launching into space in 1995’s “Apollo 13.”
And those are just a few of the movies that are returning to theaters this year to celebrate landmark anniversaries.
The box office shows there’s a demand to be met, as many classic titles outearn various new releases during opening weekends.
Over Labor Day weekend, “Jaws” came in as the second-highest-grossing movie with a domestic opening of $8.2 million, behind Zach Cregger’s horror hit “Weapons.” Steven Spielberg’s breakout blockbuster was shown in 3,200 theaters and made around $15 million worldwide. Earlier this year, the 20th anniversary screening of “Star Wars: Episode III — Revenge of the Sith” also ranked second with $25 million for its opening weekend, under Ryan Coogler’s “Sinners.” It raked in about $55 million worldwide, bringing the title’s total gross box office to more than $900 million.
It’s almost as if movie studios, filmgoers and theater owners alike are pining for a time when the movie business, now struggling more than five years after the COVID-19 pandemic, was the center of popular culture in the U.S. Before social media and Netflix dominated people’s attention.
David Berger, who owns the Ojai Playhouse, a 111-year-old theater with one screen and 200 seats, finds that when studios come to him with a digitally restored classic, he’ll probably see strong attendance. On Sept. 10, he played a 40th anniversary screening of “The Breakfast Club” and sold 125 tickets.
“It’s about getting away from streaming and taking a break from your phone and the world — really just letting the magic of movies do its thing,” Berger said. “So, we book a lot of nostalgic repertory anniversary films, and they do really well. Sales overall are really up.”
Studio executives and moviegoers offer competing theories about why older titles are getting traction on the big screen. Some see it as an anniversary year coincidence. Others look at it as a way to cushion theaters’ thin movie slates, which have not recovered from the pandemic. Some think it’s a way to keep movie theaters in business, as these screenings tend to happen in the middle of the week and help maintain steady crowds.
By the end of 2025, there will have been roughly 100 anniversary and re-release showings brought to screens around the country, according to Comscore. In 2019, Comscore shows that there were a little over 60 re-release and anniversary screenings.
Before the pandemic, most such screenings were for one or two days and were hosted by specialized distributors, such as Fathom Entertainment. Re-releases and anniversaries weren’t often screened as traditional releases from major studios. That’s been changing ever since.
Paul Dergarabedian, a senior media analyst at Comscore, says audiences should expect an uptick of re-releases whenever a year ends with a 0 or a 5.
Titles with loyal fanbases, like 2005’s “Pride & Prejudice” ($6 million), 1990’s “Teenage Mutant Ninja Turtles” ($4 million) and 1975’s “Monty Python and the Holy Grail” ($1.1 million) have capitalized on this market. These films didn’t have a chance to celebrate in 2020, when theaters were closed because of COVID-19.
The rising interest has boosted the business of Fathom, which for more than 20 years has specialized in bringing oldies back to theaters, as well as various documentaries, performing arts shows and faith-based content. Chief Executive Ray Nutt has also noted an increased interest in the area. Anniversary showings of these “classics” tend to make up between 20% and 40% of Fathom’s annual revenue, equating to $20 million or more.
“I’m proud to say that over the last two years, we’ve increased our revenue by 45% and 48% respectively,” said Nutt. “We’ve had record-breaking years, and classics have been a really important part of that.”
Fathom and Lionsgate are gearing up for the return of the “Twilight” saga to theaters for its 20th anniversary. All five films, along with roundtable footage with author Stephenie Meyer, will be screening around the country from Oct. 29 to Nov. 2. Kevin Grayson, Lionsgate’s head of distribution, said the series is slated to screen in about 1,000 theaters. But with strong presales, he said the footprint will probably expand to 1,500 to 2,000 locations.
“‘Twilight’ has been out for a long time,” Grayson said. “But after seeing the significant ticket sales it has already brought in, you can tell people want that communal experience.”
Executives say these showing are good for business and come with little downside.
Studios can dust off a movie they already own and create hype through marketing. The screenings may appeal to fans who may have never seen the movie on the big screen before. While they’re not as profitable as a massive new blockbuster, the additional revenue makes them worth the effort.
“We make a real business out of [these screenings] every single year,” said Jim Orr, Universal Pictures’ president of domestic theatrical distribution. “Everyone understands that the best way to experience a movie is truly on the big screen.”
Even with re-releases, franchises come out on top.
Disney had a 30th anniversary screening of “Toy Story” over the weekend, ahead of the new “Toy Story 5” hitting theaters next year. The studio is also presenting a re-release of “Avatar: The Way of Water,” a few months before the newest installment, “Avatar: Fire and Ash,” arrives in December.
“It’s expensive to market a movie on a global basis,” said Andrew Cripps, Disney’s theatrical distribution head. “When you’ve got an established franchise and you’re building on something that’s had an audience in the past, it’s a lot easier to build your campaign on top of that, rather than starting from scratch.”
Last year, there were indicators that demonstrated the audience’s growing demand to see older movies on the big screen. “Interstellar” earned $15.2 million for its Imax re-entry, and “Coraline” achieved $34 million to commemorate its 15th anniversary.
Many moviegoers attending an evening screening of “Jaws” said they wanted to see the movie “the way it was intended,” embracing the communal experience of fear and laughter in the theater.
“I haven’t seen ‘Jaws’ in years, and seeing it on the big screen felt ceremonial in a way,” said Culver City-based Ella Paseua, a recent subscriber to AMC’s Stubs A-List subcription program. “I could watch it at home. But these anniversary screenings are meant for the community. People were applauding when the shark was caught. You don’t get that at home.”
About 20 of us are huddled in a patch of shade, beneath a cluster of palm trees, in a sleepy Culver City garden. Paired up, we face our partners, cup our hands behind our ears and let out loud, primal noises. And we laugh.
We’re participating in a “tuning exercise” led by the performing arts group Cantilever Collective. It’s part of a movement workshop meant to facilitate connection between individuals and help regulate our central nervous systems so as to release stress and promote a sense of overall well-being.
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Where are we, exactly? At one of Los Angeles’ newest and most robust wellness hubs — held, perhaps counterintuitively, inside the Wende Museum of the Cold War. The Culver City museum, which opened its doors in 2017, debuted its Glorya Kaufman Community Center last weekend, a 7,500-square-foot space for cultural programming and wellness activities. The three-story, modernist concrete building, which sits across the sculpture garden from the museum’s exhibition hall, was made possible with funding from the late philanthropist Glorya Kaufman, who passed away in August. Her foundation provided the lead gift toward the $17-million new building and committed $6 million toward programming.
The new community center includes a 150-seat theater inside a refurbished, century-old A-frame structure, an old MGM prop house. It will host all the expected cultural programming such as screenings, live talks and dance performances, among other events. But it will also offer yoga classes, guided meditations, sound baths, dance and movement classe, and healing writing workshops for L.A. wildfire victims, as well as herb and incense-making workshops and matcha tea-making classes.
Most notably? All of these wellness activities are free to the public. The center will also offer about 100 hours of free therapy a year, with licensed psychologists, as well as life-coaching sessions.
The modernist concrete building evokes Cold War–era architecture.
The Wende is quickly becoming “the living room of Culver City,” as visitor Lisette Palley, 74, describes it. She attends meditations at the community center, which soft-launched in January, weekly. “This place, it has an ease about it, an openness, a generosity that you don’t find everywhere you go,” Palley says.
Increasingly, museums and art galleries have been adding wellness activities to event calendars. The Hammer Museum has long held weekly mindfulness meditations on its campus, the Huntington regularly holds forest bathing and tai chi workshops and the J. Paul Getty Museum’s education department offers a “Wellness Day for Educators” at the Getty Center that includes yoga, a sound bath and guided mindfulness — to name a few. But typically, such wellness events are the programming exception at museums, and often they’re in conversation with an exhibition on view. The Glorya Kaufman Community Center at the Wende will host wellness activities nearly every day of the week, with “Wellness Wednesdays” being especially robust.
“There’s an affordability crisis in this country right now, and the things we’re providing are human rights,” says Wende founder and executive director Justin Jampol. “This museum — art — has always been sustenance for your soul. Now it’s sustenance for your mind and body. We realize we can’t inspire people if they’re hungry or sick. We have to tend to the whole person.”
Earlier in the day, about 50 visitors enjoyed a mindfulness meditation in the A-frame theater led by Christiane Wolf, a former physician turned meditation teacher. Wolfe encouraged the crowd to “just be … lean on the strength of community.”
Light bites are served in the courtyard. Soon, the center will debut its new Konsum Cafe.
Afterward, guests mingled in the courtyard over borscht and Russian tea made from fermented fireweed, honey and pine bud, among other offerings. A soon-to-debut Konsum Cafe will serve freshly baked bread from Clark Street, specialty coffees and teas, and a rotating menu of homemade soups from regions around the world that relate to its exhibition programming (first up: borscht, Hungarian goulash and Vietnamese pho). All of the food and drink in the cafe will also be free.
“We’re hardwired to come together as communities, and if we’re sharing food, it’s very regulating for our nervous systems,” Wolf says. “It creates a sense of safety.”
Early on, there were some concerns that people would balk at a Cold War history museum entering the wellness space. But Jampol says it actually makes sense paired with the collection.
“This place, it’s become this subversive museum,” he says. “First, because of the collections — they’re so much about dissonant movements and revolutions — and because it documents and celebrates the human spirit. Even in the face of totalitarian authority and oppression and restrictions, the human spirit has a way of fighting back; the human spirit always finds a way.”
Considering the federal government’s slashing of funding for the arts and public health programs in U.S., the community center is even more relevant now, Jampol says.
A portrait of the late Glorya Kaufman by artist Boris Vansier hangs inside the center.
“The things that get cut first are the things people need most: self-care, eating right, having opportunities for art and culture, going to the theater — those are stress relievers,” he says. “So the idea is to try and address that here in our own small way.”
Kaufman, who died at 95, was a transformative dance world philanthropist in L.A. She established the USC Glorya Kaufman School of Dance, as well as the Glorya Kaufman Presents Dance at the Music Center. At the Wende, she did more than just fund the new center — it was her idea in the first place. She regularly attended music programs and dance events at the Wende, starting not long after its opening. Back then, museum staffers would move chairs and art around to make space for public events. One day in 2019, Kaufman told Jampol, “This is ridiculous. You can’t have heads poking around a statue; this is super weird,” he recalls. They began hatching plans to create a new space for events.
Kaufman and Jampol felt the COVID pandemic only heightened the need for health and wellness programming. The new building broke ground in 2022, designed by AUX Architecture (which designed the Glorya Kaufman Performing Arts Center at Vista Del Mar Child and Family Services). Other lead donors include the Ahmanson Foundation, the Ralph M. Parsons Foundation and the Rose Hills Foundation. Culver City donated the plot of land. Wellness activities debuted in the nearby sculpture garden even as construction was underway.
Visitors weren’t deterred by the construction cacophony. Event attendance has more than doubled since last year, Jampol says: about 15,000 program attendees in 2024 compared with about 32,000 so far in 2025.
The theater, with its restored slow-growth Douglas fir, is the crown jewel of the new building. It has a retractable seating system so it can morph into a space with room for a dance floor or sound baths. Practitioners can select the type of event they’ll be leading on a digital keypad and the room will automatically reconfigure itself. Hit “screening” and the lights dim in the audience and a screen drops down, for example. Select “dance hall” and disco lights swirl around the room.
A concrete fountain in the sculpture garden.
On a recent Wellness Wednesday, free snacks included borscht and bread.
Guests mingle in the Wende’s sculpture garden, a space for community connection.
The Wende’s wellness vision also includes a 4,000-square-foot Zen-inspired mediation garden, created by designer Michael Boyd, a scholar of postwar gardens and Midcentury Modern architecture. It features a decomposed granite ground surface studded with river stones and succulents, and is filled with the sounds of crickets and a rushing stream, digitally piped in. The museum is also turning about 200 feet of a median strip along Culver Boulevard into an “herb and incense garden” that will serve the cafe and upcoming incense-making workshops.
Much of the programming will be internally curated and the museum will pay its practitioners (those events will still be free to the public). Other programming will be “community curated.” Meaning, the Wende will make its center available, for free, to any wellness practitioner in L.A. who wants to hold an event there. The only caveat? Their event must be free to the public.
Kaufman may not be able to attend any of these events, but her presence is deeply felt. A portrait of the late philanthropist, by Russian-born, Swiss artist Boris Vansier, hangs by the entrance to the theater.
Participants enjoy a movement workshop with Cantilever Collective at the new Glorya Kaufman Community Center.
Surveying the new building, as Wellness Wednesday attendees stream in and out of it, Jampol appears certain of the museum’s mission and role in the city.
“It’s about these moments of joy and happiness and togetherness amidst awfulness,” he says. “Having these kinds of oases in our lives is so important. There’s a certain tranquility in being in beautiful spaces and being present and being in community with one another. In a way, that is the ultimate purpose of museums.”
Want to get Generation Alpha into movie theaters? Look to video games.
Kids still like to go to the movies, according to a high-profile new research report. But the franchises they care about are not the traditional Hollywood popcorn fare.
Seven of the top 10 entertainment franchises that the youngest generation of moviegoers cares about are video game properties, according to a recent study by National Research Group (NRG).
The top five titles that Gen Alpha kids, generally considered to be those ages 12 and under, say they talk most about were Roblox, “Minecraft,” “Fortnite,” “Grand Theft Auto” and “Pokémon,” all of which originated from the world of video games. The highest-ranked non-video game property was Marvel and Walt Disney Co.’s “The Avengers,” at No. 6.
Studios have started to catch on. Spring’s “A Minecraft Movie,” based on the popular game where users build and explore different worlds, was such a huge success. The film, adapted by Warner Bros. and Legendary Entertainment for the big screen, grossed $955 million at the global box office, according to Comscore. Young fans packed the theater, cheering during scenes important to gamers.
“Gaming is a deeply important part of Gen Alpha culture because it provides an essential venue for socialization,” said Fergus Navaratnam-Blair, NRG’s vice president of trends and futures. “Social gaming platforms like Roblox and Fortnite give them the opportunity to spend time with their friends, build communities, and develop a sense of their own identity.”
That could present a shift in the way theaters and studios cater to Gen Alpha, a key demographic born 2013 onward, to their future survival. Compared with millennials and Gen X, a higher percentage of Gen Alpha members (38%) said they would see a movie in a theater instead of waiting for it to come to a streaming service if their friends were talking about it, NRG said.
Nearly 60% of Gen Alpha members said they enjoy watching movies in theaters more than at home, according to NRG, which surveyed more than 6,000 U.S. moviegoers in May and June of this year. The majority of kids surveyed ages 6-to-12 said the reason why they go to the theater is to spend time with friends and family and “to make seeing the movie feel like a special event,” according to NRG.
“We are seeing the signs within this demographic that they do really value the experience of watching movies in theaters,” Navaratnam-Blair said. “The fact that they have grown up surrounded by phones, tablets, other sorts of devices, if anything, that seems to have made them more appreciative of the opportunities that they do get to switch up from all of that.”
Stories that resonate with Gen Alpha can come from franchises they are already familiar with, like “Minecraft,” or ones such as “Wicked” that inspire them to create fan fiction or show off their fandom by dressing up like the characters, he said.
Already, studios are marketing their films to reach younger consumers on platforms they frequent including Roblox and TikTok.
Movie theaters can help cater to Gen Alpha by making the viewing an experience, such as selling food that is matched to what characters are eating on screen, Navaratnam-Blair said.
Younger audiences also can still be attracted to seeing a movie in a theater if it’s a special event that happens after the title has started streaming. For example, many people attended sing-along showings of the popular animated film “KPop Demon Hunters” in theaters even after streaming it first on Netflix. The sing-along version of the film was the No. 1 movie domestically during the weekend it was briefly in theaters, with an estimated $18 million in ticket sales.
“This is a generation that does offer hope for the future of theatrical moviegoing,” Navaratnam-Blair said. “We just need to understand what it is they’re looking for, that experience, and play into it in a way that gives them what they’re looking for out of that.”
The hit Broadway musical “Hamilton” is making its way to the big screen on Sept. 5.
Lin-Manuel Miranda announced the theatrical release date for the Tony Award-winning musical Tuesday night during an interview on “The Tonight Show Starring Jimmy Fallon.”
“We always wanted to release it theatrically, but then the pandemic hit and so we decided to release it on streaming, so that everyone could see it at home whenever they wanted,” Miranda said on the show. “[Soon] you will be able to see ‘Hamilton’ in movie theaters nationwide and in Puerto Rico.”
The show’s cinematic release marks a major milestone: It’s been nearly 10 years since the off-Broadway premiere of “Hamilton,” which was based on the life of Alexander Hamilton, a founding father of the United States. Created by Miranda, who also composed the music, lyrics and book, the hip-hop- and R&B-inflected musical used source material from “Alexander Hamilton,” a 2004 biography written by Ron Chernow. The musical went on to win 11 Tony Awards, including best musical, and the Pulitzer Prize for drama in 2016.
The film was shot in June 2016, during a live performance at the Richard Rodgers Theatre on Broadway, and features much of the original cast. This includes Miranda as Alexander Hamilton; Leslie Odom Jr. as Aaron Burr; Renée Elise Goldsberry as Angelica Schuyler and Phillipa Soo as Eliza Hamilton.
The film was originally slated for release in movie theaters in October 2021. Disney paid $75 million for worldwide movie rights in 2020 and released it later that year exclusively on its streaming platform; the film went on to win two Emmy Awards in 2021.
The “Hamilton” anniversary is being celebrated in more ways than one. Prior to Miranda’s “Tonight Show” interview, Madame Tussauds New York unveiled a wax figure of Miranda dressed as Alexander Hamilton at the Richard Rodgers Theatre.
Two special performances of the hit musical will also take place at the same theater today. Every actor who has performed on the Broadway musical since its opening has been invited, according to the Associated Press.
Attendees for the matinee were already selected via a lottery process and the evening performance is an invite-only fundraiser for the Immigrants: We Get the Job Done Coalition — a host of 14 immigrant service organizations that uplift immigrant communities across the country.
Tickets for the film are now available for purchase.
Theater and television actor Tom Troupe has died at 97.
Troupe died Sunday morning of natural causes in his home in Beverly Hills, according to his publicist, Harlan Boll.
Known for his extensive career in theater and TV, Troupe made his Broadway debut in 1957 playing Peter van Daan in “The Diary of Anne Frank.” A year later, he moved to Los Angeles and appeared in more than 75 TV series over the course of his career, including “Mission: Impossible,” “Star Trek,” “Planet of the Apes,” “CHiPs,” “Quincy M.E.” and “Who’s the Boss.”
However, he continued to act in stage productions, appearing in “The Lion in Winter,” “Fathers Day” and “The Gin Game,” all three of which also co-starred his wife, actor Carole Cook. He also starred in a single-character play he co-wrote called “The Diary of a Madman.”
Troupe also had roles in several films, including 1991’s “My Own Private Idaho,” starring Keanu Reeves and River Phoenix; 1970’s “Kelly’s Heroes,” which starred Clint Eastwood and Don Rickles; and 1959’s “The Big Fisherman.”
He and Cook were awarded the L.A. Ovation Award for Career Achievement in 2002 because of their extensive stage work over the years in Los Angeles.
Born in Kansas City, Mo., on July 15, 1928, Troupe got his start acting in local theater productions before he moved to New York City in 1948.
He won a scholarship to train with stage actor and theater instructor Uta Hagen at the Herbert Berghof Studio in Manhattan before he went to fight in the Korean War, where he was awarded a Bronze Star. After the war, he returned to New York to act on the stage.
Troupe married Cook in 1964. The actor, who was known for her roles in “Sixteen Candles” and Lucille Ball’s “The Lucy Show,” died in 2023 at the age of 98.
Troupe is survived by his son, Christopher, daughter-in-law Becky Coulter, granddaughter Ashley Troupe and several nieces and nephews.
The version of “Elio” that hit theaters on June 20 is not the same movie that Adrian Molina, the film’s original director, intended to put out.
Pixar removed LGBTQ+ elements from the animated feature after receiving negative feedback from test screenings with audience members and executives, according to the Hollywood Reporter.
The film follows an 11-year-old boy named Elio who is mistaken for Earth’s ambassador by aliens and is beamed up to the Communiverse — an intergalactic organization — to represent the planet.
Trouble began in the summer of 2023 during a test screening in Arizona. After the film was over, audience members were asked to raise their hand if the movies was something they’d pay to see in theaters. No one did, causing Pixar executives to worry.
According to THR, Pixar Chief Creative Officer Pete Docter informed Molina after a separate screening for company executives that storyboard artist Madeline Sharafian would be promoted to co-director. Molina, who is gay, was given the option to co-direct the film with Sharafian but chose to exit the project instead after his original vision was changed. Shortly after, Docter announced internally that “Turning Red” director and co-writer Domee Shi would join “Elio” as co-director.
Changes to the film included getting rid of a scene in which Elio shows off a pink tank top made out of beach litter to a hermit crab, as well as removing picture frames from Elio’s bedroom wall that displayed a male crush. Executives also asked him to make the main character more “masculine.”
“I was deeply saddened and aggrieved by the changes that were made,” former Pixar assistant editor Sarah Ligatich, who was a member of the company’s internal LGBTQ+ group and provided feedback during the production of “Elio,” told THR.
Ligatich added that a number of creatives working behind the scenes left after the new directors went in a different direction.
“The exodus of talent after that cut was really indicative of how unhappy a lot of people were that they had changed and destroyed this beautiful work,” she said.
Actor America Ferrera was originally attached to the project as the voice of Elio’s mother, Olga. Following Molina’s departure, the “Barbie” actor left the production because the film lacked “Latinx representation in the leadership.” The character was later changed to be Elio’s aunt and was voiced by Zoe Saldaña.
In March 2025, Disney Chief Executive Bob Iger announced Molina would return as co-director for “Coco 2,” a follow-up to the 2017 film he co-wrote and co-directed.
“Elio” earned Pixar its worst domestic opening after it premiered on June 20. he film made $21 million at the box office and currently holds a “fresh” 83% critics rating on the website Rotten Tomatoes.
“The Elio that is in theaters right now is far worse than Adrian’s best version of the original,” a former Pixar staffer who worked on the film told THR.
“[The character] Elio was just so cute and so much fun and had so much personality, and now he feels much more generic to me,” added another Pixar staffer.
In a 2018 interview with the Huffington Post, Molina said he was “all for it” when asked what it would take for an animated studio to green light a story with a queer protagonist.
The Times reached out to Pixar for comment, but the studio did not respond.
Barefoot, in shorts and a tropical-themed short-sleeved shirt, Will Burroughs walks through the narrow backyard of his Venice home and passes a football to his 7-year-old son Jack.
It’s a playful moment that instantly sparks the curiosity of the family’s Australian cattle dog, Banjo, who comes running from the first floor of the newly added accessory dwelling unit, or ADU, at the rear of the property.
Even though it’s a small gesture, it encapsulates what Burroughs and his wife, Frith Dabkowski, hoped for when they added the ADU to their backyard.
With their home in the background, Frith Dabkowski and husband Will Burroughs are joined by their son Jack and dog Banjo on a single ribbon of wood that runs the entire length of the garage.
“They’re fun,” architect Aejie Rhyu said of the creative couple as she walked by the undulating two-story ADU she helped them realize.
Rhyu’s assessment helps to explain the joy that permeates the family compound, from the pink Los Angeles Toile wallpaper in the bedroom (humorously adorned with illustrations of L.A.’s beloved mountain lion P-22, the La Brea Tar Pits and Grauman’s Chinese Theatre) to the tricked-out garage on the first floor, which includes overhead bike storage, an espresso maker, a mini-fridge and a large flat screen TV that allows Sydney-born Burroughs to watch Formula 1 car races and cricket games at 4 a.m. when his family is asleep.
The one-bedroom unit features a full kitchen, custom millwork, colorful bathroom tile and a waterfall island that dips to create a dining room table.
Like so many ADUs in Los Angeles, the couple’s addition was driven by a need for more space to accommodate work and family life. At a time when California ADU laws continue to evolve to encourage more housing, the couple saw it as an opportunity to demolish their garage and build a new multipurpose flexible space that includes an office, garage and housing for family members from Australia who stay for weeks at a time.
To help them create an ADU that was fun and ambitious, Burroughs reached out to his childhood friend, Australian architect James Garvan, whom he has known since kindergarten.
A view of the ADU, including its rooftop terrace, from the street …
… and from the backyard.
Garvan said that when he first received a call from Burroughs about designing an ADU, he was impressed by the American concept of adding a second home on the same property as a larger one. “It’s an elegant way to activate parts of the city that are otherwise unused,” he said.
The couple collaborated with Garvan on the design plans, but because he was in Australia, they subsequently engaged local architect Rhyu to deliver the project. Despite his location on the other side of the world, Garvan worked with the team during FaceTime and Zoom meetings.
The ground floor of the ADU serves as a garage, office and media room for the family.
Burroughs installed a subwoofer speaker beneath the sofa to give the garage the feel of a movie theater during family movie nights. “Jack went flying off the couch when we watched “Top Gun,” he said, laughing.
“We wanted to contribute to the street and not just to the backyard,” Garvan said of a neighborhood tour he took on FaceTime with Burroughs. “It was crucial that the ADU referenced the neighborhood. That’s why we have the lovely tapered geometry and white fence paneling as cladding — it continues the fence and ties the house to the neighborhood.”
The couple, 41-year-old marketing executives who met while working at an advertising agency in San Francisco, may have wanted a showstopper. But they also wanted to respect their neighborhood, where small bungalows coexist alongside enormous, newly built homes in a Brutalist style.
Dramatic shutters that can be opened and closed give the ADU the feel of a music box.
“We were adamant about not having a monolithic structure,” Burroughs said, emphasizing the neighborhood’s diverse architectural styles where noted Los Angeles architects such as Frank Gehry, Ray Kappe and Barbara Bestor have all practiced their craft.
Dabkowski, who was born in England and moved to Dallas when she was 11, shared a similar perspective in not wanting the ADU to stand out too much. “I grew up in the suburbs where homes were built in a development and all looked the same,” she said. “I love the array of different houses in Venice, but it is jarring when people build something out of scale with the neighborhood.”
Situated on a corner lot, the two-story ADU appears simple and square from the street and curvaceous and soft from the backyard. While the traditional 1949 bungalow out front is one level, the ADU out back is tall but doesn’t overwhelm the atmosphere of the street.
Working with Plot Design LA, the family were able to preserve a segment of the backyard, which gives the dog and kids room to run around. “There’s a nice thoroughfare,” Burroughs said. “Kids ran around and threw water balloons at Jack’s 7th birthday party.”
Jack Burroughs, 7, plays with blocks as the family dog Banjo runs into the ADU.
Once inside the compound, the ADU, which cost approximately $450,000 after several increases due to the custom millwork and spiral staircase, is not what you would expect. And that’s precisely the point.
“We told James from the beginning that the ADU is separate from the house and is supposed to be different,” Burroughs said.
Pink Los Angeles Toile wallpaper from Flavor Paper adds a touch of whimsy in the bedroom of the ADU.
Clad in stained cedar siding with shutters that open and close like a music box, the ADU is composed of a 460-square-foot garage on the ground floor and a 560-square-foot one-bedroom unit one flight up. A custom steel spiral staircase connects the two floors on the outside of the building, as it would have eaten up too much space if placed inside. Above it all is a rooftop terrace with views of Santa Monica, the Marina and Penmar Park, with Burroughs affectionately comparing it to “being up in the trees.”
Inside, the open-plan kitchen, living room and dining area are flooded with natural light from two large circular skylights. A waterfall island, equipped with storage on either side, dips to form a dining room table. Floor-to-ceiling custom cabinets in the kitchen continue into the living room, where they create a media center. Adjacent to a queen-sized Murphy bed, there’s a stackable washer and dryer, as well as a linen closet. Cork tile flooring adds warmth and serves as an acoustic buffer to help separate the unit from the office space below.
Architect Aejie Rhyu of ARA-la Studio in Los Angeles collaborated with Australian architect James Garvan on the project, which took more than a year to complete.
Working with interior designer Danielle Lanee, Dabkowksi added colorful accents to the living spaces to make the interiors “warm, inviting and fresh.”
“They wanted the ADU to be a fun experience for their guests,” noted Rhyu. “There’s an outdoor shower. Colorful lighting. It’s quite different from the main house, but it works because it’s situated on a corner lot. When you are in the backyard, you note that, but from the street, it almost feels like its own separate structure.”
Will Burroughs and his future architect James Garvan prepare to rollerblade in Sydney, Australia.
(Courtesy of James Garvan)
At one point, Burroughs worried they were having too much fun with the colorful interiors, which include pink and red clé tile in the bathroom, pale green custom cabinets in the kitchen and pink Flavor Paper wallpaper in the bedroom. “I was worried it would feel like you were living in a Mondrian painting,” he said.
Now that it’s complete, however, Burroughs is thrilled with the way it turned out. “Frith added a lot of whimsy to the ADU,” he said. “I love that it feels homey and functional, and I love the balance with the architecture. Once you walk inside, you don’t feel like you’ve sacrificed form or function.”
In Sydney, where he grew up, Burroughs said architecture is often designed in harmony with the landscape. Here, his childhood friend was assigned the same task. “I was impressed that James was able to take a rectangular block … and make it sit beautifully with the trees and fence line,” he said. “And Aejie took drawings from afar, accomplishing them by walking around with a camera and reviewing drone footage. Aejie was able to take his high-order thing and make it work.”
Looking ahead, the couple envisions the unit could work as a rental, but for now, it has been booked by family and friends, including those who were displaced by the Pacific Palisades fires in January. The couple have hosted Burroughs’ parents for six weeks at a time, and friends with three kids — who shared the Murphy bed — stayed for 10 days.
In the living area of the ADU, custom millwork includes a Murphy bed, floor-to-ceiling storage, a linen closet and a stackable washer and dryer.
“It’s nice to have enough space where family can come and stay comfortably for a decent amount of time,” Dabkowski said. “Staying in an Airbnb is expensive.”
The ADU impressed Burroughs’ parents so much that they hired Gavan to design a home for them in Sydney now that they are downsizing.
“They were so impressed with the skylights, the airflow of the unit, which improves our quality of life tremendously,” Burroughs said. “Our mothers are best friends. He’s [Gavan] going to be a part of the family even more now.”
“I am happy that my friends like their home, but I hope the community likes it too,” Gavan added. “I hope it contributes positively to the streetscape.”
The ADU is designed to engage with the landscape and nestle into the garden, says architect James Garvan.
The couple treasure the personality and history of their 1949 bungalow. “We just love it so much and don’t feel like we need to match the ADU,” Dabkowski said. “The old and the new can live in harmony together.”
The original “Spider-Man” trilogy, directed by Sam Raimi and starring Tobey Maguire, is returning to the big screen with a special addition.
For the first time, “Spider-Man 2.1” — the extended edition of “Spider Man 2” — will be playing in theaters in 4K in a limited engagement presented by Fathom Entertainment. This version, released on DVD in 2007, features eight minutes of new footage, including a fan-favorite scene in which J. Jonah Jameson, played by J.K. Simmons, tries on the Spidey suit.
More than two decades and 10 Spider-Man movies after the original trilogy premiered, “Spider-Man 2” consistently ranks among the best of the franchise by critics and fans. Starring alongside Maguire as Peter Parker (a.k.a. Spider-Man) are Kirsten Dunst as Mary Jane “MJ” Watson, James Franco as Harry Osborn and Alfred Molina as Dr. Otto Octavius.
“The success of ‘Spider-Man’ in 2002 helped launch the modern era of super hero films. To this day, Tobey Maguire’s take on Spider-Man resonates across generations,” Fathom Entertainment’s Chief Executive Ray Nutt said in a press release. “At Fathom Entertainment, we celebrate fandom and I am delighted that ‘Spider-Man 2.1’ in 4K will make its theatrical debut, a true gift for longtime fans and a thrilling discovery for new ones.”
“Spider-Man” will play in theaters Sept. 26 and Oct. 3, “Spider-Man 2.1” on Sept. 27 and Oct. 4, and “Spider-Man 3” on Sept. 28 and Oct. 5. Tickets will be available at Fathom Entertainment and participating theaters July 25.
Other films soon returning to theaters with Fathom Entertainment are “Clueless” (June 29-30), “One Flew Over the Cuckoo’s Nest” (July 13-16) and “The Sound of Music” (Sept. 13-17).
JOHANNESBURG — Presley Chweneyagae, the South African actor who gained international recognition for his leading role in the 2005 film “Tsotsi,” which won South Africa’s first-ever Academy Award for best foreign language film, has died. He was 40 years old.
His talent agency MLA on Tuesday confirmed Chweneyagae’s death and said South Africa had lost one of its “most gifted and beloved actors.”
“His passion for empowering the next generation of artists will remain integral to his legacy,” MLA Chief Executive Nina Morris Lee said in a statement. She gave no details about the cause of death.
Chweneyagae’s three-decade-long career spanned theater, television and film.
His award-winning performance in “Tsotsi,” based on the 1961 novel by South Africa’s preeminent playwright Athol Fugard and directed by Gavin Hood, catapulted him to international stardom.
Chweneyagae was also a gifted writer and director, co-writing the internationally acclaimed stage play “Relativity” with Paul Grootboom.
The South African government paid tribute to Chweneyagae, lauding his outstanding contribution to the film, television and theater fraternity.
“The nation mourns the loss of a gifted storyteller whose talent lit up our screens and hearts,” the government said in a post on X. “Your legacy will live on through the powerful stories you told.”
The South Africa Film and Television Awards organization, known as SAFTA, paid tribute to Chweneyagae, calling him a “true legend of South African Cinema” on X.
“Rest in Power … a powerhouse performer whose talent left an indelible mark on our screens and in our hearts,” SAFTA posted.
The secretary general of the ANC, the party that dominated South African politics for 30 years, offered his condolences.
Fikile Mbalula described Chweneyagae as a “giant of South African film and theatre.”
“His legacy in ‘Tsotsi,’ ‘The River,’ and beyond will live on. Condolences to his family, friends, and all who were touched by his brilliance,” Mbalula said.
As the box office improves, will a steep discount on tickets bring more people to the multiplex this summer?
That’s what AMC Theatres is betting.
The Leawood, Kan.-based chain said this week that members of its AMC Stubs loyalty program, which has a free tier, will get 50% off adult evening-priced movie tickets all day long Wednesdays, starting July 9.
The move comes as the studios and theater owners have struggled to bring audiences back to the movies after the COVID-19 pandemic.
Box-office revenue improved in fits and starts as the pandemic waned, though the number of films released was greatly affected by the dual writers and actors strikes in 2023.
As of this past weekend, domestic ticket sales this year are down about 30% compared with the same time period in 2019, according to Comscore. Even before the pandemic, attendance numbers were declining.
But there is some hope on the horizon.
Total North American box-office grosses this year are expected to reach about 80% of 2019’s totals, with 2026 predicted to reach 86%, said Alicia Reese, senior vice president of equity research for media and entertainment at Wedbush Securities.
“The post-pandemic recovery has been pretty bumpy,” she said. “That said, the strikes really challenged the box-office volume for a while, but that’s now in the rear-view mirror.”
Theatrical attendance and flexible ticket pricing were frequent topics of conversation at the CinemaCon trade conference earlier this year in Las Vegas, where studio executives and exhibitors alike mused about how to bring audiences back to theaters.
A more diverse lineup of films would help, some said. Others, like Paramount domestic distribution president Chris Aronson, argued that an improved experience in the theaters, including fewer ads, limited trailers, extended matinee pricing or daily deals could lure customers back.
He highlighted the “Discount Tuesday” promotion available at many theaters.
“Why not ‘Discount Wednesdays’? Unless, of course, you’re already at full capacity on Wednesday, in which case, don’t do it,” he said during his on-stage presentation, to laughter from the audience of theater owners and industry executives.
That’s now exactly what’s happening at AMC, as theater operators consider ways to improve traffic on less-attended weekdays.
In explaining the decision, AMC Chief Executive Adam Aron touted the improved box-office results in the fiscal second quarter.
The bleak first quarter at the box office took a toll on AMC’s earnings, which the chain reported last week.
The company reported revenue of $862.5 million, down 9.3% from the $951.4 million it logged during the first quarter of 2024. Net loss for the first quarter was $202.1 million, compared with a loss of $163.5 million during the previous year. AMC also reported lower attendance for the first quarter with 41,903 admissions, a decrease of 10.1% from the same time period a year ago.
Aron cautioned in a statement at the time that the first-quarter domestic box office was “a distorting anomaly” and that anyone trying to draw conclusions about the movie theater business from those results was “likely to be mistaken.”
So far this spring, films like Warner Bros. Pictures’ “A Minecraft Movie” and Ryan Coogler’s “Sinners” have jolted the box office back to life.
And with several new movies on the horizon, including Disney’s live-action “Lilo & Stitch” and the Tom Cruise-led “Mission: Impossible — The Final Reckoning,” analysts and theaters feel optimistic about the potential box office trajectory. As of last weekend, the year’s box-office grosses are up 16% compared with the same time period last year, according to Comscore.
“Realistically, we could not afford to have made this change to our ticket pricing strategy until the box office showed true signs of sustained recovery,” Aron said in a statement. “But in April and now in May, the box office has been booming, and the remainder of 2025 appears poised to continue that upward box office trend.”
Already, Tuesdays have emerged as the biggest non-weekend moviegoing day, said Paul Dergarabedian, senior media analyst at Comscore. Adding another lower-priced day to the mix could help drive attendance, increase concession sales and expose audiences to trailers for new films, he said.
“When consumers feel like they’re getting something more, the loyalty developed there is very important,” Dergarabedian said. “Having one of the bigger chains commit to this is a big deal.”
The initiative will likely be a test to whether it cannibalizes higher-priced attendance on other days, Reese said.
“Overall, I think it’s a strong strategy with a lot of really good content available over the summer to get people who wouldn’t otherwise go to the movies to come back to the movie theater,” she said. “Either way, it gets attention, it gets far more people onto their loyalty programs that they can communicate with directly, it opens their eyes to AMC’s paid subscription program.”
Dynamic ticket pricing, similar to hotels and concerts, has long been discussed as a potential attendance booster but hasn’t been fully embraced for movies.
Nonetheless, AMC has experimented with different kinds of discounts. The company a couple years ago introduced modestly lower-priced tickets for less in-demand front row seats, but later backed away from the idea.
Rams owner Stan Kroenke will build a movie studio next to SoFi Stadium in Inglewood that will serve as the international broadcast center for the 2028 Olympic Games.
Construction will start by summer on the studio and production facility that will house hundreds of broadcasters from around the world that have acquired rights to cover the Summer Games in Los Angeles, Kroenke’s company said Tuesday.
After the Games, the facility known as Hollywood Park Studios will be used to make movies, television shows and other productions and perhaps host live broadcasts.
The development is part of Hollywood Park, a multibillion-dollar complex built on the site of a former horse racing track also known as Hollywood Park that includes the stadium, apartments, theaters, offices, shops and restaurants.
Kroenke’s organization hopes that attention from the Olympics will boost Hollywood Park Studios’ appeal as a future entertainment production center.
“We want it to be recognized around the world,” said Alan Bornstein, who is overseeing development of the studio for Kroenke.
The studio is part of Hollywood Park’s master development plan focusing on media, entertainment and technology, Bornstein said, anchored by SoFi Stadium, YouTube Theater and the NFL Media office building.
“There has been an increasing convergence of media and technology and sports, all under the notion of entertainment that is now distributed in in multiple channels,” Bornstein said, “whether it’s through streaming or whether through broadcast television or movies in theaters,”
The first phase of Hollywood Park Studios will occupy 12 acres and will consist of five soundstages, each 18,000 square feet, two of which may be opened to a single 36,000-square-foot stage.
The complex will have a three-story, 80,000-square-foot office building to support stage, production and postproduction activities. The studios will have a dedicated open base camp where trucks, equipment and actors’ trailers could be placed, along with a parking structure for 1,100 cars. Future development could include as many as 20 stages and 200,000 square feet of related office space.
The additional stages would be built to suit for future tenants as demand emerges, Bornstein said, who declined to estimate how much the studio complex will cost.
Although demand for soundstages outstripped supply a few years ago, production has recently slowed and dampened the current need for them.
A rendering of the Hollywood Park Studios broadcast center and movie production facility.
(Gensler)
Last year, the average annual occupancy rate dropped to 63%, a further indication of Hollywood’s sustained production slowdown, according to a recent report by FilmLA, a nonprofit organization that tracks on-location shoot days in the Greater Los Angeles area.
That was a decline from 2023, which saw an average regional occupancy rate of 69%. That was the year when dual strikes by writers and actors crippled the local production economy for months.
The foray into Hollywood-level production facilities is part of Kroenke’s goal to combine sports, entertainment and media from around the world, Bornstein said.
In addition to the Rams, Kroenke is owner of the Denver Nuggets basketball team, the Colorado Avalanche hockey team, the Colorado Rapids soccer team, the Colorado Mammoth lacrosse team and Arsenal Football Club, the Premier League soccer team based in London.
SoFi Stadium, where the Chargers also play football, will be converted into the largest Olympic swimming venue in history during the Games in 2028. It will host the Olympic opening ceremony with the Los Angeles Memorial Coliseum, as well as the opening ceremony for the Paralympic Games.
Kroenke is also a major real estate developer and landlord. The 300-acre Hollywood Park project is one of the largest mixed-use developments under construction in the western United States. SoFi Stadium alone cost $5 billion to build.
Last month, he also unveiled plans for a new Rams headquarters on a 100-acre site at Warner Center in Woodland Hills that would include a residential and retail community intended to be the centerpiece of the San Fernando Valley. It could cost more than the total price of Hollywood Park, which has been valued by outside observers at more than $10 billion.
Creating a second epicenter in Woodland Hills allows the Rams to significantly increase the size of their footprint in the Southern California market.
“When you’re looking to do a practice facility, you don’t need to be right in the middle of everything, and typically that real estate is very expensive,” Kroenke told The Times. “We built an identity in the Valley, with Cal Lutheran, and a lot of our players and families are up there. Our experience was really good.”
Architecture firm Gensler spearheaded the design for the Warner Center headquarters and Hollywood Park Studios. Clayco will be the general contractor for the studio, with Pacific Edge acting as project manager. Financing was arranged by Guggenheim Investments.
Times staff writer Sam Farmer contributed to this report.
