Union leaders trumpeted gains in SAG-AFTRA’s tentative contract with the major studios, citing stronger AI protections and the consolidation of previously separate pension plans.
“The theme of this negotiation really has been about looking out for the future of performers, and I think that the contract delivers on that,” Duncan Crabtree-Ireland, SAG-AFTRA’s chief negotiator, said in an interview Tuesday.
The union‘s membership, which includes more than 160,000 actors, broadcast journalists, dancers, DJs, stunt performers, voice-over artists and other entertainment professionals, will begin voting on the new contract later this week.
“The scope of the contract is something that I hope the members find meaningful,” SAG-AFTRA President Sean Astin said.
One of the chief gains, he said, was merging of the pension plans of the two previously separate unions — the Screen Actors Guild and the American Federation of Television and Radio Artists — fourteen years after they agreed to combine.
Their health plans were consolidated in 2017, but the pensions have remained separate until the current negotiation cycle. That was a major sticking point with members, some of whom couldn’t qualify for benefits as their contributions were split between two plans. Studios agreed to boost their overall contributions to the combined plan by 1%.
Union leaders also pointed to stronger protections against AI, including new guidelines that govern how studios should use generative AI and that strongly favor “human performances.”
The guardrails state that producers should not intend to use AI in a human role unless a synthetic actor brings “significant additional value” to the production. The contract draws a distinction between a digital replica that is created with a performer’s consent vesus a synthetic digital character that is not authorized.
“Digital replicas are derived from human beings who have compensation and other protections available to them,” Astin said. “If it can’t be done like that, then they’ve got to bargain with us for some very unique use of synthetics…That’s a pretty high bar.”
Under the new contract, minimum wage rates will increase by 3% annually. The agreement also boosts the so-called bonus for residuals that performers get on most-watch streaming shows. Members will increase their contribution to the health plan by 1%.
SAG-AFTRA joins WGA as the latest Hollywood union to strike a four-year deal with the studios. The previous contract term was three years.
The Directors Guild of America is the last union that still needs to land its own agreement. Negotiation sessions with the studios started on Monday. The contract is set to expire on June 30.
The union representing workers employed by the Writers Guild of America have reached an agreement on their first contract, ending a strike that lasted nearly three months.
The pending contract includes seniority and layoff protections, higher wages and outlines provisions for progressive discipline and a stepped grievance process, the Writers Guild Staff Union said in a statement Friday.
The union represents 116 members, who work in areas including legal, communications and residuals. They will vote on proposed contract in the coming days.
“Once ratified, the WGSU strike will end and Writers Guild staff will return to doing what we do best: defending the writers’ hard-fought gains and helping them build collective power,” the WGSU Bargaining Committee said in a statement.
WGA also said in a statement that they “are pleased to have reached a tentative agreement” with the union for its first collective bargaining agreement.
If ratified, members would see a minimum of 12% increases in pay for all Writers Guild staff over the course of the three year term. The salary floor would rise from $43,000 to $57,000. The staff would also see better protections against AI.
The strike began in February, weeks before the WGA was set to enter negotiations with the major studios, with the workers accusing their employer of bargaining in bad faith.
The pro-European Union coalition of Romanian Prime Minister Ilie Bolojan has collapsed after a 281-4 vote of no confidence. The Social Democrats, Bolojan’s allies, sided with far-right parties to oust the prime minister. The leu, Romania’s currency, fell to a record low against the euro before Tuesday’s vote.
Los Angeles County Dist. Atty. Nathan Hochman and the union that represents rank-and-file police officers offered a stinging rebuke of embattled City Atty. Hydee Feldstein Soto on Tuesday morning while endorsing one of her challengers in the upcoming election, county prosecutor John McKinney.
Hochman said he analyzed the field and decided the city attorney’s office “desperately needed” an experienced litigator like McKinney, who has been a prosecutor for 28 years and handled some of the city’s highest-profile trials.
“What we need in the L.A. city attorney’s office is someone who actually has courtroom experience, someone who understands how to win a trial,” Hochman said. “Someone who has actually not only talked the talk, but walked the walk.”
Hochman and leaders from the Los Angeles Police Protective League, the union which represents the majority of LAPD officers, stood shoulder to shoulder in endorsing McKinney. The league recently rescinded its endorsement of Feldstein Soto.
Feldstein Soto has been under fire for weeks, with her office accused of failing to properly inform other city officials about a hack of confidential files that saw 337,000 documents, videos and photographs leaked online. The documents amount to millions of pages, and appear to mostly come from civil lawsuits against the city that have been resolved in court. The files were not secured by a password, according to sources who spoke previously with The Times and requested anonymity because they were not authorized to discuss the ongoing investigation.
The city attorney’s office previously responded to questions from The Times by referring to a public report issued April 17, which said a preliminary investigation indicated that “the incident was contained to that third-party environment, and that no other City applications, systems, or department records were accessed or affected.”
While many of the documents dealt with relatively minor issues, others contained sensitive information about police officers. The Times used the leaked documents last month to reveal how the LAPD disciplined the officers who blew up a city block when they misjudged the weight of seized fireworks in South L.A. in 2021.
Sgt. Chris Wecker, vice president of the police union, said officers’ frustration with Feldstein Soto goes beyond the data breach. Wecker noted the city had paid out gargantuan sums in civil cases under Feldstein Soto’s administration, some of which the union believes she misplayed.
“Los Angeles has seen a dramatic rise in lawsuits, settlements and verdicts against the city costing taxpayers hundreds of millions of dollars,” he said. “The city attorney should not simply react to lawsuits after they’ve been filed. He must work proactively with city departments to identify legal risks before they turn into costly litigation.”
Feldstein Soto has also been accused of mismanaging her office and using the city’s prosecutorial powers for personal vendettas in multiple lawsuits, allegations she has repeatedly denied.
McKinney said he believes the city attorney’s office can do more work to reduce homelessness and criticized Feldstein Soto for her handling of an array of misdemeanor crimes including animal cruelty and trespassing. He said he is a proponent of “Broken Windows” policing — the idea that enforcing lesser laws will reduce felonies and deter criminals from committing worse crimes — and took a shot at Feldstein Soto’s handling of the data breach.
If such an incident happened under his watch, he said his “first call would be to the [Los Angeles Police] Department, the second to the FBI and the third to the people impacted.”
Feldstein Soto’s office has said senior LAPD officials and the city’s IT department were alerted as soon as the leak was discovered, and the FBI is investigating the matter.
Although it’s rare for the county district attorney to weigh in on the race for their city level counterpart — ex-Dist. Atty. George Gascón did not offer an endorsement in the 2022 contest which Feldstein Soto won — Hochman and McKinney are political allies who have aided each other before.
When Hochman emerged from a crowded 2024 primary field to challenge Gascón, McKinney endorsed him and functioned as a campaign surrogate.
Marissa Roy, a deputy attorney general with the California Department of Justice, is running to the left of the field and has the backing of the county’s Democratic party, the Democratic Socialists of America and her boss, California Atty. Gen. Rob Bonta. Roy has said she wants to turn the office into “the largest public interest law firm in the city,” targeting wage theft, tenant harassment and other issues impacting working-class Angelenos.
A call to Roy’s campaign was not immediately returned Tuesday.
Los Feliz attorney Aida Ashouri is also running.
The announcement from Hochman and the LAPD union could jump-start McKinney’s flagging campaign. He’s raised only $78,000 since entering the field, far less than either Roy or Feldstein Soto.
McKinney is relying on some of Hochman’s past campaign resources, hiring both the man who managed Hochman’s victory in the 2024 district attorney’s race and fundraiser Trey Kozacik, who operates the Pluvious Group.
McKinney, a registered Democrat, previously told The Times he would protect the city’s residents in court, “regardless of who’s in the White House.”
“I have been very, very disturbed by the activities of some federal law enforcement agencies that have come into Los Angeles and intentionally attempted to terrorize our people,” he said.
Times Staff Writers David Zahniser and Libor Jany contributed to this report.
The US president has accused some NATO countries of not doing enough to support the US-Israel war on Iran.
Published On 4 May 20264 May 2026
NATO Secretary-General Mark Rutte says European leaders have “gotten the message” after United States President Donald Trump announced plans to withdraw 5,000 soldiers from Germany.
Trump has grown increasingly frustrated with NATO allies, accusing them of not doing enough to support the US-Israel war on Iran. Speaking on Monday, Rutte acknowledged “disappointment from the US side”.
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“European leaders have gotten the message. They heard the message loud and clear,” Rutte said before a European Political Community meeting in Armenia.
“Europeans are stepping up, a bigger role for Europe and a stronger NATO,” he added.
The Pentagon announced the troop withdrawal from Germany on Friday, days after German Chancellor Friedrich Merz said Iran was humiliating the US during the negotiations aimed at ending the war.
The European Union’s top diplomat, Kaja Kallas, called the announcement’s timing a “surprise”.
“I think it shows that we have to really strengthen the European pillar in NATO, and we have to really do more,” Kallas said while stressing that “American troops are not in Europe only for protecting European interests but also American interests.”
Over the weekend, NATO spokesperson Allison Hart said officials in the 32-nation military alliance “are working with the US to understand the details of their decision on force posture in Germany”.
‘Dangerous military intervention’
European criticism of the war on Iran has mounted in recent weeks as the conflict sends shockwaves through the global economy due to the continued disruption to shipping in the Strait of Hormuz.
Last week, Merz compared the war to previous military quagmires, such as the US invasions of Iraq and Afghanistan.
“It is, at the moment, a pretty tangled situation,” he said. “And it is costing us a great deal of money. This conflict, this war against Iran, has a direct impact on our economic output.”
Spain has refused to let the US launch attacks on Iran from its airspace or military bases. Prime Minister Pedro Sanchez has condemned the war as “unjustified” and a “dangerous military intervention” outside the realm of international law.
Despite this, Rutte said “more and more” European nations were now pre-positioning assets such as minehunters and minesweepers close to the Gulf to be ready for the “next phase” in the war.
He provided no details, and European nations have previously insisted they would not help to police the Strait of Hormuz until the war is over.
Increased defence spending
Many European countries have committed to ramping up defence spending in the face of fears over Trump’s commitment to NATO and Russia’s assault on Ukraine – a push underscored by several leaders in the Armenian capital.
“Europeans are taking their destiny into their own hands, increasing their defence and security spending, and building their own common solutions,” French President Emmanuel Macron said.
“We have to step up our military capabilities to be able to defend and protect ourselves,” European Commission President Ursula von der Leyen told reporters.
A Union Pacific freight train sits idle in the Lincoln Heights section of Los Angeles on January 15, 2022. On Thursday, the rail company, along with Norfolk Southern, resubmitted their merger application to the Surface Transportation Board. File Photo by Jim Ruymen/UPI | License Photo
April 30 (UPI) — The Union Pacific and Norfolk Southern corporations announced Thursday a new merger proposal after a federal regulator rejected their initial plan in January.
The two companies applied for a merger in July, seeking to create the United States’ first transcontinental freight railroad.
The Surface Transportation Board rejected the proposal saying the application was incomplete.
A statement from the two companies said they resubmitted the application with “additional analysis” indicating cost savings for customers and improvement to the U.S. supply chain. It said the deal would take 2 million truckloads off the nation’s roadways and save $3.5 billion each year.
“After completing the additional work requested by the STB, the facts remain clear: This merger enhances competition and delivers real public benefits that make America’s supply chain stronger, Union Pacific CEO Jim Vena said in a statement.
The new submission includes traffic data from each of the six North American Class I railroads instead of sample data provided by the STB, the companies said.
The STB will have 30 days to review the new application.
The small Little Lake school district, which serves mainly low-income families in southeast Los Angeles County has become the setting for one of the longest teacher strikes in state history — reaching the the 10-day mark on Wednesday — as its 200-member union takes on significant issues straining districts throughout California.
The teachers have walked out over health costs increasing by $14,000 a year for some, crowded special education classes and proposed class size increases in a district grappling with declining enrollment and unsustainable past spending. The teachers aren’t asking for a pay raise — but their high-cost benefits are tantamount to a big pay cut.
While a settlement appeared close with negotiations to resume Wednesday afternoon, the dispute has taken a toll. Although schools are open with substitutes, the strike has consumed about 6% of the academic year. Most parents have kept children home, while scrambling to manage disrupted work and home routines — especially difficult in a school system where about 80% of students qualify for a free or reduced-price lunch because of family poverty. Teachers have typically lost several thousand dollars of pay that they are unlikely to get back.
“We’re trying to stay positive but every day feels like a punch to the gut,” Sabrina Ireland, a 6th grade math and science teacher, said on the picket line Wednesday in front of her campus, Lake Center Middle School. “I’m losing sleep… We have some teachers that both the husband and the wife teach here. They have no income right now.”
It’s hard for Little Lake to be noticed alongside the mammoth L.A. Unified School District, which has about 390,000 students. An L.A. Unified strike was dramatically averted with hours to spare on April 14 in a conflict that commanded local and national attention for weeks.
But this district — with seven elementary and two middle schools — is enduring a crippling strike, affecting about 3,400 students drawn from Santa Fe Springs and parts of Norwalk and Downey.
In terms of lost instructional days Little Lake ranks high. Earlier this school year, teachers went out for 12 days in the sizable Twin Rivers Unified School District in north Sacramento County. Teachers in New Haven Unified in Union City in Alameda County struck for 14 days in 2019. And an Oakland teachers strike in 1996 lasted about a month.
Teacher demands statewide
Numerous shorter walkouts and near strikes have unfolded throughout the state this year, part of a loosely coordinated effort by the California Teachers Assn. to align unions’ contract expiration dates and benefit from collective force. The union dubbed the effort as “We Can’t Wait.”
The issues surfacing in Little Lake echo the dynamic in L.A. Unified and elsewhere.
“Up and down the state, educators have won life-changing healthcare benefits and support for special education and have forced districts to create the safe and stable classrooms our students deserve,” said Gabriella Landeros, a spokesperson for the California Teachers Assn.
In the broad picture, district budgets throughout the state are likely to be a little larger, level or somewhat smaller — and schools could yet receive a big boost by the time the state’s budget is adopted in June.
Martin Gonzalez,13, left, a seventh-grade student at Lake Center Middle School, and Sebastian Escobedo, 11, a sixth-grade student at Lake Center Middle School, join striking Little Lake teachers at Lakeland Elementary School on Wednesday in Norwalk.
(Gary Coronado/For The Times)
But cost pressures have escalated quickly in many regions. In Little Lake, as in L.A. Unified, the cost of services for students with disabilities and percentage of students identified as having disabilities has risen sharply. Healthcare costs also have gone up fast.
Meanwhile, enrollment is declining, offsetting the benefit of state increases in spending per pupil. Inflation hit hard in recent years, while prompting employee groups, especially in urban areas, to fight for wage boosts to keep pace. This comes as one-time pandemic relief aid has expired.
Thousands more for healthcare
In Little Lake, strike supporters say they are fighting over issues that justify the sacrifice. Starting in January, the monthly premiums for the health plan used by many teachers rose from zero to $1,400 a month paid over 10 months each year — an enormous reduction in take-home pay.
To back off from that charge, district officials proposed raising average class sizes in kindergarten through fourth grade from 24-to-1 to 28-to-1, according to the district. Union negotiators want to keep class sizes where they are.
District officials acknowledge their proposals are painful, but said they face an unsustainable financial situation.
“We are at a point fiscally where the district can no longer support 100%,” of healthcare premiums, said Acting Supt. Monica Martinez-Johnson, a career district employee who started as a teacher.
A fact-finding report endorsed that account, but also noted that the district suddenly ended health subsidies on January 1, when a previous agreement expired. Employees were immediately forced to pay about 40% of the cost of their monthly premiums.
“This decision … has soured the relationship and [affects] all aspects of this reopened negotiations,” said Donald S. Raczka, who prepared a fact-finding report, issued April 12, as chair of a panel that included district and union representatives.
Jennifer Conforti, center, a teacher at Lake Center Elementary, pickets at Lake Center Middle School in Santa Fe Springs on Wednesday.
(Gary Coronado/For The Times)
Dollars and sensitivities
The financial implications of the strike are difficult to calculate at this juncture, but the district doesn’t necessarily lose money. Subs are making $500 a day, but there are fewer subs than teachers and striking teachers forfeit pay.
In-person student attendance has ranged from 18% to 31%, which will mean lost funding linked to student attendance. The annual operating budget of the district is $73 million, of which salaries and benefits are $53 million, according to the district.
Many parents and students have joined teachers on picket lines.
“We’ve stuck it out this long, we wouldn’t want them to fold on an agreement that doesn’t benefit them,” said Melissa Maggard, who has two daughters at Lakeland Elementary.
Therapist Sherry Gonzalez has kept her fourth-grade son at home, rescheduling work hours, hiring babysitters. Her son receives special services for a disability at Lake Center Elementary, and home routines are harder without this support.
“I don’t feel comfortable taking him in during a strike with subs who do not know my son’s needs,” Gonzalez said. “As a parent it’s just been hard. It’s been so frustrating. We feel worn down, tired, and we feel like we’re being ignored and unheard.
“To see this drive a wedge between the community, it feels hurtful,” she added. When asked how she’s been trying to cope, she responded: “Crying.”
What’s next?
The turmoil has included the sudden resignation of then-Supt. Jonathan Vasquez a week into the strike. After a 10-hour negotiating session on Monday, an altercation or a feared altercation — accounts vary — resulted in the district calling police.
A potential deal in the works includes employees paying zero to $630 a month in healthcare premiums — depending on their choice of health plan. Class size would not rise. Budget cuts would be necessary. On the chopping block are six intervention teachers serving students who need intensive academic help.
The union this week was pushing for a one-time $4,000 bonus for its members, but not a permanent increase. The pay scale for teachers ranges from $58,752 to $118,363.
Negotiations resumed Wednesday afternoon at a location considered more secure than district headquarters.
Last year, studios and Hollywood labor unions lobbied hard to ensure animated movies and shows could compete for California’s expanded film and television tax credit program.
The payoff came last week, when three animated movies were among the nearly 40 film projects that received a production incentive in the latest round of awards, the California Film Commission announced Thursday.
Walt Disney Co.-owned 20th Century Studios received $21.9 million for “The Simpsons Movie 2,” Disney Entertainment Television got $3.5 million for “Phineas and Ferb” and DreamWorks Animation was awarded $24.7 million in credit allocation for a yet-untitled animated film.
The three are the first animated feature films to receive tax credits from the state of California. (Last month, two animated shows — a spin-off of “Rick and Morty” and “Stewie,” which branches off from the “Family Guy” cartoon — also received tax credits.)
I spoke with DreamWorks Animation Chief Operating Officer Randy Lake about the award, which he called a “potential game changer” for the Glendale-based studio known for the “Shrek” and “Kung Fu Panda” franchises.
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“Unlike live-action, our projects are years long,” he said. “You’re talking about not just a job for six or nine months on set. It’s literally three or four years that these projects can take. It’s long-term employment.”
Like most of Hollywood, the animation industry has suffered from the effects of the 2023 dual writers’ and actors’ strikes, as well as the retrenchment in studio spending after the initial rush to invest in content for streaming services.
And like much of U.S. film and TV work — particularly in California — the animation business has been deeply affected by the increasingly rich tax credits offered by other countries.
Over the last 15 years, countries including Canada and Ireland have slowly built up animation hubs, aided by their local talent and lucrative production incentives specific to animation and visual effects.
DreamWorks, too, has outsourced work to partner studios, particularly in Vancouver and Montreal, as costs in the U.S. have increased and studios face pressure to rein in their production expenses while theatrical box-office revenue has become less reliable.
Just three years ago, DreamWorks cut about 70 jobs across its corporate functions, feature films, TV and technology departments. In 2024, Disney-owned computer animation studio Pixar laid off about 175 employees as it pulled back on its production of streaming series.
But with the recent tax credit allocation, DreamWorks will hire about 100 people in California for its upcoming untitled film. Those jobs would probably would have been outsourced to a third-party studio, Lake said. Keeping all of the jobs on that film in California helps improve collaboration among the teams and foster more creativity, he said. Today, DreamWorks has about 1,000 employees.
To understand why the new incentives are meaningful, consider that a DreamWorks Animation movie similar to the one that received the credit will typically have a crew of about 400 to 500 people.
That film is a big feature, though Lake declined to share details since the project hasn’t been announced.
Both the Animation Guild and studios have pointed to the incentive as a way to bring back animation jobs to the Golden State.
“Studios have been chasing animation tax credits in other states and countries for years, so it’s incredibly rewarding to see them use California’s for the very first time,” Marissa Bernstel, a trustee on the union’s executive board and member of the task force that helped lobby for the expanded production incentives, said in a statement last week. “The results feel very real, and I’m excited to see what future employment opportunities the incentive inspires.”
Lake said DreamWorks hopes to take advantage of the state incentives for all of its full-budget films.
“We’ll be applying for the next window,” he said, adding that he hoped they will be successful so “we’ll be able to have more and more of our films be fully produced in state. That’s the goal.”
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Lionsgate’s “Michael” had a massive opening weekend with just over $217 million in global box-office revenue. In the U.S. and Canada, the Michael Jackson biopic hauled in about $97 million, far surpassing studio expectations.
The film, which stars Jackson’s nephew, Jaafar Jackson, as the late singer, chronicles the pop star’s rise from his early days in the Jackson 5 through the growth of his solo career. The movie ends in 1988 while Jackson is on tour for his hit album “Bad.”
The premiere for “Michael” marks the biggest domestic opening for any biopic, musical or otherwise. The 2015 movie “Straight Outta Compton” previously held the record for highest opening weekend total for a musical biopic, with $60 million in the U.S. and Canada, followed by the Queen biopic “Bohemian Rhapsody” in 2018, which had a $51.1-million domestic opening.
Critics’ reviews of “Michael,” however, were largely negative. Many noted the plot sidesteps the child sexual abuse allegations against Jackson and said the film presents a more one-dimensional view of the singer.
An earlier cut of the film did end in 1993 and addressed the allegations, but that ending had to be scrapped due to a clause in a legal settlement with an accuser that stipulated he could never be pictured or mentioned in a dramatization of Jackson’s life. Jackson and his estate have denied that the pop star abused children.
What I’m watching
I finally finished the Hulu series “Paradise” this last week, which kept me guessing about literally everything all the way until the end. I’m interested in seeing where this genre-morphing show goes next season.
Members of the Writers Guild of America have officially ratified their newest contract with the Alliance of Motion Picture and Television Producers.
More than 90% of the 11,000 voting members in both WGA East and West registered their support of the new agreement. The voting period closed Friday at noon, after the union first struck a tentative deal earlier this month.
The new contract includes a robust healthcare plan in which studios pay over $320 million to sustain the health fund, higher residual rates — including a provision for a “success bonus” for the most popular streaming shows from 50% of the base residual to 75% — and language on the licensing of work for AI training.
“The first reaction [from members] was relief that we were not going to be going into a period of labor strife or strike authorization vote, in the midst of this contraction,” said John August, the co-chair of WGA’s negotiating committee, referring to the ongoing challenges in the industry. “Members want to work, and they want to get back to doing their job.”
Negotiations between the union and film and TV studios began in March, as the union’s current contract expires May 1. August said that, at the beginning of the negotiations, expanding the healthcare plan was a top priority. The union was able to secure increases that would raise the cap that companies pay to as high as $400,000 by 2028.
Union officials say the current cap has remained unchanged for two decades as healthcare contributions have steadily declined because there are fewer working writers.
But under the new contract, members would, for the first time, have to start contributing to their healthcare costs to the tune of $75 per month. The earnings threshold to get coverage would increase by about $7,000 to $53,773, leaving many members concerned about the higher cost.
“This is all difficult. Healthcare in America is not a good situation. But we were really mindful, as we always are, of trying to make sure the career of writing is sustainable,” negotiating committee co-chair Danielle Sanchez-Witzel said.
Additionally, the contract terms have been extended from the WGA’s usual three years to four — though it is not the first time the guild has added more time to its deal with the studios. Sanchez-Witzel clarified that the four-year period for the new contract ”is, by no means, a standard. This is just what we needed this year and what we agreed to for this cycle.”
“We were here in 2026 trying to get some things that we didn’t get earlier [in previous negotiation cycles] and happy for the progress we made,” she said.
The WGA is the first of the Hollywood unions to strike a deal with the studios. AMPTP congratulated the WGA on the ratification in a statement released shortly after the vote totals were announced.
“This deal reflects a collaborative approach that supports both writers and the industry’s long-term stability,” AMPTP said.
SAG-AFTRA and the Directors Guild of America still need to negotiate new contracts.
Amid the bustle and glitz of last week’s CinemaCon in Las Vegas, one question loomed over the annual trade convention — how will the proposed Paramount Skydance-Warner Bros. Discovery deal affect the movie theater business?
That anxiety showed up in a state of the industry speech from Cinema United trade group President Michael O’Leary, who reiterated his organization’s opposition to further industry consolidation.
It showed up in a trailer for Amazon MGM Studios’ upcoming film “Spaceballs: The New One,” when a voiceover poked fun at Hollywood studios “merging willy-nilly” as images of the Paramount sign and Warner Bros. water tower flashed across the screen.
And the subject again took center stage — literally — when Paramount Chief Executive David Ellison himself gave a speech during his studio’s presentation at Caesars Palace. He sought to reassure the assembled movie theater operators and exhibition executives that the combined company would indeed release a minimum of 30 films a year.
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“I wanted to look every single one of you in the eye and give you my word,” he said during an onstage speech, in which he also committed to a 45-day theatrical window and 90-day period before films go to streaming services. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”
It’s true that Paramount has nearly doubled its theatrical releases since Ellison took over. As he noted in his speech, the storied studio is now planning 15 films this year, up from eight in 2025.
But as I’ve written previously, theater owners and other studio executives question how releasing 30 movies a year across the combined Paramount-Warner Bros. would work — not only in terms of giving each film the proper marketing campaign to succeed in theaters but also because of the massive cost cuts that will inevitably occur once the merger is final.
Still, Ellison’s commitment to 30 films a year got a round of enthusiastic applause — and at least one high-profile boost.
A day earlier, AMC Entertainment Holdings Inc. Chief Executive Adam Aron told me in an interview that he backed Ellison’s takeover of Warner, saying he and AMC believed in the tech scion’s talent as a filmmaker and a movie executive, as well as his pledge to release those 30 films a year.
“We’re enthusiastic that David will fulfill his promises,” Aron said. “And that in the end, this will prove to be a good thing for our company and our industry.”
Not everyone shares that enthusiasm.
More than 4,000 people have now signed an open letter opposing the Paramount-Warner deal, arguing that consolidating two studios will lessen consumer choice and job opportunities for creatives, particularly at a time when Hollywood is already struggling. (Notable signatories include “Dune” director Denis Villeneuve, actors Glenn Close and Emma Thompson, as well as director and producer JJ Abrams.)
O’Leary of Cinema United similarly wasn’t convinced.
“While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns,” he said in a statement released hours after Ellison’s speech. “We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”
Elsewhere at CinemaCon, the mood was upbeat.
Warner Bros. film chiefs Mike De Luca and Pam Abdy struck a triumphant tone after an award-winning year for the studio, capped off by the best picture win for “One Battle After Another.”
They unveiled footage from new films like the upcoming “Digger” from director Alejandro G. Iñárritu and brought out lead actor Tom Cruise to a sustained standing ovation from the audience. And both De Luca and Abdy espoused optimism for the future of the theatrical business. The studio plans to release 14 films this year and as many as 18 for 2027.
“The film business has always required smart betting, and we have 4 billion reasons from last year to think we’re holding the right cards,” De Luca said during the presentation, referring to the studio’s worldwide box office revenue last year.
“We all know they’re not all going to work. That comes with taking swings,” Abdy said of the studios’ films. “There’s no version of this business that’s risk-free. But our job is to step up, make our bets and own it when it doesn’t work.”
But the end of the presentation felt more somber, with the executives asking the heads of Warner Bros.’ labels to come to the stage and be recognized. Shortly after, they asked Warner Bros. employees in the audience to stand for applause. It was hard to escape the feeling that this may be the end of an era.
As my colleague Meg James reported, the cuts hit Disney’s television and movie studios, sports giant ESPN, its product and technology unit, corporate functions and marketing. Even Marvel Studios’ visual development team was affected.
The layoffs are one of the first major moves under new Disney Chief Executive Josh D’Amaro, who took the reins of the company last month. In a message to employees, he said the company needed to “constantly assess how to foster a more agile and technologically-enabled workforce to meet tomorrow’s needs.”
What I’m watching
Some friends and I watched “Fukushima: A Nuclear Nightmare” this past weekend, a truly eye-opening documentary that explains what happened during the March 11, 2011, nuclear accident and whether the world has learned anything from it.
Mira Costa put it all together over the final three sets of its Bay League boys’ volleyball showdown with Redondo Union on Monday night, prevailing 26-28, 25-13, 25-18, 25-22 to avenge a five-set loss in the teams’ first meeting and stake its claim for the No. 1 seed in the Southern Section Division 1 playoffs.
“Last time we didn’t think they were as good as they were, but we’ve watched a lot of film since then and saw where they like to go,” said outside hitter Mateo Fuerbringer, who finished with a match-high 27 kills and four of his team’s nine aces. “We didn’t pass that well in the first set, but after that we started spreading the ball around more and our serving was really good tonight. We got them out of system a lot.”
Colby Graham had nine kills and three blocks and ended each of the middle sets with a kill as the Mustangs (31-2, 7-1) totaled 15 stuff blocks. Wyatt Davis added eight kills and three blocks and Enzo Barker finished with five kills and two aces.
Redondo Union’s Vaughn Flaherty, left, and JR Boice try to block a hit from Mira Costa’s Colby Graham.
(Steve Galluzzo / For The Times)
Mira Costa snapped Redondo Union’s 18-match winning streak and evened up the league standings, but the Mustangs gained the tiebreaker by virtue of fewer sets lost head-to-head.
Mira Costa saved three match points in the first set before Mavrick Essert ended it with one of his eight kills for the visiting Sea Hawks (26-3, 7-1). His older brother Cash Essert had 11 kills and JR Boice added 10 but Redondo Union was unable to maintain its momentum, never leading once in the last three sets.
Redondo Union keyed on Fuerbringer to win the first encounter 27-25, 21-25, 25-22, 21-25, 15-13 on its home court March 26, but Monday’s match was a different story as Mira Costa varied its attack to keep the Sea Hawks on their heels.
“We were gassed the first time because that was right after we played Loyola,” Mustangs setter Jake Newman said. “Loyola took a lot out of us even though we won. So we weren’t prepared for Redondo, but this time around we had two weeks to practice and study their tendencies.”
Mira Costa libero Dane Del Riego returns a serve in a four-set victory over Redondo Union on April 20, 2026.
(Steve Galluzzo / For The Times)
Newman said closing the match in four sets was critical.
“At 24-22 we were telling each other we have to win, we’re not letting this go five,” he said. “We needed to beat them in four for the league championship.”
Mira Costa lost to Corona del Mar in tournament play early in the season but has since defeated the Sea Kings twice. It also has victories over Huntington Beach, Loyola and Newport Harbor — all of which will likely make the highest division.
Redondo Union won its own Varsity Invitational tournament Saturday, rallying to beat Loyola in the finals, and swept Newport Harbor at home March 21.
Coach Greg Snyder praised the Mustangs for executing the game plan to near perfection but warned it may not be the last time they have to face their archrival.
“That’s a really good team we just beat … we could very well see them again the playoffs,” he said. “I wouldn’t be surprised if that happens.”
When the heads of three Los Angeles Unified School District unions stood side by side at City Hall to announce their new contracts after nearly going on strike hours earlier, one of them looked out of place.
Max Arias was decked out in a purple letterman’s cardigan emblazoned with “99,” for Service Employees International Union Local 99. United Teachers Los Angeles President Cecily Myart-Cruz wore a tie-dyed T-shirt that read “Solidarity LA.”
And then there was Maria Nichols, who looked like the school principal she once was.
Shiny black shoes. Black slacks. Light makeup. Tight smile. The only flash of color was her green V-neck union T-shirt, the logo peeking out of a black blazer.
Arias and Myart-Cruz gave impassioned speeches hailing the last-minute deals, which still need to be approved by union members and the school board. Nichols, who leads the Associated Administrators of Los Angeles/Teamsters Local 2010, started with a joke about her mere year and 10 months as a union leader.
“I’m the new kid on the block,” the 60-year-old said. “But we made a commitment. It’s not about equality, it’s about equity. … We are all better today for our collective work.”
AALA’s tentative contract calls for raises of more than 11% for the LAUSD’s 3,000 principals, assistant principals and middle managers — a lower percentage increase than SEIU’s 24% and UTLA’s 14%. But the contract also secured a 40-hour week with flex time off for extra hours, addressing long-standing complaints about grueling schedules.
On top of all that, Nichols has led her members into a new era.
“For a long time, principals have been perceived” as a class apart from other school employees, Arias said at the City Hall news conference Tuesday.
Not only are they many workers’ bosses, but with median salaries of $160,139 for elementary schools and $174,628 for higher grades, they make a lot more money. When UTLA went on strike in 2019, AALA stayed on the job.
This time, AALA and the other two unions vowed to all go on strike together if any one of them failed to get a contract.
“So them coming in,” Arias continued, “really shows our members that it is important to start figuring out how we work in solidarity.”
Nichols “called us and said, ‘I know that you guys have already been rolling, but I want to join in,’” Myart-Cruz added. “Having the leadership to be able to articulate that message to her administrators is a great thing. Solidarity is a great thing, but we now have unity.”
“I may be the new kid on the block,” Nichols told me afterward with a grin, “but I’ve been fighting for better schools for 42 years.”
We met a few days later at AALA’s Echo Park office.
“Excuse the mess,” Nichols cracked as we walked to her corner suite. She now wore a bright red pantsuit, union pins on her lapel. Hundreds of signs reading “Enough is Enough” leaned upside down against desks and cabinets. Chips, water and other snacks were piled inside collapsible carts.
“This was all going to be used for the strike,” she said. “You know what they say — expect the best but prepare for the worst.”
AALA /Teamsters 2010 President Maria Nichols hugs UTLA President Cecily Myart-Cruz during a news conference announcing a tentative agreement between LAUSD and the unions representing teachers, principals and workers at City Hall in Los Angeles on April 14, 2026. Above them is SEIU Local 99 President Max Arias.
(Robert Gauthier / Los Angeles Times)
A breakfast of blueberries and yogurt sat untouched as Nichols recounted her life story. She moved to Los Angeles at age 5 from her native Peru to join parents who left after a military coup. A star volleyball setter at Fairfax High, she gave up a University of Arizona scholarship her freshman year after breaking her wrist and finding it “too hard to watch the games and not be involved.”
Back home, she joined LAUSD as a bilingual teacher’s assistant while pursuing a degree in physical therapy at Cal State Northridge. Thanks to a succession of bosses she called “angels,” she stayed in public education. She worked in San Fernando Valley elementary schools as an assistant, a teacher and an assistant principal before a decade-long run as principal at Vena Avenue Elementary in Arleta, which was designated a California Distinguished School during her tenure.
That led to a promotion as a regional director for Valley schools, a job she loved despite the difficulties of shrinking budgets and enrollment. Nichols credited then-LAUSD Superintendent Austin Beutner with granting autonomy to principals in the district.
“We were all administrators from the field that had served time in this district and gone up the ranks,” she said. “That disappeared with [current Supt. Alberto] Carvalho. Gone. Gone.”
She pointed to a flow chart on the wall, titled “Ready for the World,” that Carvalho’s team distributed after he arrived in 2022. He brought in his own people instead of empowering existing administrators, she said.
“It’s a great plan,” Nichols said with no sarcasm while reading its goals aloud. “Because that is what we want. But we don’t invest in staff because we have a shortage. … We can’t have joy and wellness if your people are drying on the vine because they’re exhausted.”
Friction between principals and teachers over budgets and educational strategies increased. Frustrated, Nichols attended her first AALA meeting about two years ago.
“There were like 20 people there. And I thought, ‘This is it? This is where we are?’” she recalled.
Some principals urged her to run against the union’s incumbent president. One of them was Kathie Galan-Jaramillo, whom Nichols had hired to lead Sylmar Leadership Academy.
“Our union was very small, and it was very difficult for us to stand for what we believe in,” Galan-Jaramillo said. “But Maria knew all of the things and hurdles that we [administrators] had to do and go through, and the expectations.”
To prepare for negotiating a new contract, Nichols studied the existing one.
“It was so weak. The language was so antiquated,” she remembered thinking, especially when it came to making sure members weren’t being overworked. “And then I looked at UTLA’s contract and I said, ‘Holy crap. No wonder they get everything.’”
At the end of 2024, 85% of AALA members approved a Nichols-backed merger with Teamsters 2010, which represents higher education workers in California, to shore up their resources and try a different, tougher mindset.
“She has what’s lacking among many leaders — she has the judgment and humility to say, ‘I have things to learn and I’m up to it,’” said Teamsters 2010 Secretary-Treasurer Jason Rabinowitz, who sat with Nichols in contract negotiations. “And she’s a learner and quick study. That’s not always easy to do, because labor leaders have ego.”
After contract talks hit an impasse in February, Nichols reached out to Arias and Myart-Cruz to share research and strategy. They sold her on a united front. But initially, not all AALA members embraced the move, with some questioning why the union would still strike after getting a new contract.
“I was getting a lot of push back from members — ‘But if we get a TA [temporary agreement], why would we strike?” Nichols said. “But it wasn’t about the TA anymore. It was about the coalition. It was about sticking together. It was about power and unity. … My folks were not used to that.”
Nichols expects that AALA members will ratify the agreement.
“We’ll be done, and in May, we [Arias and Myart-Cruz] will go out and have some dinner, and, you know, adult beverages,” she said with a loud laugh.
Maria Nichols, head of the LAUSD principals union, AALA/Teamsters 2010, at her AALA office in Echo Park.
(Robert Gauthier / Los Angeles Times)
Then comes what she describes as the new alliance’s “heavy lies the crown” moment.
LAUSD plans to bankroll the contracts with money from Sacramento that may or may not come through, even as it plans to cut more than 600 jobs and school enrollment keeps dropping. SEIU’s new contract includes extra hours for members — who include custodians, bus drivers and cafeteria workers — so they can qualify for health benefits, Nichols pointed out.
“They deserve it,” she said, citing her respect for them because her father was a dishwasher and her mother cleaned houses. “But that impact of health benefits, it’s going to be directed at school budgets. OK, great. We got all of these wins, but how is that going to impact our budget at schools? Where’s the money going to come from?”
But these were issues for another day.
The conference room table was now covered in stacks of the same green T-shirt Nichols had worn at City Hall.
“We were going to give them out during the strike,” she said as her staff busied for a flurry of meetings. “But we’ll still give them out. We’ve got a job to do.”
It has been just one day at CinemaCon in Las Vegas, and there’s already a palpable sense of relief in the air.
Attendance at this year’s show is up about 5% from last year, according to Cinema United, the trade group that organizes the four-day convocation of thousands of movie theater owners, studio executives and industry folks at Caesars Palace.
Groups of people wearing orange-colored lanyards are everywhere throughout the hotel and casino, with many filling the Colosseum on Monday afternoon for a presentation from specialty film companies Angel Studios, Sony Pictures Classics and StudioCanal.
“The energy in every room reflected a sector that believes deeply in its own future,” said Stephanie Silverman, owner of the Belcourt Theatre in Nashville who serves on Cinema United’s strategic planning committee. “For independents, that sense of collective purpose is powerful — we’re not just holding on, we’re building toward something real and lasting.”
Amid such upbeat sentiment, CinemaCon allows theater owners and their business partners to see what’s coming from each studio and get a snapshot of the year ahead.
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On Monday, Provo, Utah-based Angel Studios showed footage from their upcoming film “Young Washington,” about the early life of the first U.S. president, as well as a trailer from an animated retelling of George Orwell’s “Animal Farm.”
“Theatrical isn’t fragile,” Shelley Schulz, vice president of domestic theatrical sales and exhibitor strategy at Angel Studios, said during the presentation. “It’s not fading. It’s evolving.”
European indie film studio StudioCanal also unveiled some of its upcoming films, including scenes from a new animated “Shaun the Sheep” movie that got laughs from the audience, before bringing out director Danny Boyle to applause and cheers to speak about his new film “Ink,” about the beginnings of the British tabloid “The Sun.”
Later this week, Warner Bros., Universal, Amazon MGM, Paramount and Disney will unveil footage from their upcoming releases and likely bring their major stars on-stage to build excitement about this year’s slate.
As I reported Monday, a string of recent hits like Amazon MGM Studios’ “Project Hail Mary” and Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” have pushed year-to-date domestic box office revenue about 23% higher than the same time last year.
The upswing signals that the exhibition business is embarking on its long-awaited recovery from the devastating downturn that occurred in the aftermath of the pandemic.
Studio executives and theater operators chalk up the improved prospects in part to a better and more plentiful crop of bankable movies that are bringing people back to the multiplex.
Exhibitors feel better about the lineup this year — it’s full of major franchises like “Star Wars” and Marvel superheroes as well as well-known animated titles such as “Toy Story 5” and “Minions & Monsters.” Also coming are anticipated films from acclaimed directors Christopher Nolan and Steven Spielberg.
“We’re getting into that cadence we needed in terms of having good movies, different types of movies being released every weekend,” Cinépolis USA Chief Executive Luis Olloqui told me ahead of CinemaCon. “This year in general, we’re feeling more confident, more optimistic.”
It’s quite the turnaround from the anxiety I heard last year leading into CinemaCon, when theater owners grappled with the box office downturn and the general shakiness of the industry.
Not to say that this year is all roses.
As I wrote, there are still major question marks facing the industry, including how Paramount Skydance’s proposed acquisition of Warner Bros. Discovery will affect the business. Paramount Chief Executive David Ellison has said the combined company will release 30 films a year, but exhibitors fear that cost cuts from the deal could impede that goal, which many believe is unrealistic.
And Hollywood is still going through a painful retrenchment.
Just last week, Sony Pictures Entertainment said it would cut hundreds of jobs across its film, TV and corporate divisions. Then came the news about upcoming layoffs at Disney, which could number as many as 1,000.
It hasn’t been much better in the exhibition space, either. In February, Dallas-based Look Dine-In Cinemas abruptly closed three Southern California locations; then, in March, the iPic chain filed for Chapter 11 bankruptcy protection and said it planned to pursue a sale of its assets.
A better box office this year wouldn’t solve all of these problems, but it would inject more hope into an industry that has been in turmoil since the pandemic.
That amount “represents one of the highest golden parachute estimates ever observed,” investor advisory firm Institutional Shareholder Services wrote in a recent report. The firm said support for the proposal “is not warranted.”
Warner shareholders will vote April 23 on the proposed takeover.
What I’m watching
For years, one of the shows on my weekly must-watch list is “Ghosts,” the delightful comedy about a couple who moves into a historic mansion haunted by its previous inhabitants. After a long week, the antics of Viking ghost Thorfinn always make me laugh.
