venue

NEW YORK — Beverly Hills-based Live Nation and its Ticketmaster subsidiary faced a bruising courtroom loss Wednesday after a federal jury found that the company operated a monopoly over concert venues.

The verdict by a Manhattan, N.Y., jury came after a five-week trial and caps a closely watched case that could have far reaching effects across the music industry, potentially leading to the breakup of the companies.

Ticketmaster is the world’s largest ticket seller for live events, while Live Nation is a dominant force in the concert business.

The civil case began when the federal government alleged that Live Nation used its clout to engage in a variety of anticompetitive practices, including preventing venues from using multiple ticket sellers.

“It is time to hold them accountable,” Jeffrey Kessler, an attorney for the states, said in a closing argument. He called Live Nation a “monopolistic bully” that drove up prices for ticket buyers.

Jurors agreed. They found that Ticketmaster had overcharged consumers by $1.72 for each ticket. The judge will assess damages later.

Live Nation, which owns and operates hundreds of venues, countered that it did not violate U.S. antitrust laws, arguing that artists, sports teams and venues decide prices and ticketing practices.

“Success is not against the antitrust laws in the United States,” Live Nation attorney David Marriott said in his summation.

Live Nation said in a statement that the “jury’s verdict is not the last word on this matter,” noting the court had yet to rule on a motion it had filed to challenge its liability in the case.

The trial revealed some embarrassing internal communications, including emails from a Live Nation executive who called customers “so stupid” and said the company was “robbing them blind, baby.” The executive, Benjamin Baker, testified that the messages were “very immature and unacceptable.”

The original lawsuit, led by a cadre of interested parties including the federal government, 39 states and the District of Columbia, dates to 2024. It alleged that Live Nation and Ticketmaster monopolized various aspects of the live music industry, such as concert promotion, venue operations, artist management and ticketing services.

Live Nation manages more than 400 artists and controls more than 265 venues in North America, while Ticketmaster simultaneously controls around 80% of the primary ticket marketplace and also is increasing its involvement in the resale market, according to the lawsuit.

Last month, Live Nation secured an unexpected tentative settlement with the Department of Justice in which the company agreed to several structural changes to its business, including adjustments to ticketing deals with venues, capping service fees and paying a $280-million fine.

However, more than 30 states, including California, decided to proceed with the trial. California Atty. Gen. Rob Bonta praised these state-led efforts to protect consumers, even amid dwindling antitrust enforcement from the Trump administration, he said in a statement.

“This is a historic and resounding victory for artists, fans, and the venues that support them,” Bonta said. “We are incredibly proud of today’s outcome … this verdict shows just how far states can go to protect our residents from big corporations that are using their power to illegally raise prices and rip-off Americans.”

Though a verdict has been reached, remedies for how Live Nation will be held accountable for its actions are still being decided by the judge.

One possibility is that the companies could be split up, an outcome favored by critics.

National Independent Venue Assn. Executive Director Stephen Parker said Ticketmaster and Live Nation need to be separate for the industry to see change.

“Live Nation and Ticketmaster must be broken up now. Ticketmaster should not be permitted to participate in the ticket resale market. Live Nation should not be able to promote more than 50% of artists’ tours,” Parker said in a statement. “And the damages paid to the states should be remitted to the independent venues, promoters, festivals, and fans that have suffered under Live Nation’s monopolistic reign over the last 15 years.”

Serona Elton, attorney and interim vice dean at the University of Miami’s Frost School of Music, said that the separation of Live Nation and Ticket master seems to be “on the table,” but she said it’s too early to assess the verdict’s fallout on the music industry.

Elton said fans might notice small changes in pricing, but there are factors other than Live Nation that are contributing to high ticket prices, such as the secondary ticket market as well as supply and demand challenges.

The verdict, Elton said, “sends a message of support to music companies and professionals working in the live space who have felt like they have suffered financial consequences because of Live Nation’s behavior.”

The ruling is a small but necessary step toward achieving a balanced and competitive ticketing industry, said Hal Singer, a managing director of economic consulting firm Econ One, who specializes in antitrust and consumer protection issues.

Forcing a Ticketmaster sale probably is the only remedy that will bring real change, Singer said.

“We’re not out of the woods quite yet,” Singer said. “We’ve kind of tilted the probability.… It could change the competitive balance. But that requires that a meaningful remedy follows the liability. You need both.”

Fans and some artists have long groused about Ticketmaster, which was founded in 1976 and merged with Live Nation in 2010.

Dustin Brighton, director of government relations for the Coalition for Ticket Fairness, agreed that although the verdict is a landmark moment for fans, “it’s not the end of the road.”

“As the court considers remedies, the focus must be on restoring competition, increasing transparency, and ensuring fans have real choice,” Brighton said in a statement.

Times staff writer August Brown and the Associated Press contributed to this report.

A five-year grassroots campaign to spur the reopening of one of the crown jewels of moviegoing in Los Angeles is on indefinite pause following an incident at the theater Friday night.

Ben Steinberg, a 26-year-old film student at Cal State Northridge, has long been a vocal and active proponent of reopening Hollywood’s Cinerama Dome, which has been closed since the onset of the pandemic in March 2020. A Change.org petition started by Steinberg has more than 31,000 signatures asking the Decurion Corp., longtime owners of the venue, to reopen or lease the property to someone else who would. Across social media platforms, Steinberg has nearly 12,000 followers.

From across Sunset Boulevard on Friday night, Steinberg — along with a projectionist and a privately-hired security guard — had been projecting images of two members of the Forman family, who own Decurion, onto the front of the Dome along with the slogan “Mr. Forman REOPEN THE DOME!” After about two-and-a-half hours, LAPD officers arrived in response to a radio call received around 9 p.m.

“They came to us and they informed us that the property owner considers it harassment and that it’s an escalation and that we have to shut down,” said Steinberg in an interview with The Times on Sunday afternoon. “So we just shut down immediately. We didn’t contest anything.”

There was no immediate response to a request for comment from Decurion on Monday. The LAPD confirmed details of the incident.

The Cinerama Dome originally opened in 1963 with its white tiled design and distinctive marquee. In April 2021 it was announced by Pacific Theatres that the venue would not be reopening. That brief statement regarding the closure of Pacific Theatres and ArcLight Cinemas, which operated the Dome and were also owned by Decurion, said in part, “This was not the outcome anyone wanted, but despite a huge effort that exhausted all potential options, the company does not have a viable way forward.”

Since then there have been sporadic signs of life regarding the venue, mostly to do with liquor licensing and permit requests, such as last October when a company called Dome Center LLC filed an application for a conditional-use permit.

Particularly since it became part of the larger ArcLight Hollywood multiplex in 2002, the Dome had been a vital part of the community of moviegoers in Los Angeles, home to many notable premieres and events. The front of the theater made a memorable appearance in Quentin Tarantino’s Oscar-winning 2019 film “Once Upon a Time… in Hollywood.”

For now Steinberg considers his Save the Cinerama Dome campaign, which began in April 2021, paused but he hopes to resume it as soon as possible. The complaint made to the police Friday was the first reaction of any kind Steinberg has received from Decurion.

“I think it definitely tells what their intentions are,” said Steinberg. “This is the only sign that they’ve given us that they don’t want us to continue and it’s definitely a threat.”

For Steinberg, the campaign has grown beyond just wanting to see movies again in a favorite venue and into something about who truly owns the cultural capital of the city.

“I think it’s extremely important to the community of Los Angeles and it represents the city,” said Steinberg of the Cinerama Dome. “And just personally, I have so many good memories of the theater. I would hope that I’d be able to go back in again and watch movies. I think the whole city deserves the movie theater. I don’t think it would be fair for them to keep it abandoned.”

While Decurion may be operating within its rights as owner of the property, its secretive and mysterious business practices have increasingly angered film fans concerned about the future of moviegoing in the city.

“When I first posted about it, I thought people wouldn’t care,” said Steinberg. “But it seems like the whole world cares about the Cinerama Dome. And I think too it’s more than the Cinerama Dome at this point. I think it just kind of represents the overall landscape of L.A. and America and how these large corporations can own historic buildings and keep them abandoned and then sort of push away people who want [them] to reopen.”

• The shift to L.A. Live will place the ceremony within a larger, campus-style complex, allowing the red carpet, show, press operations and post-show events to be staged in a more centralized footprint with increased capacity.

• The move will coincide with the Oscars’ shift to YouTube, part of a broader reset for the ceremony as it looks to expand its global reach after years of declining television viewership.

The Oscars are leaving Hollywood — or at least Hollywood Boulevard.

Beginning in 2029, the Academy Awards will move from the Dolby Theatre, their home for nearly a quarter century, to L.A. Live in downtown Los Angeles, the Academy of Motion Picture Arts and Sciences and AEG announced on Thursday. The ceremony will be held in the theater currently known as the Peacock Theater, which is expected to be renamed before the Oscars arrive as part of a new naming rights deal.

The new agreement runs through 2039. Discussions about the move have been underway for the last couple of years, according to people familiar with the planning who were not authorized to speak publicly.

The change in venue comes as the Oscars are also moving away from their traditional home on broadcast television. Earlier this year, the Academy announced that the ceremony will begin streaming live worldwide on YouTube in 2029, ending a five-decade run on ABC.

Since 2002, the show has been closely associated with Hollywood Boulevard, where the red carpet runs alongside the Walk of Fame and, for one night a year, the area becomes the symbolic center of the film industry. The Dolby Theatre sits at the corner of Hollywood and Highland, inside a retail and entertainment center near the TCL Chinese Theatre and the El Capitan.

L.A. Live offers a more centralized, campus-style setting, with venues and event spaces clustered together. The complex is adjacent to Crypto.com Arena and the Los Angeles Convention Center and is part of a larger sports and entertainment district developed and operated by AEG that regularly hosts concerts, sporting events and awards shows, including the Emmys and the Grammys. AEG has recently proposed adding a new hotel, residences and additional entertainment space to the complex, part of a longer-term expansion of the site.

In some ways, the move out of the Dolby is less a break than a return: The ceremony was staged for years in downtown L.A. at the Dorothy Chandler Pavilion and at the Shrine Auditorium before settling at the Dolby.

At the Oscars’ new home, the red carpet, ceremony, press operations and post-show events can all be staged within a compact footprint that includes the adjacent JW Marriott hotel and its ballroom. The theater itself is expected to undergo upgrades to its stage, sound and lighting systems, allowing it to be configured more specifically around the show. The move is also expected to increase capacity, a growing consideration as the academy’s ranks have expanded significantly in recent years, now numbering more than 11,000 members.

At the Dolby, space has long been tight. Each year, multiple blocks of Hollywood Boulevard are shut down for days at a time, rerouting traffic and turning the area into a heavily secured zone — conditions that were even more restrictive this year with security tightened further amid the war in Iran, including a one-mile police buffer around the theater.

The Academy had been looking for a venue that offered greater control over how the show is staged, including how the audience is arranged and how the room is used for both the broadcast and the live event. The new venue is expected to provide more room for press areas, green rooms and backstage operations, along with upgraded technical infrastructure for staging the ceremony.

Early design renderings released by the academy suggest that, for viewers at home, the Oscars may not look all that different. The stage retains the sweeping, curved proscenium that has defined the Dolby Theatre era, suggesting a similar visual approach at a larger scale, with expanded screen space and a more immersive ceiling design.

For both the academy and AEG, which owns and operates the complex, the appeal is in keeping everything in one place — arrivals, ceremony, the Governors Ball and afterparties — rather than spreading events across multiple locations. The setup also creates new opportunities for hospitality and sponsorship tied to the broader campus.

“L.A. Live was built to host the moments that define culture and there is no greater global stage than the Oscars,” said Todd Goldstein, AEG’s chief revenue officer. “Together, we will create an environment that celebrates creativity, honors excellence and delivers an unforgettable experience for movie fans everywhere.”

Taken together, the changes amount to a significant reset for the Oscars, which have seen their audience decline from more than 40 million viewers in the late 1990s to 17.9 million this year, down 9% from the previous year. Moving to YouTube offers a way to reach a broader, more global audience at a time when traditional television viewership has declined.

The Oscars will remain at the Dolby through the 100th ceremony in 2028 before making the transition the following year.

“For the 101st Oscars and beyond, the Academy looks forward to closely collaborating with AEG to make L.A. Live the perfect backdrop for our global celebration of cinema,” Academy Chief Executive Bill Kramer and President Lynette Howell Taylor said in a statement.

HAVE you ever wanted to live out your favourite movie? Well, there actually is an attraction in the UK that lets you do this.

Secret Cinema is known for hosting immersive movie experiences in the UK’s capital.

Previous venues have included Battersea Park, Alexandra Palace and London Fields with shows including Grease, Stranger Things, Casino Royale, Guardians of the Galaxy, Dirty Dancing and even Bridgerton.

And now, Secret Cinema plans to create a permanent venue in Greenwich.

The purpose-built venue in North Greenwich, if approved, would open by the end of the year.

And the venue would be close to other popular destinations in Greenwich such as The O2 and the Troubadour Theatre, due to open in late 2026.

Read more on travel inspo

GO ON

All the little-known websites for cheap or FREE tickets to gigs, theatre & festivals

TAKING OFF

I’ve visited 50 countries & this much-loathed budget airline is the world’s best

Merritt Baer, Artistic Director & Producer of Secret Cinema said: “Greenwich Peninsula is the perfect location for Secret Cinema’s long-term flagship home.

“We are committed to bringing world-class immersive experiences to London audiences and are thrilled to work with local businesses and partners to make this happen…

“We are looking forward to breaking ground on this venue and continuing to bring entertainment’s most loved stories to life.”

Secret Cinema hopes that Greenwich will become its permanent home “for up to 10 years”.

In addition to the potential permanent site, Secret Cinema has also announced that it is bringing back last year’s hit, Grease: The Immersive Movie Musical.

The experience will return to Battersea Park from July 22 to September 13.

Travel reporter Cyann Fielding visited last year’s Grease experience and said: “Secret Cinema’s Grease: The Immersive Movie Musical had immediately transported me out of London in 2025 and landed me in the world of Sandy and Danny in the 1950s.

“It felt like a time machine had dropped me into the world of Sandy and Danny, more than 65 years in the past.

“Guests can purchase carnival tokens, just like at a real fair, to enjoy the attractions at the experience.

“There was a Ferris wheel, flying chairs, hook-a-duck and even the iconic fun house from Sandy’s unforgettable transformation scene.

“Inside, the school’s gymnasium dominated the room, serving as the central stage for the night’s performance.

“Around the edges, themed bars and seating areas were scattered – each also playing a role in the experience.

“Rows of vintage cars had been converted into tables, the auto shop was slick with oil and the bleachers were ready for Patty Simcox to screech about school spirit.

“The experience kicks off with the film itself, but as key scenes played out, actors took to the stage to bring them to life, all before cutting back to the movie.

“My only criticism would be that at times it felt a little overwhelming to the senses – I found myself on occasions unsure where to look or what to listen to as the sound from the film, orchestra and actors sometimes battle against each other.

“Yet, the entire time my feet tapped and I couldn’t help but sing along.

“Both the dancing and singing throughout the experience was breathtakingly flawless.”

Unlike the usual West End shows in London, the Secret Cinema experience allows guests to stand and move around freely.

As you move around, so do the actors and they interact with you too, chatting while in full character.

Cyann added: “One student dropped by our table to rant about being ‘left out of Frenchy’s sleepover’ – dragging us directly into the drama.

“For the finale, the audience was led back outside to the carnival.

“Sandy’s final transformation scene with song ‘You’re the One That I Want’ really did bring the house down complete with leather trousers and Shake Shack.”

In other attraction news, a free London attraction has been named the UK’s most popular for first time, so our experts have shared all of their faves that also cost nothing.

Plus, a historic tourist attraction with 250k visitors a year could start charging an entry fee for first time.