#filmla

[writerofscreen]

View this post on Instagram

A post shared by Patrick Caligiuri (@producer.patrick)

Film LA was extended but there's hope for the future to address its many issues like the labarynthian permitting process and fees that are a barrier to filming in Los Angeles

[alaturkaamerika]

Hollywood Krizde: Los Angeles’ta Yapım Oranı %22 Azaldı, Teşvik Tartışması Alevlendi

🎬 Los Angeles’ta film ve TV üretimi %22 düştü📉 2023 grevlerinin ardından projeler başka eyalet ve ülkelere kayıyor📣 Sektör temsilcileri: “Teşvik artmazsa Hollywood taşınabilir!” Film ve Televizyon Üretiminde Sert Düşüş FilmLA’in 2025 ilk çeyrek raporuna göre, Los Angeles’taki prodüksiyon faaliyetleri %22,4 azaldı. Bu düşüş özellikle: 🎞️ Sinema yapımlarında: %28,9📺 Televizyon projelerinde: %30,5…

[recentlyheardcom]

Los Angeles Film and TV Production Falls to Historic Lows

Los Angeles’ film permitting office is ringing the alarm about low production levels after shooting in the region saw another decline. The three-month period from July to September logged the weakest quarter so far this year, slipping 5 percent to roughly 5,000 shoot days, according to the latest report from FilmLA. The figure falls short of shooting in the area during the same time last year,…

[mxdwn]

FilmLA Study Shows Steady Uptick In Film And TV Production Following WGA And SAG-AFTRA Strikes

https://movies.mxdwn.com/news/filmla-study-shows-steady-uptick-in-film-and-tv-production-following-wga-and-sag-aftra-strikes/

[mariacallous]

Julia is a 22-year-old model, student, and self-proclaimed “princess” from Malibu, California, with one nonnegotiable: She refuses to shovel cow shit. But she’s down to play the part, she tells Farmer Jay, handing him a framed black-and-white photo of her in a bikini and cowboy hat. Grace, 23, dreams of being a stay-at-home mom with four kids. Jordyn, a 29-year-old country singer who lives in Nashville, Tennessee, says she would relocate across the country for her partner.

The three women are among 32 contestants on the most recent season of Farmer Wants a Wife, Fox’s rustic spin on The Bachelor. They come from different backgrounds and have all sorts of interests, but their goals are ultimately the same: to settle down, get married, and have kids.

While the women don’t explicitly talk politics, their focus on traditional values fits into a genre of entertainment that is rapidly reshaping the industry: Welcome to Hollywood’s MAGA reboot.

Hollywood is in the midst of another evolution. Studios are releasing fewer movies every year. Broadcast and news ratings are in decline. Screenwriters are struggling to sell scripts as salaries for studio heads have skyrocketed. Television and feature film production in Los Angeles shrunk by 30 percent in the first quarter of 2025, compared with the previous year, according to a report by FilmLA.

At the same time, Hollywood is also undergoing a resurgence in anti-woke conservative content thanks to the Trump administration’s anti-DEI agenda.

“More conservative projects are getting greenlit,” says Colin Whelan, a former studio executive at TLC and founder of Conveyer Media, which has produced reality shows for Netflix, HGTV, and Investigation Discovery. “People are pitching more shows like that because they realize that’s what’s selling.”

Maybe you’ve also noticed the subtle changes on your TV screen—content that favors Christian values, heartland themes, or law-and-order style programming.

Yellowstone, the Paramount drama about cattle ranchers in Montana, gained a massive audience during Trump’s first presidency, routinely breaking ratings records, and has since spawned successful spinoffs. Tim Allen’s Shifting Gears, about a grumpy widower with manosphere viewpoints, is a ratings hit for Disney’s linear broadcast audience, with “more live viewers on average than The Conners season 7 and Abbott Elementary season 4,” according to ScreenRant. It pulled in 3.7 million viewers for its season one finale. Farmer Wants a Wife has held steady ratings, averaging 1.5 million viewers weekly, and works as easy counterprogramming to more raunchy dating fodder like Temptation Island and Too Hot to Handle (both on Netflix).

In 2024, Trump Media and Technology Group launched a streaming service called Truth+, and the company made clear that it would prioritize “news, Christian content, and family-friendly programming that is uncancelable by Big Tech,” a mandate that now seems to be shaping the look of Hollywood more and more. (The streaming service also features at least one documentary—included among its most watched programs on the platform in May—peddling conspiracy theories about “serpent or lizard-like aliens who are secretly wielding influence over the human race,” according to an investigation by Talking Points Memo.)

In Trump’s version of Hollywood, old-fashioned values are in vogue again. The Christian drama 7th Heaven, about a Protestant minister and his seven children that aired for 11 seasons on The WB (later The CW), is in early development at CBS Studios and will “focus on a diverse family,” though it’s not clear what that means. Jessica Biel, who was in the original cast, is executive producing the reboot alongside Devon Franklin, a producer of faith-based films. Roseanne Barr, whose namesake show was canceled in 2018 after she posted a racist tweet about former Obama White House adviser Valerie Jarrett, is shopping a series that “saves America with guns, the Bible, petty crime, and alcoholism,” she told Variety.

Duck Dynasty, a duck-hunting reality show that ended in 2017, is also returning to television screens this summer on A+E, which experienced its first big hit of the year with Ozark Law, a show that followed multiple police departments in the Missouri region. Duck Dynasty producer Rob Worsoff is in talks with the Department of Homeland Security about a reality show where “immigrants compete to prove they are the most American,” according to The Wall Street Journal. Potential challenges include mining for gold or working on a Model T assembly line in Detroit.

What’s happening is a “cultural recalibration,” says Carri Twigg, a founding partner and head of development at Culture House, the production company that created Ladies First: A Story of Women in Hip-Hop and Hair Tales. The recalibration has led to a “generalized chill” in the industry that has caused more diverse projects to suffer.

“I’ve heard from multiple executives that there’s a noticeable hesitancy around content perceived as too progressive, especially if it centers non-white leads or tackles social issues explicitly. Even projects with mild inclusivity are getting flagged in internal discussions,” Twigg says. “Colleagues have expressed frustration that kinds stories they were encouraged to pitch just a couple years ago are now getting passed on as like ‘too niche’ or ‘not resonant right now’ by the same execs who once called them ‘visionary’ and ‘universal.’”

Twigg says there are two key reasons for the hesitancy.

“The political climate has emboldened executives who were always uncomfortable with the industry's post-2020 shifts. The power that DEI-era storytelling offered to historically excluded creators was unfamiliar, and in some corners, unwelcome.” The second, she says, is fear of reprisals from the administration.

In February, Federal Communications Commission chair Brendan Carr, who previously said he would end the agency’s DEI initiatives if appointed, opened a probe into NBC parent company Comcast, and later Disney, promising to take action if the investigation uncovered “any programs that promote invidious forms of DEI discrimination.” Carr has since said that the FCC plans to look into broadcast network affiliation agreements to help “constrain some of the power of national programmers.” According to Variety, Disney, Amazon, Paramount, and Warner Bros. Discovery have all rolled back programs aimed at increasing diversity.

Talk shows are also being encouraged to shift their programming. In a recent meeting with the cohosts of The View, the popular morning gabfest with Whoopi Goldberg and Joy Behar, ABC News president Almin Karamehmedovic urged the women to soften their criticisms of Trump, saying “the panel needed to broaden its conversations beyond its predominant focus on politics,” the Daily Beast reported. Disney CEO Bob Iger also suggested that the show “tone down” its political rhetoric.

One former executive at Amazon MGM Studios tells WIRED that Trump’s anti-DEI agenda, whose impact on film and TV only seems to be growing more pronounced, is a part of the administration’s Trojan-horse playbook to roll back civil rights. “It’s just the rhetoric they’re using to articulate what they really believe and who they really are.”

The White House did not respond to WIRED's request for comment.

The anti-DEI backlash threatens to make Hollywood even more out of touch than it already is to younger audiences, who increasingly prefer TikTok and YouTube to traditional viewing formats. An estimated 50 percent of Gen Z identifies as non-white, and nearly 30 percent identify as LGBTQ+. “These audiences aren’t just asking for representation—they expect it,” Twigg says. “If the industry starts backing away from inclusive storytelling, it won’t just be regressive—it’ll be a bad business decision.”

Original, inclusive storytelling is trending right now, as Sinners, Ryan Coogler’s vampire drama, proved by becoming the biggest box office success story of the year so far, earning $316 million globally. Hulu’s Paradise, about residents of a postapocalyptic town, and HBO Max’s The Pitt, a medical drama that follows an emergency-room crew over a 15-hour shift, have also felt like watercooler moments at a time when the industry is starved for them.

Beyond the cultural and commercial risks of a less diverse Hollywood, Twigg says there is a strategic one: Film and TV take years to develop and produce.

“Hitching your content strategy to a political moment that may not last through the next election—or the next news cycle—is short-sighted,” she says. “The stories being greenlit today will premiere in a future that may have swung back toward the very audiences currently being sidelined. If anything, the smartest strategy right now would be to build with resilience and relevance in mind—not reactionary politics.”

Whelan says that in over 20 years as a television producer, he has taken the same approach, regardless of the political and social climates of the time: to create shows that “entertain and inspire and maybe teach.”

In 2014, following stints at Syfy and TLC as a network executive, he applied that mindset to New Girls on the Block. It was the first follow-doc reality show with an all-trans cast. The series focused on a group of women in Kansas City, Missouri, who faced changing relationship dynamics in a society struggling to make space for trans women. The reality project he just wrapped probably sounds like a complete 180. It focuses on a Christian family who runs a ranch and takes in at-risk youth. But there’s more to it, he says.

“What’s interesting to me, having done it for so long, is I don’t see a huge difference between a show about a group of all transgender women and a group of ranchers trying to help at-risk youth,” he says. “It’s two groups of really amazing people trying to change their lives for the better, and change the world around them for the better as well.”

Tonality aside, fewer projects overall are moving forward this year, Whelan says, but that hasn’t stopped genuinely good ideas from finding an audience—no matter who sits in the Oval Office.

“Ozark Law would have sold regardless of the administration. The Netflix scripted series is all about breaking the law, so you know someone’s gonna come up with the idea of enforcing it. That’s how we pitch reality shows,” he says, before admitting, “I wish I had thought of that.”

[lightofraye]

briannarbailey1: Ran into @jensenackles on the set of Countdown @primevideo!! I can’t wait to see the show!!

#countdownamazonprime #countdown #amazonprimevideo #jensenackles #onset #actor #filmla #newshow #scvfilm #spn

[westeroswisdom]

Does this sound like Trump wants to put 100% tariffs on House of the Dragon and A Knight of the Seven Kingdoms?

The article at The Guardian refers to movies. But there is a thin line which now separates movies from TV. In the days of yore, people would have to go to a cinema theater to see a movie or buy a television set to watch TV. Now both can usually be done on a laptop or other digital devices.

Trump announces 100% tariffs on movies 'produced in foreign lands' President calls films ‘national security threat’ and claims he called on commerce department to immediately enact tariff

Donald Trump on Sunday announced on his Truth Social platform a 100% tariff on all movies “produced in Foreign Lands”, saying the US film industry was dying a “very fast death” due to the incentives that other countries were offering to draw American film-makers. In his post, he claimed to have authorised the commerce department and the US trade representative to immediately begin instituting such a tariff. “This is a concerted effort by other Nations and, therefore, a National Security threat,” Trump said in the Truth Social post. “It is, in addition to everything else, messaging and propaganda!” “WE WANT MOVIES MADE IN AMERICA, AGAIN!” Trump added.

Trump has been abusing his authority to impose tariffs which is based on "national security" concerns. Like his tariffs on plastic forks made in China or boxer briefs made in Bangladesh, there are no genuine national security threats posed by foreign films or TV productions. Trump is up to his orange forehead in bullshit. 💩

Film and television production in Los Angeles has fallen by nearly 40% over the last decade, according to FilmLA, a non-profit that tracks the region’s production. At the same time, governments around the world have offered more generous tax credits and cash rebates to lure productions, and capture a greater share of the $248bn that Ampere Analysis predicts will be spent globally in 2025 to produce content. [ ... ] The announcement from Trump comes after he triggered a trade war with China, and imposed global tariffs which have roiled markets and led to fears of a US recession. The film industry has already been feeling the effects of the tariffs, as China in April responded to the announcements by reducing the quota of American movies allowed into that country.

Trump and Musk are causing government incentives for cultural content to evaporate while other countries are increasing incentives to their own content creators. d'oh!

And as with the tariffs on everything else, other countries WILL retaliate.

Former senior commerce department official William Reinsch, a senior fellow with the Center for Strategic and International Studies, said retaliation against Trump’s foreign movies tariffs would be devastating. “The retaliation will kill our industry. We have a lot more to lose than to gain,” he said, adding that it would be difficult to make a national security or national emergency case for movies.

In Game of Thrones, I think everything (except one scene) was produced outside the United States – mostly in the UK and Ireland. The same is true of HotD and the Hedge Knight series. However, all of the ASoIaF productions fall under HBO/Max which is part of a US multinational company. So do Trump tariffs affect US entertainment companies doing work outside the US?

There are a dozen or so additional questions about this such as how such tariffs would be collected and whether foreign actors would be allowed into the US to work on American productions. Like most MAGA policy swerves, this has not been thought through.

So this is yet another way in which America's Mad King is trying to make life more difficult and complicated for its residents.

[ncisfranchise-source]

@makeupbyjlin - ✨ 🌴 🎬🎞️ Walking these historic stages, where legends have stood and stories have come to life, is never lost on me. The echoes of old Hollywood, the energy of iconic films, and the quiet in-between moments remind me how lucky I am to do what I love. Humbled. Grateful. Inspired—always. #ParamountStudios #SetLife #GratefulSunday #HollywoodHistory #makeupbyjennylin #greenlitetrailers #oldhollywood #makeupartistlife #iconic #filmLA #ncisorigins #local706 #loveLA

[kalamity-jayne]

I work in the film and television industry, in post-production specifically, and let me tell you things are pretty apocalyptic right now.

[leyfin]

It’s official: every single major film and TV production within the Los Angeles city limits has now been shut down by the writers’ strike. [...]

The “shut-it-down strategy” by the WGA appears to be having an impact on studios’ pockets. “It’s costing them money, which had a powerful way of delivering the message that the fat execs need to come to the table with a better deal for the people making the content that is making them rich,” said a member of the guild’s secretive “guerrilla squad,” which is picketing around-the-clock, holding the line that Teamsters Hollywood leader Lindsay Dougherty has vowed her members will not cross.

[knowusa]

Stay in LA Pushes City to Streamline Production Permits

On June 20, city of Los Angeles officials controversially granted a 5-year extension to its contract with FilmLA, the organization that handles the film and television permitting process for the city. The grassroots organization Stay in LA — which formed in January to help advocate for increased production in L.A. — was not in favor of a long-term agreement, instead pushing for a shorter…

[hollywoodbuzzhub45]

L.A. Outrage Over Frustration at the Box Office

A coalition of workers is calling for “meaningful changes” to nonprofit FilmLA, a go-between for filmmakers and the city, and if those asks aren't met they're looking for its license to not be renewed. Los Angeles is being urged not to renew its contract with FilmLA until "real reform" is implemented by an influential lobbying group that focuses on film and television production in California. On Wednesday, the group CA United — led by SirReel Studios CEO Wes Bailey and Mavenverse founder Pamala Buzick Kim — issued a statement ahead of a hearing on Friday where the Board of Public Works will consider an extension of the local film office’s contract.

More

[er-10-media]

Трамп решил спасти «умирающий» Голливуд привычными методами

New Post has been published on https://er10.kz/read/it-novosti/tramp-reshil-spasti-umirajushhij-gollivud-privychnymi-metodami/

Трамп решил спасти «умирающий» Голливуд привычными методами

Президент США Дональд Трамп решил спасти Голливуд – о�� объявил о введении 100-процентной таможенной пошлины на все фильмы, созданные за пределами страны. По его словам, американская киноиндустрия «умирает стремительной смертью» из-за налоговых льгот, которые другие страны предлагают создателям фильмов, чтобы переманить съемки.  

– Это скоординированная атака со стороны других государств и, следовательно, угроза национальной безопасности. Это еще и инструмент пропаганды, – написал Трамп в социальной сети Truth Social. – Мы хотим, чтобы фильмы снова снимались в Америке!

Президент распорядился, чтобы Министерство торговли и другие ведомства немедленно начали процесс введения новой пошлины.

Трамп не уточнил, как именно будет реализована инициатива и коснется ли она стриминговых платформ или только проката в кинотеатрах. Также неизвестно, будет ли пошлина рассчитываться от бюджета фильма, кассовых сборов или других критериев. Представители голливудских студий и профсоюзов в срочном порядке анализируют детали.

Тем временем страны-конкуренты, такие как Канада, Великобритания, Австралия и Новая Зеландия, продолжают активно предлагать налоговые льготы и кэшбэки для привлечения крупных проектов. Как результат, почти половина затрат на фильмы с бюджетом более $40 млн в 2023 году снимались за пределами США.

По данным FilmLA, за последнее десятилетие объемы съемок в Лос-Анджелесе сократились почти на 40%, а январские пожары лишь усугубили отток студий и специалистов из города.

[angelo-the-whistleblower]

“My reaction: ‘Say it ain’t so, Joe!’” Video #1 Film industry leaders say future of Los Angeles looks grim (16 Apr. 2025)

That's because there's a trend of declining productions in the city.

Video #2 - Hollywood movie and TV production drop 22%, according to report (15 Apr. 2025) -

Movie and TV productions in Los Angeles slipped deeper into the abyss, with new numbers from Film LA showing that shoot days dropped 22% in the first quarter of 2025 compared to last year. Tom Wait reports.

Video #3 - Thousands of jobs at risk in Hollywood as studios pivot production elsewhere (19 Apr. 2025) -

Hollywood production is plummeting as films flee California for cheaper locations, with on-location filming in Los Angeles down 22% this year. Officials hope a $750 million tax credit plan can help bring jobs and shoots back to the state.

Video #4 - Push to keep film productions in California (16 Apr. 2025) -

A new report shows a huge decline in on-location filming in Los Angeles. New numbers show a 22% reduction from January to March 2025, compared to last year. Philip Sokoloski, vice president of FilmLA, discussed the impacts that the reduction is having on the media landscape.