Category: Entertainment

  • Filmart: French Editor Matthieu Laclau Talks China Industry Changes, Looming Shadow of AI

    Filmart: French Editor Matthieu Laclau Talks China Industry Changes, Looming Shadow of AI

    The Chinese entertainment industry has been out in force across Filmart this week, with major companies such as CMC Pictures and the various provincial governments including the sprawling metropolis of Shanghai looking to pitch their locations to the film world.

    About two decades ago, French film editor Matthieu Laclau was going in the opposite direction. Laclau, fresh from film school in Paris and looking for work, was told by one veteran cinematographer that he had “no chance to work in the film industry” so he decided to expand his horizons and head east.

    As luck would have it, the move to Beijing was quickly followed by a call, virtually out of the blue, to come work with auteur Jia Zhangke on what would become A Touch of Sin (2013), winner of Cannes’ best screenplay award. “He was a hero of mine so of course I said yes, instantly,” Laclau says.

    In the years since, the prolific Laclau has worked with a veritable who’s who of the Chinese-language arthouse scene, including Zihan Geng, Wei Shujun, Kok Rui Lau, Shangjun Cai, Xue Bai, Yang Zhang and Midi Z. His work, as well as his position as one of the few foreigners to successfully integrate and enjoy a long successful career in the Chinese film industry, has given him a unique insight into how the market for these smaller productions has developed.

    This past week saw the Taiwan-based filmmaker travel to Hong Kong for the Asian Film Awards where he gave a talk with fellow editor David Richardson (Drug War) about his work. On the eve of Filmart, The Hollywood Reporter spoke to Laclau about his life in China and the state of the industry in the world’s second biggest movie market.

    You’re closing in on 20 years in Asia. What are some of the changes you’ve seen, especially in Chinese-language cinema?

    It’s very fascinating when you go to China, you talk with these directors or producers and they keep saying, ‘Oh, it’s changing so fast. It’s changing so fast. Always changing.’ And it’s true the audience is changing, maybe the taste is changing. But for me, as an editor, honestly, making a film is still the same process. I think it’s still a bit the same process as it was 100 years ago, just that there is maybe more technology involved. But technology is just a tool. The process of telling the story, finding the film language of the film, caring about the characters, understanding the characters — when it comes to those things there is not a lot of change.

    AI is a huge topic at this year’s Filmart. What’s your take on its rise?

    Well I’m sure with filmmaking that AI will be very smart when it comes to understanding or telling you what’s missing, in providing basic information. It’s so convenient, of course. I’m sure it will be convenient for me because in five minutes I can get an answer. I don’t need to ask someone to come here and watch my work for two hours and then maybe this person has only one person’s point of view, or might miss something. So I’m sure that it can be a useful tool. But the danger is now you’re going to start to ask things like ‘When do you think that the audience is going to cry?’ or ‘When is in this film will the audience become emotional?’ And if filmmakers start changing things on that advice, then we start heading into dangerous territory.

    How “global” has the making of movies become and are there opportunities in Asia, as there were when you first arrived?

    I think the rise in co-productions is making some impact and that this is a good thing. In Europe, you know, it has always been like this for many, many years — you do a European co-production with Germany, with Belgium, with the Netherlands, with whatever countries. They combine the story together and everyone can find their own money and then they can reach their own market. So you can have a bigger budget to make the same film. I think this is happening a lot more in Asia now.  Some of the director’s I work with are following that path, and I think that’s good. In China we are seeing more of a mix of genres, and again that is good. Genre filmmaking has developed, films that are sometimes dark but include heartfelt humor, and maybe even the director’s view of the world. So there are definitely things to get excited about.

  • Bravo Hits Pause on ‘The Real Housewives of Miami’ Amid Low Ratings

    Bravo Hits Pause on ‘The Real Housewives of Miami’ Amid Low Ratings

    After weeks of worried murmurs in the Bravosphere about the status of “The Real Housewives Miami,” a source confirms to Variety that Bravo has indeed hit pause on the show, which concluded its seventh season in October. The show, though beloved among devoted Bravo fans, is the least-watched entry among the network’s “The Real Housewives” series.

    It’s not the first time “RHOM” has undergone a reset. In October 2021, Bravo’s parent company NBCUniversal announced that “The Real Housewives of Miami” would be returning to television as a Peacock original, more than eight years after its third season concluded in 2013. After Season 3 on Bravo, “RHOM” was shelved, but it was never canceled, and the show returned with a mixture of original cast members — Larsa Pippen, Alexia Echevarria, Lisa Hochstein, Adriana de Moura and Marysol Patton — and new ones.

    Seasons 6 and 7 then ran on Bravo, but despite the quality of the show, it’s never been among the highest-rated of Bravo’s “Real Housewives” offerings. Season 7 wasn’t its strongest installment, and before Bravo paused the show, several cast members were thought to be on the chopping block after having had difficult seasons. Nevertheless, even Season 7 bestowed viewers with many gifts, such as de Moura accusing her former BFF (and possible lover?) Julia Lemigova of having an affair with “a Haitian Mortician” during one of the reunion episodes. Immediately iconic.

    “The Real Housewives of Miami” has featured a mostly Latina cast, as well as Bravo’s first out, full-time LGBTQ cast member in Lemigova, who is married to tennis superstar Martina Navratilova.

    The show is produced by Purveyors of Pop. Matt Anderson, Nate Green, Cooper Green, Maty Buss, Bill Fritz, James Brangert and Andy Cohen executive produce.   

  • ‘Invincible’ Bosses Explain Those Young Nolan Flashbacks and Eve’s Big Reveal in Season 4 Premiere: ‘That’s Going to Be Heightening Things Moving Forward’

    ‘Invincible’ Bosses Explain Those Young Nolan Flashbacks and Eve’s Big Reveal in Season 4 Premiere: ‘That’s Going to Be Heightening Things Moving Forward’

    SPOILER ALERT: This article contains spoilers for the Season 4 premiere of “Invincible,” now streaming on Prime Video.

    The “Invincible” Season 4 premiere did something that the show, and Robert Kirkman‘s original superhero comic book series, has never done before: show fans the early days of Nolan (J.K. Simmons), and how his alien planet Viltrum was nearly wiped out by a virus.

    Episode 1 of the three-part premiere included a brief flashback of Nolan starting out as Omni-Man at his first costume fitting with Debbie (Sandra Oh), but Episode 2 ratcheted things up. It began with an extended look back at teenage Nolan teaching child Viltrumites the violent ways of their culture. Then, Nolan’s parents put his fighting skills to the test with a brutal beatdown, but things quickly take a turn as Viltrumites around the planet start coughing up blood. The race of powerful aliens becomes decimated by the Scourge Virus, which kills 99.9% of their world — except for Nolan, Grand Regent Thragg (Lee Pace) and a handful of others. In a chilling sequence, the survivors jettison the corpses to create rings around their planet. The rest of the episode goes back to present day, where Nolan, Allen (Seth Rogen), Telia (Tatiana Maslany) and their “Star Trek”-inspired crew search the galaxy for ways to kill the remaining Viltrumites.

    Back on Earth, Mark (Steven Yeun) faces off against new and old threats, including the talking T-Rex Dinosaurus (Matthew Rhys), Universa (Danai Gurira) and the alien Sequids. But Mark isn’t taking any more chances with the Sequids, and kills their leader, shocking his fellow heroes. That puts him in some hot water with Cecil (Walton Goggins), who’s also dealing with Conquest’s (Jeffrey Dean Morgan) escape from his underground bunker. There’s also another attack from the rapidly aging Flaxan aliens, but their assault is stopped Mark and the Guardians of the Globe. However, Monster Girl (Grey Griffin) and Rex/Robot (Zachary Quinto) go through a portal and get trapped in the Flaxans’ dimension.

    The biggest twist was saved for the end of Episode 3. With her powers not working, Eve (Gillian Jacobs) is searching for answers and takes a pregnancy test. It turns out she’s pregnant, but decides to not tell Mark yet. As the Viltrumite War looms ahead, it’s another major life moment for Mark and his growing family.

    In an interview with Variety, co-showrunners Robert Kirkman and Simon Racioppa break down the Season 4 premiere, those brand-new flashbacks and what Eve’s pregnancy means for the show going forward.

    I want to start with the flashbacks in the premiere. The previous seasons didn’t have very many flashbacks, and neither did the comic. How did you decide to show this moment from Debbie and Nolan’s past together in Episode 1?

    Simon Racioppa: It was a desire to show that Nolan is not out of Debbie’s head. She was with him for over 20 years. Even now, it’s been a couple years since she’s seen him last, but that doesn’t just go away. She’s dating somebody else, but he’s still a huge part of her thoughts. He still has a presence in her life, even though he’s literally not there. She’s also reinterpreting things. Suddenly all these memories that you have, you’re like, “Oh, that’s what that was about.” It takes on a different light. So that’s what she’s going through, and it’s also setting up what’s coming up for her, too. It’s reminding the audience that Nolan is still part of her life and maybe setting up some expectations for what might be coming up later in the season.

    Robert Kirkman: It’s also nice when you get to a fourth season of a show to reveal to the audience, “You think you know these characters, there are more bits and pieces to their personality that we haven’t quite revealed to you yet.” There’s more of a sense of discovery this deep into the show.

    Racioppa: Everybody has different memories of a relationship. There are good memories and bad memories. Yeah, Nolan did some terrible things back in Season 1, but Debbie still has some good memories of life with him. There were lots of good moments. Otherwise she never would have been with him for 20 years.

    Episode 2 starts with another flashback to young Nolan’s life on Viltrum when the Scourge Virus breaks out. Where did the idea come from to show this extended sequence?

    Kirkman: There was some talk about making that the first episode and making our first episode the second. But, ultimately, we decided to make it land where it landed. It’s a very important episode. As we’re getting closer to the Viltrumite War, we wanted to make sure that the Viltrumites weren’t this unknown space tyrant force that you didn’t know anything about. We kept things very close to the vest over Seasons 1, 2 and 3 over exactly what was going on with them, and who they were as a people. To have this chunk of the episode that reveals so much of their backstory was really important. I have to hand it to Simon, who wrote that episode, there are really cool elements that are completely unique to the show that give you really great insight into the Viltrumites. As Alan says, you start to feel a little bit of sympathy for them for the first time ever. It puts us in a great place, moving into this war.

    Racioppa: We wanted to make sure that they came across as layered, complex and complicated, because they are half of Mark’s heritage. It plays a role in his thinking and who he is, from the start of the series all the way to the end. That wouldn’t resonate, or have the importance it needs to, if the Viltrumites were just bad space guys. They’re a full society. There are reasons for why they act the way they act, why they do the things they do. We wanted to — maybe not answer every question you have — but certainly illuminate them to a degree that you can start thinking, “So that’s why they’re here. That’s why they’re doing this. That’s why Nolan is who he is, and, by extension, maybe that’s why Mark is who he is as well.”

    How did you come up with the looks for Nolan and his parents? Young Nolan looks a lot like Mark, and his father resembles present-day Nolan.

    Kirkman: Those parallels were very deliberate, and that was something that was kind of baked in. You’re seeing Nolan at a time similar to where we saw Mark when the show started. This was Mark’s family dynamic and life; then this is Nolan’s family dynamic, how a Viltrumite grows up, how they’re taught. To a certain extent, you see the full life cycle of Viltrumite life in these little glimpses of how at varying ages they’re doing things. Hopefully it gives you a really clear picture as to why Nolan turned out the way he did. Showing what his society deems normal is very important, and it goes a long way to — not necessarily justify his actions — but making you more easily understand his actions.

    Racioppa: It’s all from the comics. We expand upon and open up the space between the panels. We thought it was important to take you there when the Scourge Virus happened to make you part of that as an audience member, versus having a character speak about it. This is nice thing about animation; in live-action maybe that would have had to be a conversation, unless your budget was extremely high. We’re able to go there and show it and actually have it happen on screen in real time, even as a flashback.

    Robert, when you were writing the comics, did you already have these ideas and storylines in mind? Or was this fully made for the show?

    Kirkman: Those actual aspects were fully made for the show. There are always notions of how Viltrumite life worked and various different things. I’m present in the writers’ room, and right there in the mix when we’re working these things out. I’m able to give my opinion of, like, “I kind of pictured it being like this.” There are some things that I had that didn’t necessarily work their way into the pages of the comic book, but I had them worked out behind the scenes. I’m able to flesh those things out with the writers. That was one of those moments where I never got around to showing this, but this is how I see things working. There are also a lot of things that I never considered when I was writing the comic book series. When we’re in the room, a question will be asked and it’s like, “Never thought about that! Hold on a second.” And in the moment I get to be like, “Well, you know, if this means this, and that means that, then I was thinking maybe this could be that.” It’s great to be able to put a fresh coat of paint on something that’s 20 years old, find a new nook and cranny that I’d never explored, flesh it out and feel like it’s as authentic as if it had shown up in the comic book 20 years ago.

    Racioppa: One of the best things about having Robert is that there are extra pages of the comic that only exist in his head that we get to pull out as we work on the show. Maybe didn’t make their way into the comic, but they’re there. Then we’re like, “Oh, that’s great. So that’s the backstory of that character. That’s awesome. Let’s put it in the show. Take that page out of your head and let’s put it in the script.”

    We learn a bit about this in the comics, but why did Nolan survive the Scourge Virus when it wiped out nearly all of the Viltrumites?

    Kirkman: It’s possible it may come up in the future. It’s certainly unknown for now. Viruses work in different ways; some people survive and some people don’t. It’s possible that there are more elements to that character that will be revealed as time goes on.

    Eve is revealed to be pregnant at the end of Episode 3. How is that going to raise the stakes for Marc once he finds out?

    Kirkman: You want to keep things as heightened as possible. We’re sending Mark out into space to fight a war. We want to give people the sense that there are still very important things happening on Earth, even if you may not see it. Leaving him with that tidbit, and to be the undercurrent of some unknowns as to what may be occurring, was really important to us. Having these characters deal with real-life things and relationships keep it as grounded as possible. It’s a big storyline that’s going to be heightening quite a bit of things for these characters moving forward.

    Racioppa: The world exists beyond Mark. There are other things that will happen around him. If he leaves for a while, Earth doesn’t stop and wait for him to return. Things are happening for other characters. Eve’s her own person. They’re in a relationship, but she has her own wants, desires, issues, triumphs that are going to happen whether Mark is there or not. So that’s important to us to make that feel real, and not just that everybody is serving Mark. Everybody has their own story and drama to go through.

    Also in Episode 3, Robot and Monster Girl disappear into the alien Flaxan world, which comic readers know is part of a major storyline up ahead. Will we see them again this season?

    Kirkman: You just have to watch the rest of the episodes. I will say that is a huge storyline that we’ll be setting up. Anyone who’s read the comics is very familiar with that. It would be insane if we were able to also fit that into Season 4. So we’ll have to see.

    This interview has been edited and condensed.

  • Lorde Confirms She’s Now an Independent Artist, Announces Deal With UMG Has Ended

    Lorde is officially an independent artist, the pop star revealed to fans in a voice memo published on Tuesday, meaning one of the world’s biggest acts is officially on the market.

    “I have been in that contract for a very very long time, in some form of that contract since I was 12 years old, when I signed my first development deal with Universal,” Lorde told fans on the voice memo, saying that her deal with the label ended at the end of last year. “And I adore them. They’re incredible people, and I had an amazing experience with them. But the truth is that a 12 year old girl pre-sold her creative output before she knew what it would be like, and before she knew what she was signing away.”

    Lorde continued to say that “I’m sure I’ll have a deal again, could well be with Universal,” but further added that “I knew that I needed to take a second to have nothing being bought or sold that comes from me. When I see an opportunity for a clean slate, I try to take it.”

    Lorde first broke through with her debut album Pure Heroine when she was just 16 years old, thanks to global smash “Royals,” which topped the Hot 100 and won a Grammy for song of the year. She followed that with her much-beloved sophomore album, Melodrama, in 2017, then took a sonic departure with 2021’s Solar Power. After a four-year hiatus, she returned with last year’s Virgin.

    Aside from the major change in her music representation, Lorde told fans about her prep for upcoming shows, including festival appearances and a just-announced headlining slot at Lollapalooza in Chicago later this year. She’ll play a pair of shows at the Kia Forum in Los Angeles, which she said will serve as the end of her Ultrasound World Tour.

    Also in the memo, Lorde said she was studying to get her permit, further quipping, “I must be a licensed driver before I turn 30.” She told fans she took out a lease on an office to give her a more dedicated space to handle her art, a change after she’d “run all of this from my bed forever.”

    A fresh start and a clean slate are clearly a present concept in her mind, no doubt influenced by her first bit of artistic independence since pursuing a career as a musician.

    “Newness is kind of the theme, a clean slate,” Lorde said. “I don’t know if you saw my phone background that says ‘I have no master,’ but I’m really trying to feel what that feels like.”

  • ‘The Real Housewives of Miami’ Put on Pause By Bravo

    Bravo has put The Real Housewives of Miami on pause at Bravo, a source has confirmed with The Hollywood Reporter.

    The Miami-based Real Housewives entry aired its last episode, the final reunion part to its seventh season, in October 2025. News on the future of the franchise being put on “pause” arose amid reports of filming already being delayed alongside a potential cast shakeup.

    The series debuted on Bravo in 2011, but was brought to a halt in 2013. Bravo initially rebooted RHOM after eights years off air with its fourth season in 2023, which saw the return of original Housewives Alexia Nepola, Larsa Pippin, Lisa Hochstein, Adriana de Moura and Marysol Patton (with the latter two women being shifted to “friend” status), and the addition of Guerdy Abraira, Nicole Martin and Martina Navratilova.

    Stephanie Shojaee joined the cast for season seven.

    More to come.

  • ICEX Unveils ‘La Tarara,’ ‘La Llama’ for Cannes, Adds Carla Simón’s ‘Flamenco’ to ‘Where Talent Ignites’ Showcase

    ICEX Unveils ‘La Tarara,’ ‘La Llama’ for Cannes, Adds Carla Simón’s ‘Flamenco’ to ‘Where Talent Ignites’ Showcase

    Spain’s Audiovisual From Spain, the brand run by Spanish trade and investment body ICEX to drive the interational impact of Spanish talent, is heading to Cannes with newly unveiled short films “La Tarara” and “La Llama,” plus Carla Simón’s previously introduced “Flamenco” as it expands its 2026 “Where Talent Ignites” campaign across film, fashion, music, design and contemporary culture.  

    With “Flamenco” already unveiled in February at the Rotterdam Film Festival, the main Cannes reveal is the launch of “La Tarara,” starring Ingrid García-Jonsson and “La Llama,” built around the creative universe of Spanish designer Jaime Hayon.

    Together, the two new pieces sharpen Audiovisual From Spain’s push to frame Spanish screen talent as part of a wider creative ecosystem with clear international reach.

    “Spain is enjoying a standout moment in audiovisual,” said ICEX CEO Elisa Carbonell in a statement, describing the new phase of “Where Talent Ignites” as a bid to back high-impact creative pieces that showcase the country’s talent, creative excellence and current momentum.

    Directed by Nicolás Méndez and produced by Audiovisual From Spain in collaboration with Canada, “La Tarara” moves into the territory of fashion film and contemporary visual storytelling.

    Starring García-Jonsson, whose credits include Los Javis-produced Netflix series “Superestar” and musical comedy “My Heart Goes Boom!,” alongside Lucas Català, the piece is positioned as a symbolically charged work in which performance, design and cinematic language converge in a tightly stylized frame. Additional internationally recognized Spanish talent attached to the short is set to be announced.

    For its part, “La Llama” opens onto animation, architecture and design. Produced by Audiovisual From Spain in collaboration with White Horse and Apartamento, the piece takes Hayon’s conceptual and visual universe as the spine of a poetic audiovisual journey through more than a century of Spanish creativity.

    The creative team includes White Horse’s Pol González Novell, Apartamento’s Nacho Alegre, Turbo, The Post Office, writers Leti Sala and Vincenzo Angileri and character designer Hayon.
     
    Conceived around a “mutating house” in constant transformation, “La Llama” frames Spanish design as a living, evolving language capable of dialog with global contemporary culture without losing its own identity.  

    Previously unveiled, short film “Flamenco,” directed by Simón and produced by Audiovisual From Spain in collaboration with Mamma Team, stars Rocío Molina and features El Niño de Elche, revisiting flamenco through a contemporary lens that explores the tension between heritage and creative freedom.

    Following their premiere at May’s Cannes Film Festival, the three pieces will continue their international rollout at further events as flagships of the 2026 “Where Talent Ignites” campaign.

  • ‘The Season’ Stars Jessie Mei Li, Chris Pang and More Unveil Global Premiere Date at Buzzy FilMart Presentation

    ‘The Season’ Stars Jessie Mei Li, Chris Pang and More Unveil Global Premiere Date at Buzzy FilMart Presentation


    Hong Kong’s upcoming English-language revenge drama “The Season,” a series co-produced with SK Global, the powerhouse behind global hits such as “Crazy Rich Asians,” “Thai Cave Rescue” and “Delhi Crime,” is set for release this summer.


    At this year’s Hong Kong FilMart, PCCW Media confirmed that the six-part series is slated for a global premiere in June 2026, with viewers across Asia, the Middle East and South Africa able to stream it on Viu. In the U.S., Hulu and Hulu on Disney+ will carry the series, while Hong Kong audiences can watch it on Now TV. International distribution is led by Fremantle, with support from De Maio Entertainment.


    Cast members and Yalun Tu, the show’s creator, were at FilMart March 18 to unveil the release date.


    “The Season” plunges viewers into the opulent world of Hong Kong’s elites. At the heart of this glittering social landscape is the Hext family, an old-money dynasty whose reach extends from the city’s horse- racing tracks to exclusive yacht soirées and star-studded charity galas. But beneath the polished façades and sparkling champagne, tensions simmer — and the arrival of Cola, a newcomer with a hidden agenda, threatens to unravel the carefully curated world of high society.


    Leading an international ensemble, Jessie Mei Li commands the screen as Cola. Toby Stephens and three-time Golden Horse Award winner Karena Lam anchor the Hext family as Christopher and Fiona Hext. The cast also includes Chris Pang, Celina Jade, Justin Chien, Yvonne Chapman, Kōki and Lee Jae-yoon with special appearances from Hong Kong stars Anson Lo of Mirror and Marf Yau of Collar.


    Yalun Tu, known for “NCIS: Hawaii” and collaborations with Amazon Japan and HBO Asia, created and executive-produced the series, while Chilean director Marialy Rivas serves as lead director and executive producer.


    The whole series is shot in Hong Kong. “There are so many juxtapositions here,” said Tu during an on-stage group appearance. “There’s old, there’s new, there’s tradition, there’s modernity, there’s the city, there’s the water, and there are just so many different facets, so I thought we could do something that showed the high gloss world and a lot of the local Hong Kong.”


    Also on stage was Li, who described her character of Cola as an “outsider looking in” with a “deep dark secret” who ends up living a double life. Pang, of “Crazy Rich Asians” fame, said he plays a wealthy “new money” member of a hotelier family and that the role was “so much fun to play.”


    PCCW Media’s Janice Lee, CEO, and Agatha Lo are executive producers, while SK Global’s Chloe Dan, exec VP and head of television, alongside Matt Aragachi and Dylan Tarason, executive produce for the company.

  • L.A. Soundstages Struggled to Fill Up in Early 2025

    L.A. Soundstages Struggled to Fill Up in Early 2025

    The first few months of 2025 didn’t give the new and upcoming soundstages in Los Angeles much in the way of hope for a rebound in production.

    The average occupancy rate for major soundstages in the city was 62 percent during the first six months of 2025, down one percent from the anemic 63 percent recorded in 2024, according to new data from local film office FilmLA released on Wednesday. Contrast that with the period between 2016 and 2022, when soundstages participating in the annual report survey reported an average occupancy rate of 90 percent or higher.

    The report also tallied shoot days and number of projects filmed in 2024 for the first time. It found that the total number of projects shot increased five percent between 2023 and 2024 (from 1,225 to 1,287), though it’s important to note that 2023 was the year of the dual WGA and SAG-AFTRA strikes, which threw a major wrench into the production pipeline.

    The total number of shoot days dropped eight percent in this period as well, from 8,671 days to 7,940 days. FilmLA says this decline is in large part due to a dwindling in scripted television, whose shoot days decreased 23 percent between 2023 and 2024.

    FilmLA’s report gathered data from 17 studios participants whose spaces represent around 75 percent of the soundstage square footage in L.A. Major studios like Walt Disney Studios and Warner Bros. Studios Burbank took part alongside significant independent soundstage operators like Quixote and East End Studios.

    The findings are emblematic of a precipitous drop in production following the so-called “Great Netflix Correction” of 2022 and the strikes of 2023 as the industry contracted and rapidly cut costs, leaving L.A.-based crew members and vendors in the lurch. And it represents a potential challenge for recently opened soundstages in the L.A. area like Cinespace Studios in Woodland Hills and East End Studios in the Arts District. More spaces are on their way, including the mammoth Echelon Studios development rising from a lot in Hollywood and Stocker Street Creative in Baldwin Hills.

    California’s expansion last year of its film and television tax credit program and recent initiatives from L.A. Mayor Karen Bass and Councilmember Adrin Nazarian offer some hope that the bleeding can be staunched. But, still, the city has a lot of space to fill. With 8.3 million square feet of sound stages, the report calls L.A. the “world leader” in availability to film, compared with the U.K.’s 7.7 million square feet and Ontario’s 3.7 million square feet.

    In other words, L.A. has all the infrastructure and is getting even more. Will the productions follow?

  • Zendaya Describes ‘Euphoria’ Season 3 as a ‘Whirlwind’ That ‘Flew By’ and ‘I Hope it Turns Out Beautifully’

    Zendaya Describes ‘Euphoria’ Season 3 as a ‘Whirlwind’ That ‘Flew By’ and ‘I Hope it Turns Out Beautifully’

    Zendaya says “it was a whirlwind” filming “Euphoria” Season 3.

    “I did what I do in eight months in like four months,” she told me Tuesday night at the premiere of her new movie “The Drama” at the DGA. “It was like trying to get eight episodes in at once. It just flew by me.”

    Zendaya, who picked up two Emmys for her work as Rue on the show, says she’s “seen a little bit” of the new season. “I’m excited,” she said. “I hope it turns out beautifully.”

    In addition to “The Drama” and “Euphoria” coming out this year, she’ll also be seen starring in “Dune: Part Three,” the new “Spider-Man: Brand New Day” and Christopher Nolan’s upcoming epic fantasy action film “The Odyssey.”

    The first trailer for “Euphoria” Season 3 dropped in January ahead of its April 12 premiere on HBO and HBO Max.

    In addition to Zendaya, main cast members returning include Sydney Sweeney, Hunter Schafer, Jacob Elordi, the late Eric Dane, Alexa Demie, Maude Apatow, Martha Kelly, Chloe Cherry, Colman Domingo and Dominic Fike. Past cast members Barbie Ferreira, Storm Reid, Javon “Wanna” Walton and Austin Abrams will not be back for the new season. Angus Cloud, who broke out in his role as Fezco, died at age 25 in July 2023.

    The new season jumps ahead five years, which sees Cassie (Sweeney) and Nate (Elordie) married and living in the suburbs and Rue living in Mexico and working off her debt to drug dealer Laurie (Kelly). Levinson previously revealed that Jules (Schafer) is in art school and Maddy (Demie) is working at a talent agency in Hollywood.

    Elordi teased the new season in October. “It was incredible, man,” he told me at the Academy Museum Gala. “It was incredibly liberating. I got to play something so sort of far out from what I’ve done before.”

    He said that series creator Sam Levinson “constructed something that’s incredibly clever and cinematic. I think people are really going to like it.”

    Elordi insisted he didn’t know everything that happens in Season 3. “Everybody shoots at different storylines,” he said. “I don’t know what anyone else is doing. I had a really singular storyline. You don’t know what the other story lines are. It’s like FBI files. So it’s great because I’ll get to consume the show the same way that everybody else does as a fan, which I haven’t been able to do before. I’m really excited.”

    Newcomers to the season include Sharon Stone, Rosalía, Trisha Paytas, Natasha Lyonne, Danielle Deadwyler, Eli Roth and Marshawn Lynch.

  • L.A. Soundstages Remain One-Third Empty Even as New Facilities Open

    L.A. Soundstages Remain One-Third Empty Even as New Facilities Open

    Los Angeles soundstages are still struggling to lease space to productions, even as new facilities are opening around the region.

    Soundstage occupancy fell to 62% in the first half of 2025, according to data compiled by FilmLA, as production remained below the levels seen during the 2023 strike.

    Despite that, the region continues to add soundstage capacity. In January, East End Studios opened its five-stage Mission Campus in Boyle Heights. And Cinespace Studios opened six stages at its new Woodland Hills facility in March.

    Several other soundstage projects are seeking approvals, under construction or about to break ground.

    Only a few years ago, state officials were warning of a shortage in soundstage space, as occupancy rates exceeded 90% during the streaming boom. In 2021, the California Legislature authorized a $150 million subsidy to encourage more soundstage production, fearing that the high occupancy rates would send filming to less busy jurisdictions.

    But the industry contraction, which began before the SAG-AFTRA and Writers Guild of America strikes in 2023, has taken a toll. California boasted 136,000 production jobs in 2022, according to data from the Bureau of Labor Statistics. That figure fell to 82,000 in September 2025, the most recent month for which data is available, marking a 40% decline.

    Construction projects take a long time; the facilities opening now were planned, approved and financed years ago. For now at least, soundstage capacity continues to increase.

    L.A. County had about 8.3 million square feet of soundstage space in 2025, up from 8 million the year before. That remains the largest concentration of soundstages anywhere in the world.

    The U.K. is gaining ground, however, increasing its total from 7 million square feet in 2024 to 7.7 million in 2025, according to the FilmLA report. New York also jumped from 3.4 million square feet in 2024 to 4.4 million in 2025.

    FilmLA has also charted an equally sharp decline in location shoots. The industry-run nonprofit is responsible for processing film permits for jurisdictions around the county, and has access to a large database of permit volume.