Business
'Wicked' spectacles, merger gossip and movie industry woes at CinemaCon 2024
Movie theaters need more movies. Will they ever get enough to truly thrive again?
That was the central question overhanging CinemaCon 2024, the annual convention bringing together Hollywood studios and multiplex operators in Las Vegas this week.
Exhibitors pleaded with the major studios to release more films of varying budgets on the big screen, while studios made the case that their upcoming slates are robust enough to keep them in business.
Once again, CinemaCon, where studios trot out executives and movie stars to pitch their upcoming blockbusters, arrived at a particularly challenging time for the film industry.
After weathering a devastating pandemic that shut down theaters for months, two of the most essential parts of the Hollywood machine, writers and actors, went on strike. The work stoppages — which lasted a combined six months — prompted the leading entertainment companies to push a number of titles to 2025 from 2024, disrupting the supply chain and sparking widespread anxiety in the exhibition community.
Box office revenue in the U.S. and Canada is expected to total about $8.5 billion, which is down from $9 billion in 2023 and a far cry from the pre-pandemic yearly tallies that nearly reached $12 billion.
“It’s not enough for us to simply sit back and want more movies,” said Michael O’Leary, president of the National Assn. of Theatre Owners, during Tuesday’s state-of-the-industry address at the Colosseum in Caesars Palace. “We must work with distribution to get more movies of all sizes to the marketplace.”
Though a fuller release schedule is expected for 2025, talk of budget cuts, greater industry consolidation and corporate mergers has forced exhibitors to prepare for the possibility of a near future with fewer studios making fewer movies.
In the extravagant banquet and trade show halls of Caesars Palace, theater operators groaned about 2024 being painted as yet another “lost year” for cinema — determined in spite of the grim discourse to remain optimistic.
“All indications are the rest of the year is going to be a lot better,” said David Fetters, vice president of West Mall Theatres in Minnesota and South Dakota. “The product we’re seeing here is looking outstanding.”
The studios tried to give exhibitors something to hope for during their CinemaCon presentations — hyping their movie lineups, bringing out filmmakers and cast members, pulling silly stunts, and playing sizzle reels, sneak peeks, trailers and, in some cases, entire features for their industry audience.
‘Wicked’ brings down the house
While promoting their 2024-25 programming, the studios pulled out plenty of stops.
Distribution executives at Warner Bros. delivered their opening remarks dressed as Michael Keaton’s Beetlejuice; Dwayne Johnson joined a Polynesian dance troupe while introducing Disney’s “Moana 2”; and the head of distribution at Paramount entered the theater in full “Gladiator” armor on a gold chariot.
But Universal’s presentation of “Wicked” — director Jon M. Chu’s film adaptation of the hit Broadway musical — took the cake. Convention attendees arrived at their seats to find a surprise in their cup holders: roses that illuminated for a technicolor light show set to an instrumental medley of “Wicked” songs. After the overture, a pre-taped message to all “CinemaConians” from Jeff Goldblum’s imposing Wizard of Oz played onscreen, and Goldblum took the stage in real life.
He was later joined by Michelle Yeoh (Madame Morrible), Jonathan Bailey (Fiyero) producer Marc Platt and Chu, who fought back tears while talking about casting the film’s leading witches. On cue, Glinda and Elphaba themselves — Ariana Grande and Cynthia Erivo — emerged from the wings to thunderous applause.
Like Chu, Grande was overcome with emotion and paused briefly to compose herself while delivering her remarks. .
Other pictures teased during the studio presentations included Universal’s “Despicable Me 4,” Warner Bros.’ “Furiosa: A Mad Max Saga” and “Joker: Folie à Deux,” Paramount’s “A Quiet Place: Day One” and “Transformers One,” and Disney’s “Inside Out 2” and “Deadpool & Wolverine.”
Paramount deal looms
Amid the displays of corporate harmony, it was hard to ignore the elephant in the convention center: a potential merger between Paramount Global and David Ellison’s production company, Skydance.
Shares of Paramount Global — home of Paramount Pictures, CBS and several other legacy brands and franchises — took a nosedive Wednesday after news that a group of of the company’s directors are stepping down amid merger discussions.
This would be only the latest Hollywood merger in a string of deals, including Disney’s acquisition of Fox in 2019 and Warner Bros.’ union with Discovery in 2022.
When asked about the theatrical implications of another studio sale in an already rapidly consolidating industry, National Assn. of Theatre Owners President Michael O’Leary and Motion Picture Assn. Chairman Charles Rivkin largely waved it off.
“There’s always other things that we can do as an industry association to strengthen our industry, and I’ll cross that bridge when I get to it,” Rivkin said during a CinemaCon news conference.
Rather than avoiding the topic during the studio’s CinemaCon presentation on Thursday, Paramount Pictures chief Brian Robbins handled the situation with humor.
“There’s been a lot of speculation around our parent company around [mergers and acquisitions],” Robbins said before joking that Paramount’s head of domestic distribution, Chris Aronson, “has now thrown his hat into the ring as a bidder.”
“He’s starting a Kickstarter campaign,” Robbins continued as the crowd chuckled.
Japanese cinema and faith-based content reign
As the domestic film business has been thrown into turmoil in recent years, Japanese cinema and faith-based content have been two of movie theaters’ saving graces.
Industry leaders kicked off CinemaCon on Tuesday by singing the praises of Sony-owned anime distributor Crunchyroll’s hits — including the latest “Demon Slayer” installment.
Mitchel Berger, senior vice president of global commerce at Crunchyroll, said Tuesday that the global anime business generated $14 billion a decade ago and is projected to generate $37 billion next year.
“Anime is red hot right now,” Berger said. “Fans have known about it for years, but now everyone else is catching up and recognizing that it’s a cultural, economic force to be reckoned with.”
Last year, event-cinema company Fathom Events decided to expand its annual Studio Ghibli series, screening “Spirited Away,” “Princess Mononoke” and other Hayao Miyazaki classics for five nights each instead of just one or two. Fathom Events Chief Executive Ray Nutt said that the extended runs allowed those titles to gross 142% more than they had in the past.
“Anime was one that did very well for us,” Nutt said. “The team is really good at sourcing content and then figuring out where the audiences drive tickets.”
Another type of product buoying the exhibition industry right now is faith-based programming, shepherded in large part by “Sound of Freedom” distributor Angel Studios.
During its presentation on Wednesday, Angel Studios unveiled its lineup of “stories that amplify light,” including an animated feature telling the biblical tale of David and a live-action drama about a German pastor who conspires against the Nazis during World War. II.
“Some of the faith-based things, especially in our part of the country — the Midwest — have had a lot of good traction,” Fetters said.
Nutt added that Fathom Events has also had “huge success” connecting with faith-based audiences by screening content such as episodes of “The Chosen,” a drama series chronicling the life of Jesus Christ. The latest season of the show generated $32 million at the box office, according to Nutt.
Exhibitors make plea for more movies… and flexible windows
The greatest challenge facing theaters right now is a dearth of theatrical releases, exhibitors say. Theater owners urged studio executives at CinemaCon to put more films in theaters — and not just big-budget tent poles timed for summer movie season and holiday weekends.
“There’s been a bit of a shortage of good content because of the strikes and that sort of thing,” said Mark Shaw, owner of Shaw Theatres in Singapore. “And also, during the pandemic, we lost some of the audience. Trying to get that audience back into theaters is a bit of a challenge.”
“Whenever we have a [blockbuster] film — whether it be ‘Barbie’ or ‘Super Mario’ … records are set,” added Bill Barstow, co-founder of ACX Cinemas in Nebraska. “But we just don’t have enough of them.”
During an industry think-tank panel on Wednesday, Disney distribution executive Cathleen Taff defended the company’s decision to delay certain movies — including the animated film “Elio” and a live-action remake of “Snow White” — to 2025, explaining that at least some of those titles were not finished in time for a 2024 release.
“From a studio perspective … we need to walk in tandem together,” Taff said.
“We have to pick some good dates and we had to do those shifts. And of course we thought about the theaters, but the reality is we’re not going to release an unfinished film.”
An additional issue affecting owners of independent theaters and smaller chains is studio-imposed three-week minimum runs for major movies. Multiple exhibitors told The Times that these businesses can’t afford to let one movie to take up a screen for three weeks because there simply isn’t enough population where they operate to fill seats for that long.
“If you run it for two weeks, the community has already seen it,” said Colleen Barstow, vice president of ACX Cinemas.
“There is no need to require three-week or longer commitments,” said Chris Johnson, chief executive of Classic Cinemas in Illinois. “If you have a hit, we will hold it.”
The next frontier: ‘alternative content’
One way that exhibitors are trying to fill the void of studio releases is by showing “alternative content” — from reissues of beloved films and screenings of TV shows to musical performances and sporting events.
The best example of this phenomenon is AMC Theatres’ distribution of Taylor Swift’s “The Eras Tour” and Beyonce’s “Renaissance.”
Fathom Events, which has been in the business of alternative content for decades, is going further by attaching live and pre-recorded Q&As to their screenings, as well as handing out collectible merchandise as an extra incentive for audiences.
“You go to go to a regular movie, you buy the ticket, you watch the movie — I don’t mean to demean the movie experience by any stretch of imagination — but that’s pretty much it,” Nutt said. “With us, you are going to … get something special.”
Larger companies such as AMC have been partnering with studios to level up their merchandise game as well. See: the infamous “Dune 2” popcorn bucket, which inspired Disney to promise at CinemaCon to deliver a must-have “Deadpool 3” popcorn bucket.
“There are some studios that inadvertently make crude and rude popcorn buckets,” joked Marvel Studios president Kevin Feige during Disney’s presentation. “And then there are popcorn buckets designed by Deadpool.”
Business
How our AI bots are ignoring their programming and giving hackers superpowers
Welcome to the age of AI hacking, in which the right prompts make amateurs into master hackers.
A group of cybercriminals recently used off-the-shelf artificial intelligence chatbots to steal data on nearly 200 million taxpayers. The bots provided the code and ready-to-execute plans to bypass firewalls.
Although they were explicitly programmed to refuse to help hackers, the bots were duped into abetting the cybercrime.
According to a recent report from Israeli cybersecurity firm Gambit Security, hackers last month used Claude, the chatbot from Anthropic, to steal 150 gigabytes of data from Mexican government agencies.
Claude initially refused to cooperate with the hacking attempts and even denied requests to cover the hackers’ digital tracks, the experts who discovered the breach said. The group pummelled the bot with more than 1,000 prompts to bypass the safeguards and convince Claude they were allowed to test the system for vulnerabilities.
AI companies have been trying to create unbreakable chains on their AI models to restrain them from helping do things such as generating child sexual content or aiding in sourcing and creating weapons. They hire entire teams to try to break their own chatbots before someone else does.
But in this case, hackers continuously prompted Claude in creative ways and were able to “jailbreak” the chatbot to assist them. When they encountered problems with Claude, the hackers used OpenAI’s ChatGPT for data analysis and to learn which credentials were required to move through the system undetected.
The group used AI to find and exploit vulnerabilities, bypass defences, create backdoors and analyze data along the way to gain control of the systems before they stole 195 million identities from nine Mexican government systems, including tax records, vehicle registration as well as birth and property details.
AI “doesn’t sleep,” Curtis Simpson, chief executive of Gambit Security, said in a blog post. “It collapses the cost of sophistication to near zero.”
“No amount of prevention investment would have made this attack impossible,” he said.
Anthropic did not respond to a request for comment. It told Bloomberg that it had banned the accounts involved and disrupted their activity after an investigation.
OpenAI said it is aware of the attack campaign carried out using Anthropic’s models against the Mexican government agencies.
“We also identified other attempts by the adversary to use our models for activities that violate our usage policies; our models refused to comply with these attempts,” an OpenAI spokesperson said in a statement. “We have banned the accounts used by this adversary and value the outreach from Gambit Security.”
Instances of generative AI-assisted hacking are on the rise, and the threat of cyberattacks from bots acting on their own is no longer science fiction. With AI doing their bidding, novices can cause damage in moments, while experienced hackers can launch many more sophisticated attacks with much less effort.
Earlier this year, Amazon discovered that a low-skilled hacker used commercially available AI to breach 600 firewalls. Another took control of thousands of DJI robot vacuums with help from Claude, and was able to access live video feed, audio and floor plans of strangers.
“The kinds of things we’re seeing today are only the early signs of the kinds of things that AIs will be able to do in a few years,” said Nikola Jurkovic, an expert working on reducing risks from advanced AI. “So we need to urgently prepare.”
Late last year, Anthropic warned that society has reached an “inflection point” in AI use in cybersecurity after disrupting what the company said was a Chinese state-sponsored espionage campaign that used Claude to infiltrate 30 global targets, including financial institutions and government agencies.
Generative AI also has been used to extort companies, create realistic online profiles by North Korean operatives to secure jobs in U.S. Fortune 500 companies, run romance scams and operate a network of Russian propaganda accounts.
Over the last few years, AI models have gone from being able to manage tasks lasting only a few seconds to today’s AI agents working autonomously for many hours. AI’s capability to complete long tasks is doubling every seven months.
“We just don’t actually know what is the upper limit of AI’s capability, because no one’s made benchmarks that are difficult enough so the AI can’t do them,” said Jurkovic, who works at METR, a nonprofit that measures AI system capabilities to cause catastrophic harm to society.
So far, the most common use of AI for hacking has been social engineering. Large language models are used to write convincing emails to dupe people out of their money, causing an eight-fold increase in complaints from older Americans as they lost $4.9 billion in online fraud in 2025.
“The messages used to elicit a click from the target can now be generated on a per-user basis more efficiently and with fewer tell-tale signs of phishing,” such as grammatical and spelling errors, said Cliff Neuman, an associate professor of computer science at USC.
AI companies have been responding using AI to detect attacks, audit code and patch vulnerabilities.
“Ultimately, the big imbalance stems from the need of the good-actors to be secure all the time, and of the bad-actors to be right only once,” Neuman said.
The stakes around AI are rising as it infiltrates every aspect of the economy. Many are concerned that there is insufficient understanding of how to ensure it cannot be misused by bad actors or nudged to go rogue.
Even those at the top of the industry have warned users about the potential misuse of AI.
Dario Amodei, the CEO of Anthropic, has long advocated that the AI systems being built are unpredictable and difficult to control. These AIs have shown behaviors as varied as deception and blackmail, to scheming and cheating by hacking software.
Still, major AI companies — OpenAI, Anthropic, xAI, and Google — signed contracts with the U.S. government to use their AIs in military operations.
This last week, the Pentagon directed federal agencies to phase out Claude after the company refused to back down on its demand that it wouldn’t allow its AI to be used for mass domestic surveillance and fully autonomous weapons.
“The AI systems of today are nowhere near reliable enough to make fully autonomous weapons,” Amodei told CBS News.
Business
iPic movie theater chain files for bankruptcy
The iPic dine-in movie theater chain has filed for Chapter 11 bankruptcy protection and intends to pursue a sale of its assets, citing the difficult post-pandemic theatrical market.
The Boca Raton, Fla.-based company has 13 locations across the U.S., including in Pasadena and Westwood, according to a Feb. 25 filing in U.S. Bankruptcy Court in the Southern District of Florida, West Palm Beach division.
As part of the bankruptcy process, the Pasadena and Westwood theaters will be permanently closed, according to WARN Act notices filed with the state of California’s Employment Development Department.
The company came to its conclusion after “exploring a range of possible alternatives,” iPic Chief Executive Patrick Quinn said in a statement.
“We are committed to continuing our business operations with minimal impact throughout the process and will endeavor to serve our customers with the high standard of care they have come to expect from us,” he said.
The company will keep its current management to maintain day-to-day operations while it goes through the bankruptcy process, iPic said in the statement. The last day of employment for workers in its Pasadena and Westwood locations is April 28, according to a state WARN Act notice. The chain has 1,300 full- and part-time employees, with 193 workers in California.
The theatrical business, including the exhibition industry, still has not recovered from the pandemic’s effect on consumer behavior. Last year, overall box office revenue in the U.S. and Canada totaled about $8.8 billion, up just 1.6% compared with 2024. Even more troubling is that industry revenue in 2025 was down 22.1% compared with pre-pandemic 2019’s totals.
IPic noted those trends in its bankruptcy filing, describing the changes in consumer behavior as “lasting” and blaming the rise of streaming for “fundamentally” altering the movie theater business.
“These industry shifts have directly reduced box office revenues and related ancillary revenues, including food and beverage sales,” the company stated in its bankruptcy filing.
IPic also attributed its decision to rising rents and labor costs.
The company estimated it owed about $141,000 in taxes and about $2.7 million in total unsecured claims. The company’s assets were valued at about $155.3 million, the majority of which coming from theater equipment and furniture. Its liabilities totaled $113.9 million.
The chain had previously filed for bankruptcy protection in 2019.
Business
Startup Varda Space Industries snags former Mattel plant in El Segundo
In an expansion of its business of processing pharmaceuticals in Earth’s orbit, Varda Space Industries is renting a large El Segundo plant where toy manufacturer Mattel used to design Hot Wheels and Barbie dolls.
The plant in El Segundo’s aerospace corridor will be an extension of Varda Space Industries’ headquarters in a much smaller building on nearby Aviation Boulevard.
Varda will occupy a 205,443-square-foot industrial and office campus at 2031 E. Mariposa Ave., which will give it additional capacity to manufacture spacecraft at scale, the company said.
Originally built in the 1940s as an aircraft facility, the complex has a history as part of aerospace and defense industries that have long shaped the South Bay and is near a host of major defense and space contractors. It is also close to Los Angeles Air Force Base, headquarters to the Space Systems Command.
Workers test AstroForge’s Odin asteroid probe, which was lost in space after launch this year.
(Varda Space Industries)
Varda is one of a new generation of aerospace startups that have flourished in Southern California and the South Bay over the last several years, particularly in El Segundo, often with ties to SpaceX.
Elon Musk’s company, founded in 2002 in El Segundo, has revolutionized the industry with reusable rockets that have radically lowered the cost of lifting payloads into space. Though it has moved its headquarters to Texas, SpaceX retains large-scale operations in Hawthorne.
Varda co-founder and Chief Executive Will Bruey is a former SpaceX avionics engineer, and the company’s spacecraft are launched on SpaceX’s workhorse Falcon 9 rockets from Vandenberg Space Force Base in Santa Barbara County.
Varda makes automated labs that look like cylindrical desktop speakers, which it sends into orbit in capsules and satellite platforms it also builds. There, in microgravity, the miniature labs grow molecular crystals that are purer than those produced in Earth’s gravity for use in pharmaceuticals.
It has contracts with drug companies and also the military, which tests technology at hypersonic speeds as the capsules return to Earth.
Its fifth capsule was launched in November and returned to Earth in late January; its next mission is set in the coming weeks. Varda has more than 10 missions scheduled on Falcon 9s through 2028.
For the last several decades, the Mariposa Avenue property served as the research and development center for Mattel Toys. El Segundo has also long been a center for the toy industry as companies like to set up shop in the shadow of Mattel.
The Mattel facility “has always been an exceptional property with a legacy tied to aerospace innovation, and leasing to Varda Space Industries feels like a natural continuation of that story,” said Michael Woods, a partner at GPI Cos., which owns the property.
“We are proud to support a company that is genuinely pushing the boundaries of what’s possible, and are excited to watch Varda grow and thrive here in El Segundo,” Woods said.
As one of the country’s most active hubs of aerospace and defense innovation, El Segundo has seen its industrial property vacancy fall to 3.4% on demand from space companies, government contractors and technology startups, real estate brokerage CBRE said.
Successful startups often have to leave the neighborhood when they want to expand, real estate broker Bob Haley of CBRE said. The 9-acre Mattel facility was big enough to keep Varda in the city.
Last year, Varda subleased about 55,000 square feet of lab space from alternative protein company Beyond Meat at 888 Douglas St. in El Segundo, which it started moving into in June.
Varda will get the keys to its new building in December and spend four to eight months building production and assembly facilities as it ramps up operations. By the end of next year, it expects to have constructed 10 more spacecraft.
In the future, Varda could consolidate offices there, given its size. Currently, though, the plan is to retain all properties, creating a campus of three buildings within a mile of one another that are served by the company’s transportation services, Chief Operating Officer Jonathan Barr said.
“We already have Varda-branded shuttles running up and down Aviation Boulevard,” he said.
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