Business
Column: L.A.'s ultimate heartbreak industry isn’t Hollywood. It's local journalism
Whenever I think of the perilous state of local news, I think of Delicious Pizza in West Adams.
Great pizza! Small space, cool atmosphere. In the fall of 2017, I found myself there along with other journalism castoffs cursing the news gods.
I had just resigned as editor of OC Weekly after I refused to lay off half the staff. Daniel Hernandez was out of a job at VICE News after nearly four years there. Julia Wick had led the original LAist until its owner shut down the website because he claimed it wasn’t economically successful. Former LA Weekly editor-in-chief Mara Shalhoup was axed alongside most of her writers and editors after a new owner acquired the venerable alt-weekly.
Over beers and slices, we laughed and shared stories and fretted about the eternal erosion that is American journalism. None of us were about to give up on our beloved profession, though. There was talk of creating our own publication, but nothing serious. Instead, we hugged and went on to the rest of our lives.
Today, Mara is ProPublica’s South editor. Daniel edits The Times’ food section. Julia is on The Times’ 2024 election team. I’m a Times columnista, of course, frequently using Southern California’s past as a prism to understand what’s happening now and what might occur in the future.
And boy, does it not look good for local journalism — again.
Last month, the nonprofit Long Beach Post, which expertly covered the port city while the Press-Telegram atrophied, laid off nearly everyone. The publication’s board of directors maintained the move was necessary to save it from financial ruin — but former staffers insist it was retribution for their attempt to form a union.
Reporters for Knock LA, which focuses on social justice issues and law enforcement corruption, accused the publication’s sponsors, the leftist group Ground Game LA, of exiling them after they asked to spin off Knock into its own standalone entity.
For the record:
4:09 p.m. April 17, 2024An earlier version of this article said that Ground Game LA is the fiscal sponsor of Knock LA. Knock LA is part of Ground Game LA, and the two organizations share funding.
In the for-profit world, L.A. Taco, which centers food coverage while covering working class communities across Southern California, furloughed nearly everyone on its small team. Editor-in-chief Javier Cabral said they would be laid off if the publication isn’t able to hit 5,000 members by the end of April. (They were at 2,800 as of Monday). This follows the shuttering of one of California’s oldest continuously operating newspapers, the Santa Barbara News-Press, last year.
And, of course, there’s this paper. More than 100 of my colleagues were laid off last summer and earlier this year. Others took buyouts, and it seems recently that farewell emails from colleagues moving on to other jobs or retiring hit my mailbox daily.
It’s easy to portray what’s going on in local media as unprecedented and catastrophic, especially in the face of similar layoffs nationwide during an election year where accurate facts and nuanced coverage matter more than ever. But Southern California has always been an ossuary of failed publications done in by apathetic readership, clueless owners or a combination of both.
A 2006 rally at De La Guerra Plaza in front of the Santa Barbara News-Press newspaper’s offices. The newspaper, one of the oldest in California, ceased publishing last year.
(Michael A. Mariant / Associated Press)
Every generation in L.A. seems to suffer a journalism mass extinction event. In addition to what’s happening right now and what happened in 2017, there was the shuttering of two alt-weeklies, Los Angeles CityBeat and the Long Beach-based The District Weekly, at the turn of the aughts. I remember the demise of La Banda Elastica and Al Borde, two Spanish-language publications that focused on rock en español through the late 1990s and 2000s. Older folks will remember the end of the L.A. Herald Examiner in 1989, whose grandiose downtown headquarters are now used as a satellite campus by Arizona State University.
L.A.’s heartbreak industry isn’t Hollywood; it’s journalism. To paraphrase what the late A. Bartlett Giamatti said about baseball, it’s designed to break the hearts of those who work it.
You join the profession knowing that long hours, low pay and no respect from the public is the norm, yet you jump in anyway. You revel in your colleagues, your shared sense of mission and the stories you do — but then the reality of economics sets in, and you realize the good times won’t last. You wonder why readers don’t subscribe, why editors and publishers don’t innovate. You see co-workers lose their jobs or leave the profession — and then it’s your turn, one way or another.
It’s easy to armchair quarterback why publications fail. Blame technology, fragmented audiences, a lack of trust in news — it’s all of that, and more. But these conditions existed before photos appeared in newspapers, and will persist long after whatever Elon Musk inserts in our brains so we can’t quit X.
What’s going on in Southern California journalism is sadly familiar — yet not hopeless. There is something new with this generation of journalism orphans. In the past, we downed shots and mourned as our publications died. Now, to paraphrase another literary luminary, Dylan Thomas, reporters are not going gentle into that good night.
Long Beach Post and Times staffers have publicly protested against their bosses. Knock L.A.’s banished writers and editors are shaming their former benefactors online. L.A. Taco is asking for money like an NPR host during a fund drive pounding nitro cold brew.
“We went public with our dire situation, because how can you expect help if you don’t ask for it?” said Cabral, 35, who I’ve known since he was a teenager with his own food blog. “Journalism for me has always been a fleeting career in flux that pulls the rug right under you when you start to get comfortable.”
I wish all of these folks well as they try to make it, including my colleagues at The Times, which has been unionized since 2018 and where we’ve worked for almost a year and a half without a contract. But even if we all fail, the dream to do good journalism in Los Angeles will never die. More publications are already rising.
The Los Angeles Public Press is barely a year old but is already making an impact with its coverage of the San Fernando Valley and Southeast L.A. County. Caló News, which focuses on Latino issues, will launch its own initiative to cover southeast L.A. County this summer. Newsletters run by individuals are filling in news holes and getting subscribers in the process. Hyperlocal publications like The Eastsider and This Side of Hoover are still informing readers about their communities.
Last month, I attended a forum at City Club LA hosted by the nonprofit Latino Media Collaborative, which sponsors Caló News, about what it deemed a “crisis” in Southern California journalism. Among the speakers were former La Opinión publisher Monica C. Lozano and California Community Foundation Chief Executive Miguel A. Santana. The conference room was packed with reporters young and old hoping to plug into the millions of dollars that local and national philanthropic organizations are planning to spend on L.A.-focused news operations in the coming years.
I wish them well, too — because someone has to succeed in this cursed industry, right? Right?
Business
David Ellison hits CinemaCon, vowing to make more movies with Paramount-Warner Bros.
Paramount Skydance Chief Executive David Ellison made his case directly to theater owners Thursday, pledging to release a minimum of 30 films a year from the combined Paramount and Warner Bros. Discovery company during a speech at the CinemaCon trade convention in Las Vegas.
“I wanted to look every single one of you in the eye and give you my word,” Ellison said in a brief on-stage speech, adding that Paramount has already nearly doubled its film lineup for this year with 15 planned releases, up from eight in 2025.
He also said all films will remain in theaters exclusively for 45 days, starting Thursday. Films will then go to streaming platforms in 90 days. The amount of time that films stay in theaters — known as windowing — has been a controversial topic for theater owners, as some studios reduced that period during the pandemic. Theater operators have said the shortened window has trained audiences to wait to watch films at home and cuts into theater revenues.
“I have dedicated the last 20 years of my life to elevating and preserving film,” said Ellison, clad in a dark jacket and shirt with blue jeans. “And at Paramount, we want to tell even more great stories on the big screen — stories that make people think, laugh, dream, wonder and feel — and we want to share them with as broad an audience as possible.”
Ellison’s CinemaCon appearance comes as more than 1,000 Hollywood actors and creatives have signed a letter opposing Paramount’s proposed acquisition of Warner Bros. Supporters of the letter have said the deal would reduce competition in the industry and “further consolidate an already concentrated media landscape.”
Some theater operators have also questioned whether the combined company could achieve its goal of releasing 30 films a year, particularly after the cost cuts that are expected after the merger closes.
“People can speculate all they want — but I am standing here today telling you personally that you can count on our complete commitment,” Ellison said. “And we’ll show you we mean it.”
The speech came after a star-studded video directed by “Wicked: For Good” director Jon M. Chu that was shot on the Paramount lot on Melrose Avenue and showcased directors and actors including Issa Rae, Will Smith, Chris Pratt, James Cameron and Timothée Chalamet that are working with the company.
The video closed with “Top Gun” actor Tom Cruise perched atop the Paramount water tower.
“As you saw, the Paramount lot is alive again,” Ellison said after the video. “And we could not be more excited.”
Business
Video: Why Your Paycheck Feels Smaller
new video loaded: Why Your Paycheck Feels Smaller
By Ben Casselman, Nour Idriss, Sutton Raphael and Stephanie Swart
April 18, 2026
Business
Civil case against Alec Baldwin, ‘Rust’ movie producers advances toward a trial
Nearly two years after actor Alec Baldwin was cleared of criminal charges in the “Rust” movie shooting death, a long simmering civil negligence case is inching toward a trial this fall.
On Friday, a Los Angeles Superior Court judge denied a summary judgment motion requested by the film producers Rust Movie Productions LLC, as well as actor-producer Baldwin and his firm El Dorado Pictures to dismiss the case.
During a hearing, Superior Court Judge Maurice Leiter set an Oct. 12 trial date.
The negligence suit was brought more than four years ago by Serge Svetnoy, who served as the chief lighting technician on the problem-plagued western film. Svetnoy was close friends with cinematographer Halyna Hutchins and held her in his arms as she lay dying on the floor of the New Mexico movie set. Baldwin’s firearm had discharged, launching a .45 caliber bullet, which struck and killed her.
The Bonanza Creek Ranch in Santa Fe, N.M. in 2021.
(Jae C. Hong / Associated Press)
Svetnoy was the first crew member of the ill-fated western to bring a lawsuit against the producers, alleging they were negligent in Hutchins’ October 2021 death. He maintains he has suffered trauma in the years since. In addition to negligence, his lawsuit also accuses the producers of intentional infliction of emotional distress.
Prosecutors dropped criminal charges against Baldwin, who has long maintained he was not responsible for Hutchins’ death.
“We are pleased with the Court’s decision denying the motions for summary judgment filed by Rust Movie Productions and Mr. Baldwin,” lawyers Gary Dordick and John Upton, who represent Svetnoy, said in a statement following the hearing. “He looks forward to finally having his day in court on this long-pending matter.”
The judge denied the defendants’ request to dismiss the negligence, emotional distress and punitive damages claims. One count directed at Baldwin, alleging assault, was dropped.
Svetnoy has said the bullet whizzed past his head and “narrowly missed him,” according to the gaffer’s suit.
Attorneys representing Baldwin and the producers were not immediately available for comment.
Svetnoy and Hutchins had been friends for more than five years and worked together on nine film productions. Both were immigrants from Ukraine, and they spent holidays together with their families.
On Oct. 21, 2021, he was helping prepare for an afternoon of filming in a wooden church on Bonanza Creek Ranch. Hutchins was conversing with Baldwin to set up a camera angle that Hutchins wanted to depict: a close-up image of the barrel of Baldwin’s revolver.
The day had been chaotic because Hutchins’ union camera crew had walked off the set to protest the lack of nearby housing and previous alleged safety violations with the firearms on the set.
Instead of postponing filming to resolve the labor dispute, producers pushed forward, crew members alleged.
New Mexico prosecutors prevailed in a criminal case against the armorer, Hannah Gutierrez, in March 2024. She served more than a year in a state women’s prison for her involuntary manslaughter conviction before being released last year.
Baldwin faced a similar charge, but the case against him unraveled spectacularly.
On the second day of his July 2024 trial, his criminal defense attorneys — Luke Nikas and Alex Spiro — presented evidence that prosecutors and sheriff’s deputies withheld evidence that may have helped his defense . The judge was furious, setting Baldwin free.
Variety first reported on Friday’s court action.
-
New Jersey1 minute ago
NJ Lottery Pick-3, Pick-4, Cash 5, Millionaire for Life winning numbers for Sunday, April 19
-
New Mexico7 minutes agoLos Alamos Public Schools Students Compete At 2026 New Mexico State Science & Engineering Fair
-
North Carolina13 minutes ago
NC Lottery Pick 3 Day, Pick 3 Evening results for April 19, 2026
-
North Dakota19 minutes agoWindy conditions fuel shop fire in rural Mapleton
-
Ohio25 minutes agoWanda Lou Bailey, Louisville, Ohio
-
Oklahoma31 minutes agoCord Rager’s Return, Consistent Hitting Earns Oklahoma First SEC Sweep of Missouri
-
Oregon37 minutes agoSmall Oregon town residents’ trust shaken as state sues disaster nonprofit founder
-
Pennsylvania43 minutes agoMother, 6 children die in Central Pennsylvania house explosion, state police say