Business
After Criticism, Film Museum Will Highlight Hollywood’s Jewish History
LOS ANGELES — When the Academy Museum of Movement Photos, a 300,000-square-foot tribute to Hollywood, opened right here final fall, it was lauded for honoring, in an business traditionally dominated by white males, the contributions that ladies, artists of coloration and other people from many backgrounds have made to movie, a necessary American artwork kind.
“We need to be sure that we’re taking an sincere, inclusive and various have a look at our historical past, that we create a secure area for sophisticated, exhausting conversations,” the museum’s director, Invoice Kramer, mentioned the day after the museum opened as he welcomed visitors to a panel dialogue titled “Making a Extra Inclusive Museum.”
However one group was conspicuously absent on this preliminary celebration of range and inclusivity: the Jewish immigrants — white males all — who had been central to founding the Hollywood studio system. By way of dozens of displays and rooms, there may be barely a point out of Harry and Jack Warner, Adolph Zukor, Samuel Goldwyn or Louis B. Mayer, to checklist just some of the best-known names from Hollywood’s historical past.
The omission, which got here at a time of accelerating concern about rising antisemitism throughout the nation, quickly drew complaints from Jewish leaders, concern from supporters of the brand new museum and a variety of crucial articles, together with in Rolling Stone and The Ahead, which ran a chunk headlined “Jews constructed Hollywood. So why is their historical past erased from the Academy’s new museum?”
“I used to be there opening evening: I used to be shocked by the absence of an inclusion of Jews within the Hollywood story,” mentioned Jonathan Greenblatt, the top of the Anti-Defamation League, a bunch that tracks antisemitism and hate crimes.
Now, museum officers say, that’s going to alter.
Barraged by complaints, the museum plans to open a brand new everlasting exhibition subsequent spring dedicated to the origins of Hollywood, and particularly the lives and contributions of the Jewish studio founders who had been largely liable for creating the world that’s being celebrated by the sellout crowds flocking to the brand new museum.
Kramer mentioned in an interview that the Academy Museum had at all times meant to open a brief gallery dedicated to the topic. “We’ve lengthy had this on our checklist to do, and we knew this was going to be in our first rotations,” he mentioned not too long ago over espresso at Fanny’s, the museum’s restaurant. However the criticism prompted museum officers to shift gears and resolve to enshrine it as a everlasting exhibition.
“Illustration is so essential,” Kramer mentioned “We heard that and we take that severely. While you speak concerning the founding of Hollywood studios, you’re speaking concerning the Jewish founders.”
The dispute highlights the challenges museums throughout the nation face in an environment of heightened sensitivities about problems with illustration and race and gender. It’s significantly sophisticated for the Academy Museum, because it tries to stroll the uncomfortable line between being a spot of scholarship and a gross sales software for an business struggling to reinvent itself as audiences abandon film theaters for his or her residing rooms.
“It’s a colossal miss,” mentioned Greenblatt, of the Anti-Defamation League. “Any sincere historic evaluation of the motion-picture business ought to embrace the function that Jews performed in constructing the business from the bottom up.”
Some historians mentioned the omission seemed to be the most recent instance of Hollywood’s strained relationship with its Jewish historical past.
“You must perceive that Hollywood in its very inception was fashioned out of a worry that its founders — and people who maintained the business — can be recognized as Jews,” mentioned Neal Gabler, the writer of “An Empire of Their Personal: How the Jews Invented Hollywood,” a ebook concerning the Jewish studio heads. “It’s nearly becoming {that a} museum dedicated to the historical past of Hollywood would incorporate in its very evolution this worry and sensitivity.”
Nonetheless, Jewish leaders mentioned they had been heartened by the museum’s response to their complaints. Kramer and different museum leaders reached out to rabbis and Jewish students, together with Gabler and Greenblatt, asking their steering on what ought to be included within the new gallery to restore this breach.
“I’m satisfied they will do the correct factor,” Greenblatt mentioned.
What that’s, although, is just not but clear. The exhibition is being deliberate for a comparatively modest 850-square-foot gallery on the third ground of the constructing. Dara Jaffe, the curator, mentioned the exhibition, which might be referred to as “Hollywoodland,” might be a broad have a look at the origins of the business. It would spotlight the biographies and achievements of the founders of the key studios, in addition to of some lesser-known Jewish filmmakers.
“We need to reply the query of: Why Los Angeles?” Jaffe mentioned. “Why is that this the place the place the world capital of cinema blossomed? It’s not a coincidence that lots of the founders are predominantly Jewish. It’s a particularly Jewish story and a particularly Jewish immigrant story.”
The exhibition is not going to open for a yr, and key particulars, from how it will likely be offered to what sort of artifacts might be included, are nonetheless within the planning levels.
Haim Saban, an Israeli American philanthropist and media entrepreneur who along with his spouse, Cheryl, donated $50 million to the museum, changing into one in all its most essential benefactors, mentioned in an electronic mail that the promise of a brand new gallery “not solely underscores how severely the Academy Museum has taken the suggestions, however demonstrates an understanding of the crucial function that Jewish founders had within the institution and shaping of Hollywood.”
Saban was among the many main backers of the museum to register his concern inside days after it opened. He and his spouse had been crucial to financing what ended as much as be a $487 million mission; the primary exhibition corridor on the museum was named the “Saban Constructing” of their honor.
Some are asking how a museum that took such care to spotlight the contributions of individuals from a various array of backgrounds — it created an Inclusion Advisory Committee to supply steering on find out how to take care of these points, and made a name to “Embrace Range and Be Radically Inclusive” one in all its guiding ideas — uncared for to account for the function of a number of the greatest names in Hollywood historical past.
“There’s a historic tendency of Jewish individuals within the business to minimize the truth that they had been Jewish,” mentioned Rabbi Kurt F. Stone of Boca Raton, Fla., who grew up in Los Angeles and is without doubt one of the rabbis the museum consulted after the backlash started. “However do I’ve a solution as to why they screwed up so badly? I don’t.”
Sid Ganis, a former president of the Academy of Movement Image Arts and Sciences and a lifetime trustee of the museum, mentioned he was stunned on the depth of the outrage that emerged after the museum opened its doorways. “It was vocal and actual and one thing we paid consideration to,” he mentioned.
Ganis, a longtime proponent of the museum, mentioned organizers had been at all times conscious of the significance of Jews in Hollywood historical past, including that this was not an oversight. “We simply hadn’t gotten to it but,” he mentioned. “Opening the museum on the finish of October, the start of November, was an unlimited enterprise. And we made decisions. It was one thing we at all times knew we had been going to take care of. However now, much more so.”
Business
Wildfires Will Deepen Housing Shortage in Los Angeles
Each of the homes burned in the Los Angeles fires is its own individual calamity.
Collectively, the losses — whether in the hundreds or, as is far more likely, in the thousands — will weigh on the city’s already urgent housing shortage.
Fires are still raging, and with 180,000 people under evacuation orders as of Thursday morning, the degree of displacement in the city and its surrounding areas will take time to assess. For the time being, evacuees are holing up in public shelters in Los Angeles County, with friends or family members or in hotels.
But in the coming weeks and months, people whose homes are gone will have to find more stable accommodations while they rebuild. That will not be easy in a metro area that, as of 2022, already had a shortage of about 337,000 homes, according to data from Zillow. The number of homes on the market in Los Angeles was 26 percent below prepandemic norms as of December, according to Zillow.
“One of the biggest challenges ahead will be getting people who lost their homes into permanent, long-term housing,” Victor M. Gordo, the mayor of Pasadena, said on Wednesday. Pasadena, which is battling the Eaton fire, has already lost hundreds of homes.
The area’s tight rental market is likely to become further strained as many of the thousands of displaced residents turn to rental units, while figuring out their next move. The median rent for a one-bedroom apartment in Los Angeles, as of Jan. 7, was more than $2,000, according to Zillow.
“You’re going to have a positive shock in demand, and a negative shock in supply, so this automatically means prices go up in the rental markets,” said Carles Vergara-Alert, a professor of finance at IESE Business School in Barcelona, who has studied the effects of wildfires on housing markets.
Any uptick in rental costs would affect tenants across the region, beyond those displaced by the fires, Dr. Vergara-Alert said.
Jonathan Zasloff, who lost his home in Pacific Palisades this week, teaches land use and urban policy at the University of California, Los Angeles law school, and is acutely aware of how his search for interim housing could affect the broader market.
Dr. Zasloff is staying with his brother for the time being, while a friend is putting up his wife and daughter. They evacuated their house, which they had lived in for almost 15 years, around noon on Tuesday, before the official evacuation order was issued for the area. That evening, Dr. Zasloff realized the severity of the crisis when he was watching television and saw a reporter standing on his fire-ravaged block.
His insurance agent told him it could take two to three years to rebuild his house. His family might try to find a rental in West Los Angeles near UCLA in the meantime, he said.
There aren’t many rentals in that part of the city, Dr. Zasloff said, so students and other renters could be displaced as he, and people like him who lost their homes, move in.
“It’s very possible that this event is going to cause a big increase in homelessness, even though the people who got pushed out of their homes are people of means,” he said.
California has been in the grip of an affordable housing crisis for a decade. Both state and local lawmakers have passed a raft of new laws that aim to make housing cheaper and more plentiful by making it easier to build. In Los Angeles, for instance, Mayor Karen Bass signed an executive order that streamlines permitting for projects in which 100 percent of the units are affordable. In response to state housing reforms, there has been a boom of backyard homes — called accessory dwelling units, or A.D.U.s — that homeowners often rent out for extra income and that have added to the housing stock.
Still, both the city and state remain well behind their housing production goals, and affordability has only continued to erode. The number of apartment units approved by the city of Los Angeles, for example, dipped to a 10-year low in 2024, according to data from the Los Angeles Department of Building and Safety compiled by Crosstown LA, a news site. That downturn in building permitting has raised concern about roadblocks to new housing unit creation.
“This is a place that had massive affordability challenges last week, and after this week it’s going to be that much more challenging,” said Dave Rand, a land-use lawyer at Rand Paster & Nelson in Los Angeles, who also serves on the board of directors of a statewide affordable housing organization.
After the fires are extinguished and the recovery begins, Mr. Rand said, there is hope that the common cause of rebuilding can be a catalyst for tackling affordability challenges by continuing to make it easier to build housing, particularly affordable rental housing, at a faster pace.
“This is such a devastating event that hopefully it rocks the system to the point where we can get real reform,” he said.
The Los Angeles City Council has aimed to build nearly half a million new units by 2029. But many people trying to rebuild all at once after the fires could lead to higher costs, and slow down the overall production of housing, said Jason Ward, a co-director of the center on housing and homelessness at the RAND Corporation.
A longstanding construction labor shortage in Los Angeles does not help. Andy Howard, a general contractor who has worked across the city for three decades, including in the areas affected by the fires, said many of the subcontractors he work with in the past have left California since the pandemic. And there are not enough young people entering the industry.
The fires are “going to make it worse,” Mr. Howard said. “It’s going to drive the cost up, for sure.”
Business
For Hollywood workers, L.A. fires are the latest setback as productions halt
As the market for documentaries and other content slowed and work dried up in Hollywood, producer Kourtney Gleason was already worried about making the mortgage payments on the home she bought last year with her boyfriend.
Now, as raging fires have halted film and TV production in Southern California and many in the industry have lost homes, she’s terrified that the entertainment business will be set back yet again. Though she’s been in the industry for 12 years, Gleason is now reluctantly looking at restaurant jobs to get by.
“The industry in the town is so fragile that every little thing becomes a bigger bump in the road,” she said. “Another bump that will push things back from getting ramped up.”
The destruction of the fires only compounds the difficult lot for many of Hollywood’s workers. Still reeling from the pandemic, they faced financial hardship during the dual Hollywood labor strikes in 2023, then were hit with a sustained slowdown in film and TV production that has driven many to rethink their careers in the industry.
“A lot of the below-the-line workers were already under an incredible amount of pressure,” said Kevin Klowden, executive director of the Milken finance institute. “For Hollywood workers, it becomes one more blow.”
The sheer scope of the region’s multiple fires means that nearly every echelon of Hollywood has been hard hit.
The Palisades fire, which has burned more than 17,200 acres and destroyed numerous homes, businesses and longtime landmarks in the Pacific Palisades area, is home to many Hollywood stars, studio executives and producers. Actors such as Billy Crystal and Cary Elwes lost homes in the blaze.
Across the region, the Eaton fire has now burned at least 10,600 acres in the Pasadena and Altadena areas and destroyed many structures. The San Gabriel Valley is home to many of the industry’s more modest or middle-class workers, who were already financially harmed by the production slowdown and relocation of shoots to other states or countries.
The fires could rank as one of the costliest natural disasters in U.S. history. A preliminary estimate calculated by AccuWeather, the weather forecasting service, put the damage and total economic loss at $52 billion to $57 billion, which could rise if the fires continue to spread. J.P. Morgan on Thursday raised its expectations of economic losses to close to $50 billion.
Many affected homeowners reported the insurers had dropped their policies, as some of the biggest insurers have stopped writing or renewing policies in high-risk coastal and wildfire areas. The complications with fire insurance, combined with the region’s problems with housing affordability and supply, will only be exacerbated by these fires, Klowden said, leading some to reconsider whether they can stay in California.
“It adds up,” he said. “How many more people decide they can’t afford to stay?”
Hollywood workers had been holding onto hope that 2025 would be a better year for work, perhaps closer to the levels they saw before the pandemic.
But with yet another disaster, “it feels like it’s just another weight that’s been placed,” said Jacques Gravett, a film editor who has primarily worked in television on such shows as “Power Book IV: Force” on Starz and “13 Reasons Why” on Netflix.
Gravett was out of work for 13 months between the pandemic and the strikes, and said he’s concerned about how already struggling workers will be able to absorb the financial blow from the fires.
“At least when you’re working and something happens, you have resources to get you by, and a lot of people don’t have the resources now,” said Gravett, who is co-chair of the Motion Picture Editors Guild’s African-American steering committee. “Now we’re faced with another tragedy for those who’ve been displaced. What do you do?”
The effect of the fires on industry workers could give lawmakers a push to approve Gov. Gavin Newsom’s proposed increase to the state’s film and TV tax credit program, which aims to lure production back to California and increase jobs in the Golden State, Klowden said.
“Right now, the industry desperately is waiting on the incentives to be expanded,” he said.
In the near term, discussions about new projects are already hitting a wall. Gary Lennon, showrunner of various “Power” spinoffs, including “Force,” said an agent told him there will likely be a temporary pause before anyone wants to talk about new ideas.
“Buyers and meetings for pitches being sold will take a hit for a moment,” Lennon said. “People are focused on what is immediately happening in front of them.”
Even before the fires, he said he was already getting two to three calls a week from production designers, editors, costume designers and others looking for work.
But once the industry is ready to ramp back, he said he thinks it will move quickly.
“So much has happened recently, I think production will start right away again because people do need to work,” Lennon said. “And that’s a good thing.”
Business
Paul Oreffice, a Combative Chief of Dow Chemical, Dies at 97
Paul F. Oreffice, who as the pugnacious head of Dow Chemical grew and diversified the company at the same time that he rebuffed Vietnam veterans over Agent Orange, argued that the chemical dioxin was harmless and oversaw the manufacturing of silicone breast implants that were known to leak, died on Dec. 26 at his home in Paradise Valley, Ariz. He was 97.
His family confirmed his death.
Mr. Oreffice (pronounced like orifice) spoke in staccato, fast-paced sentences, and they were often deployed in pushing back against environmentalists, politicians and journalists during an era, the 1970s and ’80s, when the environmental movement was gaining force by focusing on toxic chemicals in the air and water.
Under his 17-year leadership, which included the titles of president, chief executive and chairman, Mr. Oreffice weathered intense controversies.
His public relations instinct was for confrontation, not conciliation. He had an intense dislike for what he perceived as government meddling in business, which he traced to his having grown up in Italy under Mussolini. “I’ve seen what overgoverning can do,” he told The New York Times in 1987. “I was born under a Fascist dictatorship, and my father was jailed by it.”
Mr. Oreffice took the reins of the Dow USA division in 1975, when its public image was tainted from campus protests of the 1960s that had vilified the company as a maker of the incendiary agent napalm, which was widely used in Vietnam.
When Dow pulled out of apartheid South Africa in 1987 under pressure from shareholders, Mr. Oreffice said: “I’m not proud of it. I think we should have stayed and fought.”
In 1977, when Jane Fonda lacerated Dow in a speech at Central Michigan University, not far from Dow headquarters, in Midland, Mich., Mr. Oreffice canceled the company’s donations to the school, writing its president that he could not support Ms. Fonda’s “venom against free enterprise.”
Instead, Mr. Oreffice financed the campaigns of anti-regulation politicians. And he sued the Environmental Protection Agency for surveilling Dow’s sprawling Midland plants from the air when the company refused an on-site inspection.
The case made its way to the United States Supreme Court, which in 1986 ruled against the company, at the time the No. 2 American chemical maker after DuPont. (The companies merged in 2017, then split into three companies.)
In 1983, Rep. James H. Scheuer, Democrat of New York, disclosed that Dow had been allowed to edit an E.P.A. report on the leakage of dioxin, one of the most toxic substances ever manufactured, from the Midland plants into the Tittabawassee and Saginaw Rivers and Saginaw Bay.
E.P.A. regional officials told Congress that their superiors in the Reagan administration ordered the changes to comply with demands made by Dow. Mr. Oreffice, appearing on NBC’s “Today” show, offered a sweeping dismissal.
“There is absolutely no evidence of dioxin doing any damage to humans except for causing something called chloracne,” he said. “It’s a rash.”
His statement brushed aside evidence that dioxin was extremely hazardous to laboratory animals and had been shown in some research to be linked with a rare soft-tissue cancer in humans.
One former Dow president, Herbert Dow Doan, a grandson of the company founder, told a public relations publication, Provoke Media, in 1990 that Mr. Oreffice’s style was not one fine-tuned to mollify critics. “The reason is part ego, part pride,” he said. “Paul is inclined to push his line to the point where some people say he is arrogant.”
There is no question that Mr. Oreffice’s strength of will also uplifted Dow’s businesses, which through the 1970s were overly dependent on basic chemicals like chlorine. When a glut of low-priced petrochemicals flooded the global market in the early 80s, he aggressively reshaped Dow by diversifying into consumer products, such as shampoos and the cleaning fluid Fantastik, and by moving into foreign markets. By 1987, Dow posted a record profit of $1.3 billion (about $3.5 billion in today’s currency).
At the same time, a class-action lawsuit on behalf of 20,000 Vietnam veterans and their families against Dow and other makers of Agent Orange was further tarnishing the company’s image. The suit, filed in 1979, charged that dioxin in Agent Orange led to cancer in combat veterans and genetic defects in their children.
Dow argued that it had made Agent Orange at the request of the government and was not responsible for how it was used. But in 1984, the company and other makers of Agent Orange, without admitting liability, settled the lawsuit for $180 million, with the proceeds going to veterans and their families.
In another controversy, Dow Corning, a joint venture between Dow Chemical and Corning Inc., released documents in February 1992 showing that it had known since 1971 that silicone gel could leak from breast implants it made.
Tens of thousands of women had sued the company, claiming their implants had given them breast cancer and autoimmune diseases. Dow Corning agreed to a $3.2 billion settlement after the company had been driven to file for bankruptcy protection.
In 1999, an independent review by an arm of the National Academy of Sciences concluded that silicone implants do not cause major diseases.
Paul Fausto Orrefice was born Nov. 29, 1927, in Venice. His parents, Max and Elena (Friedenberg) Oreffice, moved the family to Ecuador in 1940 as Mussolini declared war on Britain and France. Paul came to the U.S. in 1945, entering Purdue University with fewer than 50 words of English at his command.
He graduated with a B.S. in chemical engineering in 1949, became a naturalized citizen, and after two years in the Army went to work for Dow in 1953.
“When I walked into Midland, Mich., this was ‘WASP’ country, and I was a ‘W’ but I wasn’t an ‘ASP,’” he told The Washington Post in 1986. “I spoke with an accent and combed my hair straight back, which just wasn’t done.”
Mr. Oreffice represented Dow in Switzerland, Italy, Brazil and Spain before being called back to the Midland headquarters in 1969 and appointed the company’s financial vice president. He became president of Dow Chemical U.S.A. in 1975 and was then promoted to president and chief executive of the parent Dow Chemical Company in 1978. In 1986, he added the title of chairman.
To the astonishment of many observers, Dow poured millions of dollars in the mid-1980s into a public-relations campaign to improve its image, including a new slogan, “Dow let’s you do great things.”
Under company rules, when he reached age 60, Mr. Oreffice stepped down as president and chief executive in 1987. He retired as chairman in 1992.
He is survived by his wife of 29 years, Jo Ann Pepper Oreffice, his children Laura Jennison and Andy Oreffice, six grandchildren and one great-granddaughter.
In retirement, Mr. Oreffice pursued a passion for thoroughbred racehorses, investing in Kentucky Derby starters and spending summers at a home in Saratoga Springs, N.Y. He was a partner in a Preakness Stakes winner, Summer Squall, and a Belmont Stakes winner, Palace Malice.
In 2006, he published a memoir about rising from an immigrant with little English to a corporate titan, titling it “Only in America.”
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