As film and television post-production work has increasingly left California, workers are pushing for a new standalone tax credit focused on their industry.

That effort got a major boost Wednesday night when a representative for Assemblymember Nick Schultz (D-Burbank) said the lawmaker would take up the bill.

The news was greeted by cheers and applause from an assembled crowd of more than 100 people who attended a town hall meeting at Burbank’s Evergreen Studios.

“As big of a victory as this is, because it means we’re in the game, this is just the beginning,” Marielle Abaunza, president of the California Post Alliance trade group, a newly formed trade group representing post-production workers, said during the meeting.

The state’s post-production industry — which includes workers in fields like sound and picture editing, music, composition and visual effects — has been hit hard by the overall flight of film and TV work out of California and to other states and countries. Though post-production workers aren’t as visible, they play a crucial role in delivering a polished final product to TV, film and music audiences.

Last year, lawmakers boosted the annual amount allocated to the state’s film and TV tax credit program and expanded the criteria for eligible projects in an attempt to lure production back to California. So far, more than 100 film and TV projects have been awarded tax credits under the revamped program.

But post-production workers say the incentive program doesn’t do enough to retain jobs in California because it only covers their work if 75% of filming or overall budget is spent in the state. The new California Post Alliance is advocating for an incentive that would cover post-production jobs in-state, even if principal photography films elsewhere or the project did not otherwise qualify for the state’s production incentive.

Schultz said he is backing the proposed legislation because of the effect on workers in his district over the last decade.

“We are competing with other states and foreign countries for post production jobs, which is causing unprecedented threats to our workforce and to future generations of entertainment industry workers,” he said in a statement Thursday.

During the 1 1/2 hour meeting, industry speakers pointed to other states and countries, including many in Europe, with specific post-production incentives that have lured work away from the Golden State. By 2024, post-production employment in California dropped 11.2%, compared with 2010, according to a presentation from Tim Belcher, managing director at post-production company Light Iron.

“We’re all an integrated ecosystem, and losses in one affect losses in the other,” he said during the meeting. “And when post[-production] leaves California, we are all affected.”

In a visit to Pacific Palisades on Wednesday, top White House officials vowed to take over and speed up building permitting, a core state and local function, for rebuilding after the Los Angeles wildfires.

Administrators for the Environmental Protection Agency, Lee Zeldin, and Small Business Administration, Kelly Loeffler, also held a discussion with Palisades fire victims and met with Los Angeles Mayor Karen Bass and Los Angeles County Supervisor Kathryn Barger in a closed-door meeting about how to hasten rebuilding and address issues such as insurance payouts and wildfire prevention.

“Our conversations with Mayor Bass and Supervisor Barger about accelerating the rebuilding process in Los Angeles were productive,” Zeldin said. “Administrator Loeffler and I, on behalf of President Trump, asked these local elected officials to join us in this urgent effort, and I am hopeful great progress will be made in the days and weeks ahead.”

The visit followed a Jan. 27 executive order signed by President Trump to allow victims of the Eaton and Palisades fires to go around “unnecessary, duplicative, or obstructive” state and local permitting processes.

Instead of going through building departments, such as the city of Los Angeles for the Palisades, or the county for Altadena, builders can instead “self-certify” that they have complied with state and local health and safety standards, if they are using federal emergency funds to rebuild, the order says.

The Small Business Administration has already launched a self-certification tool online, available to applicants who have been waiting more than 60 days for a building permit.

Loeffler said the “check and balance” will come from city and county inspections that must happen before a property is certified for occupancy.

Neither official could immediately recall another instance of the federal government preempting state and local permitting processes for disaster recovery, with Zeldin noting that “nothing like [these wildfires] has ever happened before.”

The visit underscored diverging narratives about the rebuilding process in L.A. While Trump described it as a “nightmare of delay, uncertainty, and bureaucratic malaise” in his executive order, state and local officials said construction is underway and permitting is not the issue.

“Both administrators were engaged — sharing the President’s concerns while also listening to what I am seeing on the ground in Altadena,” Barger said in a statement to The Times. “I emphasized that 53% of impacted residents have taken no action to rebuild, not because of permitting delays, but because they lack the capital to move forward — an issue exacerbated by delayed insurance payouts. Many families have not submitted plans or entered the County’s rebuilding pipeline and are now facing a serious financial crisis.”

She added that the county’s current timeline for completing permit reviews is 31 business days.

Bass, who is facing renewed scrutiny after an analysis of the Palisades fire was watered down, did not immediately respond to a request for comment about Wednesday’s meeting.

Gov. Gavin Newsom said in a post on X following the executive order, that hundreds of homes are under construction, and that permitting timelines are at least twice as fast as before the fires. He said the president continues to withhold a federal aid package that would help families rebuild.

“The Feds need to release funding, not take over local permit approval speed — the main obstacle is COMMUNITIES NOT HAVING THE MONEY TO REBUILD,” the governor said.

Last month, on the anniversary of the fires, a bipartisan delegation of California legislators also penned a letter to Trump calling for additional federal support.

A December analysis by The Times found that permitting has gained momentum after a slow start, with the pace slower than after some disasters in the state, and faster than others.

As of Wednesday, more than 3,170 rebuilding permits have been issued in the fire areas, according to city and county dashboards.

But Zeldin used the opportunity to take jabs at Newsom, describing his approach to federal funding requests as “flawed.”

“The whole ask has been completely stepped on by the governor’s effort to campaign for president — to try to lob 11 insults a day and somehow fit in an ask for tens of billions of dollars in the middle of it,” he said. “It’s just not a good strategy.”

He declined to say whether additional funding will come from Congress, or how much.

Some Palisades residents said they would welcome whatever support they can get. Among them was Abby Waldorf, whose parents both lost their homes in the Tahitian Terrace mobile home park during the Palisades fire.

Waldorf said mobile homes don’t qualify for many city and state recovery programs, such as mortgage relief and disaster recovery aid, so they are “most at risk of not coming back.”

“Our community is very supportive of anyone that will help us move back quickly,” she said, “and at this point we haven’t seen that happen at the city, county or state level yet, and so anyone who can come in and do the job is welcome.”

Casual conversation in Hollywood often drifted to a familiar question: “Will Bob extend his contract again?”

Walt Disney Co.’s board had initially set Chief Executive Bob Iger’s target retirement date for 2015. The board instead renewed his contract multiple times, then called him back in 2022 — nearly a year after he had retired — when the last leadership handoff famously unraveled.

Disney’s struggles with succession over the decades have become epic dramas filled with false starts, larger-than-life leaders reticent to go and allegations of hollow searches for a new CEO. Twenty-plus years ago, one candidate for the top job — former Ebay and Hewlett-Packard chief Meg Whitman — withdrew from the running, suggesting the fix was in.

Disney’s board at the time wanted to give Iger, a longtime ABC executive who had toiled years in the shadow of former Chief Executive Michael Eisner, a shot.

With all that history, Disney’s board recognized its imperative of choreographing a meticulous transition. Iger, 74, was ready to go, and the process to find his successor was certain to go under the microscope.

“We had to be open — we couldn’t be questioned on it,” Disney Chairman James Gorman told The Times in an interview to shed light on what, until this week, had been a closely guarded boardroom process. “We didn’t just want to have this as a rigged game.”

This week, Disney’s board unanimously approved the selection of 54-year-old parks chief Josh D’Amaro to succeed Iger on March 18 when the company holds its annual meeting with shareholders. The switch will mark the end of an era, as Iger has been a towering presence in Hollywood for more than 20 years.

Two years of planning led up to D’Amaro’s selection. When Iger’s last successor, Bob Chapek, was ousted in November 2022, Disney’s board announced that Iger would return to serve as CEO for just two years.

But a series of high-level executive departures had thinned Disney’s executive bench. The board later acknowledged it needed additional time to plan succession and Iger’s contract was extended again, this time to December 2026.

Gorman — a former chairman and chief executive of Morgan Stanley — joined Disney’s board in the fall of 2024. He became chairman in January 2025 and succession planning began in earnest. Unlike in early 2020, when Iger was in charge of the board that tapped Chapek, this time the board formed a succession committee comprised of current and former CEOs of different firms.

The committee, led by Gorman, included General Motors Chief Executive Mary Barra, former CEO of Lululemon Athletica Calvin McDonald; and the former head of Britain’s Sky broadcasting, Sir Jeremy Darroch.

The search began with a list of about 100 potential candidates, Gorman said, including names provided by search firm Heidrick & Struggles. The group eventually culled the list to 30, he said, then narrowed it even more. They met with a few outsiders.

“We wanted to see what was out there … but it’s always difficult to go outside for any company,” Gorman said, adding that typically happens during a crisis, such as an abrupt CEO retirement due to illness or some other unforeseen event.

“You don’t take somebody from the industrials world and plop them in a media company,” he said. “That’s just too big a lift.”

Increasing the challenge, the 102-year-old company has a distinct corporate culture — one that still pays homage to founder Walt and instills in its employees (known internally as cast members) the need to serve as guardians of Disney’s treasured characters and brands.

Any outside pick would have been a risky bet.

Four Disney executives were under evaluation. D’Amaro, television and streaming chief Dana Walden, movie chief Alan Bergman and ESPN Chairman Jimmy Pitaro were all viewed as contenders for the job.

The board spent months sizing up strengths and weaknesses of external and internal candidates. Candidates made presentations to the board, laid out their visions for Disney’s future, received mentoring from Iger and spent hours meeting with Gorman and other succession committee members as well as the full board.

Hopefuls were questioned on their visions for the company. They were quizzed about such topics as teamwork and corporate culture.

“We wanted to know that whomever we picked beat all comers,” Gorman said. “And our people stress-tested unbelievably well. Yes, the [Disney executives] were given a huge advantage because they understand the culture, it’s a very unique culture, but it wasn’t just that.

“They were capable and they were ready,” Gorman said.

The board increasingly became comfortable with D’Amaro — who joined the company 28 years ago in Disneyland’s accounting division. For the past six years, D’Amaro has run Disney’s parks and experiences division, which now is the company’s largest business unit amid the decline of traditional television.

Walt Disney Co.’s board named Josh D’Amaro, right, as the new chief executive. Dana Walden, left, who is co-chairman of Disney Entertainment, will step into the role as president and chief creative officer.

(Walt Disney Company)

The board also carved out a new role as president and chief creative officer for longtime television executive Walden, 61, who becomes the first woman to serve as Disney’s president.

Gorman said Walden, 61, was impressive.

“She’s a strong leader. She’s decisive. She’s got great creative chops,” Gorman said. “She’s worked well with Alan Bergman as co-chair of entertainment. The idea is to ensure we bring creativity to all parts of the company and in all corners of the world.”

“A new CEO is massively, positively enabled by having their team, if they’re capable,” Gorman said. “And we are blessed with [our team] in place.”