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Movie theaters make plea for more films, rail against piracy at CinemaCon 2024

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Movie theaters make plea for more films, rail against piracy at CinemaCon 2024

Somehow, heartbreak feels good in a place like CinemaCon — where no matter how many hits the motion picture industry has taken over the last year (and, uh, it’s taken a lot), exhibitors from all over the world unfailingly come together to exude enthusiasm about the moviegoing experience and optimism about the future of cinema.

Flag bearers for the Motion Picture Assn., the National Assn. of Theatre Owners and other major industry players convened Tuesday at Caesars Palace in Las Vegas to deliver their annual state-of-the-business address and officially kick off the event. Movie stars, filmmakers and studio heads are expected to tease, extol and in some cases screen their upcoming releases.

There’s a lot riding on those movies in the wake of a box office slump partially brought on by the Hollywood writers’ and actors’ strikes, which delayed several movies and effectively halted film and TV production last year for about six months.

“We can’t shy away from the stark challenges of this moment, nor can we ignore this time of volatility in our industry,” said Charles Rivkin, chief executive of the MPA, during Tuesday’s presentation. Washington-based MPA represents the Hollywood studios, including Disney and Netflix.

“Yet no one should fear that uncertainty,” he added, “because after all, we work in a business where unexpected twists can make for an epic story. … We understand the stakes. We recognize the need to do everything possible to ensure the enduring health of cinema.”

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Global box office revenue is predicted to hit $32 billion in 2024, according to film analytics firm Gower Street, which is nowhere near the $40-billion-plus heights of the pre-COVID-19 era. But since the beginning of 2024 — when domestic box office revenue was down 20% from the previous year — some glimmers of hope have emerged.

In March, the highly anticipated sequel to Warner Bros.’ “Dune” launched at $82.5 million in the United States and Canada — the first true blockbuster opening weekend since AMC Theatres’ “Taylor Swift: The Eras Tour” ($93.2 million).

Following the desperately needed success of “Dune: Part Two” — which has now grossed more than $255 million domestically — Universal Pictures’ “Kung Fu Panda 4” notched a solid $58-million domestic debut, Sony Pictures’ “Ghostbusters: Frozen Empire” posted a decent $45 million and Warner Bros.’ “Godzilla x Kong: The New Empire” drew an impressive $80-million bow.

Exhibitors on Tuesday also touted the rising popularity of Japanese cinema in the United States, including Crunchyroll-distributed anime hits such as the latest “Demon Slayer” movie and Toho Co.‘s Oscar-winning “Godzilla Minus One.”

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.

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“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.”

Exhibitors are hoping that momentum holds despite also weathering several recent box office disappointments, such as Universal Pictures’ misbegotten spy thriller “Argylle” and Sony Pictures’ superhero disaster “Madame Web.”

When the actors’ strike concluded in November, theater operators expressed concerns about the health of the 2024 film slate. The overlapping work stoppages prompted studios to push at least a dozen movies to 2025 from 2024, including the eighth installment in Paramount Pictures’ “Mission: Impossible” saga and Disney’s live-action remake of “Snow White.”

Cinemark Chief Executive Sean Gamble estimated in February that 95 pictures were slated to open this year in wide release, as opposed to 110 in 2023. And nothing spells danger for exhibitors like a thinned-out release schedule. It doesn’t help that the average length of the theatrical window significantly shrank (from 90 days to roughly 35 to 40 days) after the COVID-19 pandemic shut down movie theaters for more than a year.

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At Tuesday’s presentation, exhibitors pleaded with distributors to take a leap of faith and commit to releasing movies in cinemas year-round — not just during times that have historically seen heavier foot traffic.

“For my friends in distribution, please embrace digital’s flexibility and offer your awe-inspiring movies 52 weeks of the year to every exhibitor,” said Chris Johnson, CEO of Classic Cinemas. “Eliminate print counts and trust us to make programming and scheduling decisions that yield the best results for all. … If you have a hit, we will hold it.”

Michael O’Leary, CEO of the National Assn. of Theatre Owners, also made the case for more small- and medium-budget releases that attract cinephiles, citing prestige titles such as A24’s “Past Lives” and Amazon MGM Studios’ “American Fiction.”

“It’s not enough for us to simply sit back and want more movies,” O’Leary said. “We must work with distribution to get more movies of all sizes to the marketplace.”

This year, a number of potential upcoming blockbusters remain.

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Universal is cooking up “Twisters,” “Wicked” and “Despicable Me 4”; Warner Bros. is sitting on “Furiosa: A Mad Max Saga,” “Joker: Folie à Deux” and “Beetlejuice Beetlejuice”; Paramount is distributing “Gladiator 2” and “A Quiet Place: Day One”; Sony is launching “Venom: The Last Dance”; Disney is set to release “Inside Out 2,” “Moana 2” and “Deadpool & Wolverine”; and Amazon MGM Studios is about to drop “Challengers,” starring Zendaya.

The last few years at CinemaCon have drawn battle lines between exhibitors and streamers. During the streaming wars of 2021 and 2022, studios threw an excessive amount of resources and funds at streaming projects in an effort to compete with Netflix.

At the time, streaming was painted as theaters’ archnemesis. But the great streaming boom of the early 2020s has subsided as entertainment companies — reeling from financial losses — are tightening their belts and greenlighting less streaming content.

In December, Disney unveiled plans to re-release three Pixar titles — “Soul,” “Turning Red” and “Luca” — in theaters this year after initially routing them directly to streaming. Additionally, “Moana 2” — originally conceived as a TV series to be streamed on Disney+ — was reworked into a feature coming to the big screen in November.

Though streaming undoubtedly still poses a threat to movie theaters, the tides appear to be turning ever so slightly in exhibitors’ favor as studios rethink their release strategies and film fanatics continue to splurge on Imax and other premium large formats.

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“You can watch a movie on TV or on your tablet or on your computer, but you experience it in a theater,” O’Leary said. “And part of what makes the movie so special is the theaters themselves.”

However, exhibitors at CinemaCon did repeatedly express concerns about the rise of illegal streaming and digital piracy. Rivkin condemned the practice as “insidious forms of theft” that harm production workers, actors, directors, writers, craftspeople and even consumers who risk falling prey to malware viruses when watching movies illegally online.

Rivkin estimated that on average, piracy costs the movie theater industry more than $1 billion per year. During his state-of-the-industry address, he called on Congress to enact site-blocking legislation that would prevent internet users in the United States from accessing websites that stream films illegally.

“Piracy operations have only grown more nimble, more advanced and more elusive every day,” Rivkin said. “These activities are nefarious by any definition. They’re detrimental to our industry by any standard. And they’re dangerous for the rights of creators and consumers by any measure.”

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Tesla dethroned as the world’s top EV maker

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Tesla dethroned as the world’s top EV maker

Elon Musk’s Tesla is no longer the top electric vehicle seller in the world as demand at home has cooled while competition heated up abroad.

Tesla lost its pole position after reporting 1.64 million deliveries in 2025, roughly 620,000 fewer than Chinese competitor BYD.

Tesla struggled last year amid increasing competition, waning federal support for electric vehicle adoption and brand damage triggered by Musk’s stint in the White House.

Musk is turning his focus toward robotics and autonomous driving technology in an effort to keep Tesla relevant as its EVs lose popularity.

On Friday, the company reported lower than expected delivery numbers for the fourth quarter of 2025, a decline from the previous quarter and a year-over-year decrease of 16%. Tesla delivered 418,227 vehicles in the fourth quarter and produced 434,358.

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According to a company-compiled consensus from analysts posted on Tesla’s website in December, the company was projected to deliver nearly 423,000 vehicles in the fourth quarter.

Tesla’s annual deliveries fell roughly 8% last year from 1.79 million in 2024. Its third-quarter deliveries saw a boost as consumers rushed to buy electric vehicles before a $7,500 tax credit expired at the end of September.

“There are so many contributing factors ranging from the lack of evolution and true innovation of Musk’s product to the loss of the EV credits,” said Karl Brauer, an analyst at iSeeCars.com. “Teslas are just starting to look old. You have a bunch of other options, and they all look newer and fresher.”

BYD is making premium electric vehicles at an affordable price point, Brauer said, but steep tariffs on Chinese EVs have effectively prevented the cars from gaining popularity in the U.S.

Other international automakers like South Korea’s Hyundai and Germany’s Volkswagen have been expanding their EV offerings.

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In the third quarter last year, the American automaker Ford sold a record number of electric vehicles, bolstered by its popular Mustang Mach-E SUV and F-150 Lightning pickup truck.

In October, Tesla released long-anticipated lower-cost versions of its Model 3 and Model Y in an attempt to attract new customers.

However, analysts and investors were disappointed by the launch, saying the models, which start at $36,990, aren’t affordable enough to entice a new group of consumers to consider going green.

As evidenced by Tesla’s continuing sales decline, the new Model 3 and Model Y have not been huge wins for the company, Brauer said.

“There’s a core Tesla following who will never choose anything else, but that’s not how you grow,” Brauer said.

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Tesla lost a swath of customers last year when Musk joined the Trump administration as the head of the so-called Department of Government Efficiency.

Left-leaning Tesla owners, who were originally attracted to the brand for its environmental benefits, became alienated by Musk’s political activity.

Consumers held protests against the brand and some celebrities made a point of selling their Teslas.

Although Musk left the White House, the company sustained significant and lasting reputation damage, experts said.

Investors, however, remain largely optimistic about Tesla’s future.

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Shares are up nearly 40% over the last six months and have risen 16% over the past year.

Brauer said investors are clinging to the hope that Musk’s robotaxi business will take off and the ambitious chief executive will succeed in developing humanoid robots and self-driving cars.

The roll-out of Tesla robotaxis in Austin, Texas, last summer was full of glitches, and experts say Tesla has a long way to go to catch up with the autonomous ride-hailing company Waymo.

Still, the burgeoning robotaxi industry could be extremely lucrative for Tesla if Musk can deliver on his promises.

“Musk has done a good job, increasingly in the past year, of switching the conversation from Tesla sales to AI and robotics,” Brauer said. “I think current stock price largely reflects that.”

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Shares were down about 2% on Friday after the company reported earnings.

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Elon Musk company bot apologizes for sharing sexualized images of children

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Elon Musk company bot apologizes for sharing sexualized images of children

Grok, the chatbot of Elon Musk’s artificial intelligence company xAI, published sexualized images of children as its guardrails seem to have failed when it was prompted with vile user requests.

Users used prompts such as “put her in a bikini” under pictures of real people on X to get Grok to generate nonconsensual images of them in inappropriate attire. The morphed images created on Grok’s account are posted publicly on X, Musk’s social media platform.

The AI complied with requests to morph images of minors even though that is a violation of its own acceptable use policy.

“There are isolated cases where users prompted for and received AI images depicting minors in minimal clothing, like the example you referenced,” Grok responded to a user on X. “xAI has safeguards, but improvements are ongoing to block such requests entirely.”

xAI did not immediately respond to a request for comment.

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Its chatbot posted an apology.

“I deeply regret an incident on Dec 28, 2025, where I generated and shared an AI image of two young girls (estimated ages 12-16) in sexualized attire based on a user’s prompt,” said a post on Grok’s profile. “This violated ethical standards and potentially US laws on CSAM. It was a failure in safeguards, and I’m sorry for any harm caused. xAI is reviewing to prevent future issues.”

The government of India notified X that it risked losing legal immunity if the company did not submit a report within 72 hours on the actions taken to stop the generation and distribution of obscene, nonconsensual images targeting women.

Critics have accused xAI of allowing AI-enabled harassment, and were shocked and angered by the existence of a feature for seamless AI manipulation and undressing requests.

“How is this not illegal?” journalist Samantha Smith posted on X, decrying the creation of her own nonconsensual sexualized photo.

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Musk’s xAI has positioned Grok as an “anti-woke” chatbot that is programmed to be more open and edgy than competing chatbots such as ChatGPT.

In May, Grok posted about “white genocide,” repeating conspiracy theories of Black South Africans persecuting the white minority, in response to an unrelated question.

In June, the company apologized when Grok posted a series of antisemitic remarks praising Adolf Hitler.

Companies such as Google and OpenAI, which also operate AI image generators, have much more restrictive guidelines around content.

The proliferation of nonconsensual deepfake imagery has coincided with broad AI adoption, with a 400% increase in AI child sexual abuse imagery in the first half of 2025, according to Internet Watch Foundation.

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xAI introduced “Spicy Mode” in its image and video generation tool in August for verified adult subscribers to create sensual content.

Some adult-content creators on X prompted Grok to generate sexualized images to market themselves, kickstarting an internet trend a few days ago, according to Copyleaks, an AI text and image detection company.

The testing of the limits of Grok devolved into a free-for-all as users asked it to create sexualized images of celebrities and others.

xAI is reportedly valued at more than $200 billion, and has been investing billions of dollars to build the largest data center in the world to power its AI applications.

However, Grok’s capabilities still lag competing AI models such as ChatGPT, Claude and Gemini, that have amassed more users, while Grok has turned to sexual AI companions and risque chats to boost growth.

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A tale of two Ralphs — Lauren and the supermarket — shows the reality of a K-shaped economy

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A tale of two Ralphs — Lauren and the supermarket — shows the reality of a K-shaped economy

John and Theresa Anderson meandered through the sprawling Ralph Lauren clothing store on Rodeo Drive, shopping for holiday gifts.

They emerged carrying boxy blue bags. John scored quarter-zip sweaters for himself and his father-in-law, and his wife splurged on a tweed jacket for Christmas Day.

“I’m going for quality over quantity this year,” said John, an apparel company executive and Palos Verdes Estates resident.

They strolled through the world-famous Beverly Hills shopping mecca, where there was little evidence of any big sales.

John Anderson holds his shopping bags from Ralph Lauren and Gucci at Rodeo Drive.

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(Juliana Yamada / Los Angeles Times)

One mile away, shoppers at a Ralphs grocery store in West Hollywood were hunting for bargains. The chain’s website has been advertising discounts on a wide variety of products, including wine and wrapping paper.

Massi Gharibian was there looking for cream cheese and ways to save money.

“I’m buying less this year,” she said. “Everything is expensive.”

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The tale of two Ralphs shows how Americans are experiencing radically different realities this holiday season. It represents the country’s K-shaped economy — the growing divide between those who are affluent and those trying to stretch their budgets.

Some Los Angeles residents are tightening their belts and prioritizing necessities such as groceries. Others are frequenting pricey stores such as Ralph Lauren, where doormen hand out hot chocolate and a cashmere-silk necktie sells for $250.

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People shop at Ralphs in West Hollywood.

People shop at Ralphs in West Hollywood.

(Juliana Yamada / Los Angeles Times)

In the K-shaped economy, high-income households sit on the upward arm of the “K,” benefiting from rising pay as well as the value of their stock and property holdings. At the same time, lower-income families occupy the downward stroke, squeezed by inflation and lackluster income gains.

The model captures the country’s contradictions. Growth looks healthy on paper, yet hiring has slowed and unemployment is edging higher. Investment is booming in artificial intelligence data centers, while factories cut jobs and home sales stall.

The divide is most visible in affordability. Inflation remains a far heavier burden for households lower on the income distribution, a frustration that has spilled into politics. Voters are angry about expensive rents, groceries and imported goods.

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“People in lower incomes are becoming more and more conservative in their spending patterns, and people in the upper incomes are actually driving spending and spending more,” said Kevin Klowden, an executive director at the Milken Institute, an economic think tank.

“Inflationary pressures have been much higher on lower- and middle-income people, and that has been adding up,” he said.

According to a Bank of America report released this month, higher-income employees saw their after-tax wages grow 4% from last year, while lower-income groups saw a jump of just 1.4%. Higher-income households also increased their spending year over year by 2.6%, while lower-income groups increased spending by 0.6%.

The executives at the companies behind the two Ralphs say they are seeing the trend nationwide.

Ralph Lauren reported better-than-expected quarterly sales last month and raised its forecasts, while Kroger, the grocery giant that owns Ralphs and Food 4 Less, said it sometimes struggles to attract cash-strapped customers.

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“We’re seeing a split across income groups,” interim Kroger Chief Executive Ron Sargent said on a company earnings call early this month. “Middle-income customers are feeling increased pressure. They’re making smaller, more frequent trips to manage budgets, and they’re cutting back on discretionary purchases.”

People leave Ralphs with their groceries in West Hollywood.

People leave Ralphs with their groceries in West Hollywood.

(Juliana Yamada / Los Angeles Times)

Kroger lowered the top end of its full-year sales forecast after reporting mixed third-quarter earnings this month.

On a Ralph Lauren earnings call last month, CEO Patrice Louvet said its brand has benefited from targeting wealthy customers and avoiding discounts.

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“Demand remains healthy, and our core consumer is resilient,” Louvet said, “especially as we continue … to shift our recruiting towards more full-price, less price-sensitive, higher-basket-size new customers.”

Investors have noticed the split as well.

The stock charts of the companies behind the two Ralphs also resemble a K. Shares of Ralph Lauren have jumped 37% in the last six months, while Kroger shares have fallen 13%.

To attract increasingly discerning consumers, Kroger has offered a precooked holiday meal for eight of turkey or ham, stuffing, green bean casserole, sweet potatoes, mashed potatoes, cranberry and gravy for about $11 a person.

“Stretch your holiday dollars!” said the company’s weekly newspaper advertisement.

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Signs advertising low prices are posted at Ralphs.

Signs advertising low prices are posted at Ralphs.

(Juliana Yamada / Los Angeles Times)

In the Ralph Lauren on Rodeo Drive, sunglasses and polo shirts were displayed without discounts. Twinkling lights adorned trees in the store’s entryway and employees offered shoppers free cookies for the holidays.

Ralph Lauren and other luxury stores are taking the opposite approach to retailers selling basics to the middle class.

They are boosting profits from sales of full-priced items. Stores that cater to high-end customers don’t offer promotions as frequently, Klowden of the Milken Institute said.

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“When the luxury stores are having sales, that’s usually a larger structural symptom of how they’re doing,” he said. “They don’t need to be having sales right now.”

Jerry Nickelsburg, faculty director of the UCLA Anderson Forecast, said upper-income earners are less affected by inflation that has driven up the price of everyday goods, and are less likely to hunt for bargains.

“The low end of the income distribution is being squeezed by inflation and is consuming less,” he said. “The upper end of the income distribution has increasing wealth and increasing income, and so they are less affected, if affected at all.”

The Andersons on Rodeo Drive also picked up presents at Gucci and Dior.

“We’re spending around the same as last year,” John Anderson said.

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At Ralphs, Beverly Grove resident Mel, who didn’t want to share her last name, said the grocery store needs to go further for its consumers.

“I am 100% trying to spend less this year,” she said.

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