Business
Superheroes came to Hollywood's rescue this summer. Is it enough to save movies?
Foul-mouthed superheroes, babbling Minions and plenty of Anxiety (the animated kind) have propelled this summer’s box office past the winter and spring theatrical doldrums, marking one bright spot in an otherwise industry-wide gloom.
Boosted by a bevy of sequels, the summer’s gross box office receipts (starting from the first Friday in May) is projected to total roughly $3.6 billion through the Labor Day weekend, according to Paul Dergarabedian, senior media analyst at Comscore.
That’s short of last year’s “Barbie” and “Oppenheimer”-fueled haul of $4 billion, but still higher than summer totals in 2022, 2021 and 2020 — a positive sign for theater owners and studio executives who weathered a tough January-to-May stretch of limited and underperforming films.
And with a much-anticipated fall and winter slate of films including “Beetlejuice Beetlejuice,” “Wicked” and “Moana 2,” industry insiders are sounding more upbeat for the end of the year and beyond.
“If we can carry this same momentum that we have this summer currently into the fall and then into the beginning of 2025, I think exhibition will be very pleased,” said Jim Orr, president of theatrical distribution at Universal Pictures. “We can truly say we’re back.”
The optimism is a far cry from earlier this year, when the industry collectively wrung its hands as the box office struggled to captivate audiences. That concern turned into panic by Memorial Day, when films such as “Furiosa: A Mad Max Saga” and “Garfield” did not perform up to high expectations, leading to the worst Memorial Day weekend box office in almost three decades.
(“Garfield” ended up grossing more than $257 million in global box office on a reported budget of $60 million.)
Industry observers now see that five-month stretch as the low point in the theatrical slump, fueled in part by a lingering slowdown from the pandemic and the dual strikes by writers and actors, which disrupted the production and marketing of films.
“This industry took a double gut punch,” said Charles Rivkin, chairman of the Motion Picture Assn. “First we had COVID, which turned our $11-billion industry into zero overnight. And then when we were recovered from that, we immediately had the strikes.”
Morale was low at the outset of the season. Save for a few successes, such as Disney’s “Kingdom of the Planet of the Apes,” May releases — from Universal’s “Fall Guy” to Warner Bros.’ “Furiosa” — mostly fell flat.
“The expectations for ’24 were definitely tempered,” Dergarabedian said. “We didn’t have a Marvel movie kicking off the summer.”
But starting with June’s “Bad Boys: Ride or Die,” the box office started to pick up. It would be the first of several sequels to power the all-important summer box office.
Animated films helped to power the rebound.
“Inside Out 2” and “Despicable Me 4” put up blockbuster numbers, which is notable because animation was one of the slowest genres to recover from the pandemic due to families’ wariness to return to theaters and the ease of watching movies on streaming platforms.
With several animated films set for release later this year, worldwide family box office revenue could reach $6.1 billion, which would surpass 2018’s total, said David A. Gross, who publishes the FranchiseRe movie industry newsletter.
“It’s fair to say that since ‘Super Mario’ in spring of 2023, family moviegoing is back to pre-pandemic levels,” he said.
To date, the domestic box office has generated about $5.6 billion, down from $6.6 billion at this point last year, according to Comscore. But the summer box office has made up a lot of ground.
“I don’t like to spike the ball on the five-yard line, but I think we’re in the right direction,” said Rich Gelfond, chief executive of Imax Corp., the giant-screen technology company that operates out of Playa Vista. “We’re certainly on the road back.”
One reason for the recovery: Walt Disney Co. got its groove back this summer, with the help of “Inside Out 2.”
The Pixar animated sequel to 2015’s “Inside Out” drew $1.6 billion worldwide, making it the highest grossing animated title of all time, and the top movie of the summer season. Then, Disney-owned Marvel Studios packed a punch with the R-rated “Deadpool & Wolverine,” which amassed $1 billion in global revenue and became the second-highest grossing film of the summer.
“Historically, there’s been a bit of a ceiling for R-rated movies just because a bunch of kids can’t come,” said Greg Marcus, chief executive of Marcus Theatres, a Milwaukee, Wis.-based chain with about 80 locations spanning 17 states.
But the reception for the movie “speaks to the … clamoring for product. The people are saying, ‘If you build it, we will come,’” he said
The box office showing for Pixar and Marvel was significant, as the key Disney brands have struggled to consistently deliver in recent years. The House of Mouse’s uncharacteristically weak post-pandemic track record was one reason box office analysts drastically lowballed opening weekend projections for “Inside Out 2.”
“Everyone had high hopes for that film,” said Sean Gamble, CEO of Cinemark, the Plano, Texas-based theater chain with more than 300 locations, including 20 in Southern California. “We certainly did, but that proved out to be way beyond what we expected. It’s probably one of the biggest outperforming films … we’ve seen in a very, very long time.”
Tony Chambers, executive vice president of theatrical distribution at Disney, said, “Quality matters, and quality delivers” — echoing a key point from Disney CEO Bob Iger, who has ordered sweeping cuts across the company to stem losses from its streaming business and has directed creative departments to focus on theatrical and not crank out as much content.
Appealing to broader, multicultural audiences doesn’t hurt either, Chambers said.
“It sounds very simple, but if you cast your net wide enough, the more fish you’re likely to get,” he said. “That’s been the common denominator for all the movies that have worked successfully this summer.”
To be sure, the movie industry still faces massive challenges, regardless of this summer’s slight reprieve. Box office revenue is still below pre-pandemic levels, and it’s unclear whether it will ever fully rebound as viewing habits shift.
So far this summer, theaters across the U.S. sold 274 million tickets, an 18% decline from last summer, according to industry data firm EntTelligence. That pales in comparison to the 406 million tickets sold in summer 2019 — a time when moviegoers weren’t yet accustomed to watching major releases at home on streaming services.
What’s more, film financing has become more difficult as interest rates have increased. China is no longer a reliable market for boosting American films’ box office revenue. And studios have slashed budgets and laid off thousands of employees as they struggle to balance their massive spending on streaming services with the lower-than-expected returns.
Still, if box office returns for the second half of this year are down by only 10% compared to pre-pandemic levels, that would be a good result, Gross said.
And this summer, the charge was led by a plethora of sequels.
“Sometimes people question, ‘Are there too many sequels?’’’ Gamble said. “Across the board, with compelling stories, they work. And we’ve seen many, many examples of that throughout the course of this summer.”
Of course, simply adding more chapters to a franchise doesn’t necessarily guarantee success (see: “Furiosa”). But this summer’s sequels have been “solid,” leading to some level of reassurance for the industry.
“When these things are hitting, and when the box office is flowing, it just helps everything about the business,” Gross said. “It helps everyone relax.”
While original and nonfranchise films didn’t lead the box office this year, they certainly gave it a boost.
Surprise breakout hits such as Neon’s masterfully marketed horror flick “Longlegs (the indie studio’s biggest movie to date) and Sony’s adaptation of the bestselling Colleen Hoover novel “It Ends With Us” weren’t nearly as lucrative as the likes of “Deadpool” or “Inside Out 2.” But they played an important role, exceeding expectations and keeping the popcorn lines moving.repeats “flowing” from quote.
“Every dollar counts in the summer, and those … films added significantly to the bottom line,” Dergarabedian said. “Every $20 million times five … is $100 million. So it all adds up to what turned out to be a pretty magnificent summer.”
Emelyn Stuart, owner of Stuart Cinema and Cafe in Brooklyn, N.Y., said summer business has been “amazing” compared to the previous year. Her theater has only one screen, which means she has just one chance at a time to pick a winner.
Last year, some of her choices included “Indiana Jones and the Dial of Destiny,” as well as the DC Comics superhero film “The Flash,” which grossed just $271 million worldwide amid a controversy surrounding its star, Ezra Miller.
This year, she chose “Bad Boys: Ride or Die,” “Despicable Me 4,” “Deadpool & Wolverine” and “A Quiet Place: Day One.” The variety of available films led to a winning combination, she said.
For the fall, she’s planning to add a second screen to expand her options — particularly for attracting family audiences.
“With ‘Wicked’ coming, with ‘Beetlejuice,’ with ‘Joker,’ I think we’re going to end the year strong,” she said.
Business
In a first for the country, voters in Monterey Park ban data centers
Residents of Monterey Park voted overwhelmingly to ban data centers on election day, making the San Gabriel Valley city the first in the nation to do so by public vote.
As of Wednesday, 86% of votes were in favor of Measure NDC, the city ban, according to the Los Angeles County registrar-recorder/county clerk.
Other cities and towns have passed moratoriums on data centers, as a wave of opposition sweeps the country. But the Monterey Park vote can only be overturned by another ballot measure, making it the most permanent data center ban in a jurisdiction.
Monterey Park’s City Council had already banned data centers by ordinance, after a proposed 247,000-square-foot data center met an outpouring of public anger and concern. The developer withdrew that plan.
That facility would have been less than 500 feet away from the nearest home, and would have used three times the electricity of the entire 60,000-person city. Residents said it would have caused noise and air pollution and driven up electricity rates.
“This ensures long-lasting protections for current and future generations,” Amy Wong, co-founder of the group San Gabriel Valley Progressive Action, said of the vote. “It means that future city councils cannot overturn a data center ban, even if data center developers wanted to spend money to fund pro-data center candidates.”
The measure had no formal opposition. The developer of the proposed facility, investment firm HMC StratCap, said it wouldn’t engage in the ballot fight when it withdrew in March.
The Data Center Coalition, an industry trade group, expressed disappointment in the vote.
“It sends a signal that the area is closed for business, both for data centers and for other significant economic development projects,” state policy director Khara Boender said.
“It deprives local residents of the opportunity to compete for jobs and investment, while also causing the area to relinquish substantial long-term economic investment, high-wage jobs, and critical tax revenue to neighboring areas or other states.”
SGV Progressive Action worked with hyperlocal groups including No Data Center Monterey Park to rally support for the measure.
The group is now focused on stopping data center proposals in the City of Industry and fighting a move by City of Industry, Santa Fe Springs, Vernon and City of Commerce to welcome data centers and other industry with fast-tracked permitting and tax incentives.
City of Industry, in the San Gabriel Valley, and Vernon, south of downtown L.A., are primarily industrial areas, each with around 300 permanent residents. They are employment centers, and tens of thousands of workers commute in daily.
There has been little vocal opposition to data centers among the few residents of these cities. Wong said the protest is primarily coming from the surrounding neighborhoods.
“If a data center gets built in City of Industry, residents across the region would bear the brunt of pollution and increased utility costs,” Wong said, noting that it is surrounded by 16 other cities and unincorporated communities.
Data center proposals have been limited in California compared to Virginia, Texas, Georgia, Illinois and Arizona, which sit at the center of a recent boom in hyperscaler facilities to power artificial intelligence.
California has the third-most data centers in the country, with 300, but high electricity rates, expensive land and regulatory hurdles mean that fewer, and smaller, facilities are currently planned than in other hotspots.
That doesn’t mean opposition hasn’t been fierce. In Coachella and Imperial County, residents are showing up in droves to protest local proposals.
In the San Gabriel Valley, Montebello, El Monte and Baldwin Park have all enacted temporary moratoriums, and Alhambra recently banned data centers as part of a zoning code update.
Wong said she hoped the ballot measure vote would galvanize the opposition. “The vote is a testament to the people power of our region,” she said. “Our region is worth protecting, and we won’t let data centers determine our future.”
Business
Rent-hike ban to protect fire victims ends despite gouging concerns
A rule intended to prevent rent gouging in the wake of the Eaton and Palisades fires has lapsed in Los Angeles County, possibly exposing some renters to hikes.
The executive order that blocked rent increases was issued by Gov. Gavin Newsom amid the devastating wildfires last year. Under the order, landlords couldn’t increase rents by more than 10% above their prefire levels.
The rule, which was supposed to be temporary and was repeatedly extended, ended Friday after a vote to extend it again failed to garner enough votes. Supervisor Lindsey Horvath, whose district includes Pacific Palisades, sounded the alarm in a motion to extend price protections that failed to pass at the Board of Supervisors’ May 19 meeting.
“These price gouging protections continue to be necessary as construction and rebuilding continue, and as thousands of people remain displaced,” the motion said. “Families which signed short-term leases could face drastic price increases of 50% or more without further price gouging protection.”
Los Angeles County is home to more than 1 million rental properties, though not all of them needed protection from the new rule. There are already stricter rent increase caps for many residences, depending on the location, type and age of the building. Despite the rent control in the region, the people of Los Angeles pay among the highest rents in the country.
It is uncertain whether renters will face rapidly rising rents now that the protection has lapsed. But some real estate experts and policymakers said there was no need for the temporary rule that was part of the governor’s state of emergency.
Supervisors Kathryn Barger, Janice Hahn and Holly Mitchell abstained from voting on the motion to extend the protection, while Supervisors Hilda Solis and Horvath supported it.
“I abstained because I did not see sufficient evidence to justify extending this emergency ordinance, nor did I see evidence to eliminate it entirely,” Hahn said.
Barger’s office said she supported allowing the protections to sunset while waiting to see whether new information emerged.
“Market data already shows countywide rents are only about 2% above pre-emergency levels and rental inventory has grown,” Barger representative Helen E. Chavez Garcia said. “The Supervisor is also mindful of the burden these ongoing protections place on small property owners throughout the county.”
Mitchell did not immediately respond to a request for comment.
There haven’t been steep rent hikes in neighborhoods within three miles of the Palisades fire, according to a Times analysis of data from Zillow, the property listing company.
In ZIP Codes within three miles of the Palisades fire, rent increased 4.8% from December 2024 to April 2025. In areas around the Eaton fire, which destroyed swaths of Altadena, rent jumped 5.2% in the same period.
In L.A. County, ZIP Codes farther from the fires saw only about a 2% increase.
A landlords representative, Jesus Rojas of the Apartment Owners Assn. of Greater Los Angeles, told the supervisors during public comment at the meeting that the county’s rent-gouging rules have “long outlived the emergency they were intended to address” and are now being “wrongfully used to harm thousands of rental housing providers throughout the county.”
“There is no proof that multifamily rental housing providers are hugely increasing rents for impacted homeowners,” Rojas said.
Indeed, there are strong signs that the property market in the Los Angeles area has at last begun to cool.
L.A. metro-area rent prices recently fell to a four-year low, with the median rent slipping to $2,167 in December.
Meanwhile, condominium sales had their slowest start of the year in decades. Condo sales in Los Angeles have plummeted to a 20-year low, with fewer than 2,000 units sold in January and February — the worst start to the year since 2005.
Newsom defended the price-gouging protections shortly after they went into effect.
“In the days following the Los Angeles firestorms, we worked quickly to protect Los Angeles survivors from any form of exploitation,” he said in February 2025. “The state has the tools in place to not only block price gouging during this emergency, but also to prosecute bad actors.”
The Los Angeles County Department of Consumer and Business Affairs said it received more than 2,000 complaints after the fires, alleging that retailers and landlords were taking advantage of people put in hardship by their losses, and sent out more than 2,000 cease-and-desist letters to businesses and landlords for alleged price gouging, said Morine Merritt, who oversees department investigations into consumer and real estate fraud.
“Close to 90% of the complaints that we received involved allegations of rent increases,” Merritt said in an interview. Now that the fire-related protections have expired, existing laws and “regular market conditions determine price increases for goods and services, including rents,” she said.
Crackdowns on fire-related rent gouging have been rare, said Chelsea Kirk of the activist organization the Rent Brigade, which analyzed L.A. County’s rental market in the year after the fires. It reported 18,360 potential examples of price gouging in listings but said that few lawsuits had been filed by authorities so far.
Last week, Rent Brigade announced what it said was the first private civil lawsuit brought by a family that claimed to be rent-gouged in the aftermath of the wildfires. Plaintiffs Randall and Candy Renick, whose Altadena home was damaged, said they were charged nearly three times the maximum permitted rate for nearly 10 months. They seek restitution of $96,000 plus civil penalties and attorneys’ fees.
The rental market has probably stabilized since the fires, Kirk said, but other families may still be “locked into illegal rents” that they agreed to pay when they were in a rush to find housing after they were displaced.
Business
Read Nick Bilton’s Letter to Scott Pelley
Dear Mr. Pelley:
I meant what I said in my letter last week to the 60 Minutes team: joining 60 Minutes is the honor of my career and I am grateful to be working alongside the people who have contributed to the most important television journalism brand this country has ever produced. While I’m new to 60 Minutes, I’ve devoted my career to investigative journalism and storytelling. I started this job excited to collaborate and to benefit from the wisdom and experience of the 60 Minutes veterans, with you among them. For that reason, one of the first things I did in my new role was call you to talk and invite you to dinner. It is a profound disappointment that you rejected that overture and chose ambush instead. Yesterday, you hijacked my first meeting with staff to disparage me, my qualifications, and my intentions with remarkable incivility and contempt. I welcome a diversity of viewpoints and respectful debate among the team, but this was nothing of the sort. Yesterday’s performative display of hostility enacted in front of the staff instead of in a civil, private conversation-demonstrated that you have no interest in contributing to the future success of the show, or approaching my new tenure with a mind open to collaboration and progress. I am here to deliver first-in-class news programming, not to make headlines about newsroom drama. I am eager to work alongside those who share this goal.
Despite yesterday’s misconduct, I had hoped that in sitting down with you today we could find a path forward together. You made clear that you are not interested in such a path.
Your antipathy to the future of the show has come through loud and clear. And I have heard you. I therefore write on behalf of CBS News, Inc. (“CBS”) to inform you that your employment with CBS is terminated for cause effective immediately. Enclosed is your formal termination letter.
Sincerely,
Nick Bilton
Executive Producer, 60 Minutes
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