Business
'Wicked' spectacles, merger gossip and movie industry woes at CinemaCon 2024
Movie theaters need more movies. Will they ever get enough to truly thrive again?
That was the central question overhanging CinemaCon 2024, the annual convention bringing together Hollywood studios and multiplex operators in Las Vegas this week.
Exhibitors pleaded with the major studios to release more films of varying budgets on the big screen, while studios made the case that their upcoming slates are robust enough to keep them in business.
Once again, CinemaCon, where studios trot out executives and movie stars to pitch their upcoming blockbusters, arrived at a particularly challenging time for the film industry.
After weathering a devastating pandemic that shut down theaters for months, two of the most essential parts of the Hollywood machine, writers and actors, went on strike. The work stoppages — which lasted a combined six months — prompted the leading entertainment companies to push a number of titles to 2025 from 2024, disrupting the supply chain and sparking widespread anxiety in the exhibition community.
Box office revenue in the U.S. and Canada is expected to total about $8.5 billion, which is down from $9 billion in 2023 and a far cry from the pre-pandemic yearly tallies that nearly reached $12 billion.
“It’s not enough for us to simply sit back and want more movies,” said Michael O’Leary, president of the National Assn. of Theatre Owners, during Tuesday’s state-of-the-industry address at the Colosseum in Caesars Palace. “We must work with distribution to get more movies of all sizes to the marketplace.”
Though a fuller release schedule is expected for 2025, talk of budget cuts, greater industry consolidation and corporate mergers has forced exhibitors to prepare for the possibility of a near future with fewer studios making fewer movies.
In the extravagant banquet and trade show halls of Caesars Palace, theater operators groaned about 2024 being painted as yet another “lost year” for cinema — determined in spite of the grim discourse to remain optimistic.
“All indications are the rest of the year is going to be a lot better,” said David Fetters, vice president of West Mall Theatres in Minnesota and South Dakota. “The product we’re seeing here is looking outstanding.”
The studios tried to give exhibitors something to hope for during their CinemaCon presentations — hyping their movie lineups, bringing out filmmakers and cast members, pulling silly stunts, and playing sizzle reels, sneak peeks, trailers and, in some cases, entire features for their industry audience.
‘Wicked’ brings down the house
While promoting their 2024-25 programming, the studios pulled out plenty of stops.
Distribution executives at Warner Bros. delivered their opening remarks dressed as Michael Keaton’s Beetlejuice; Dwayne Johnson joined a Polynesian dance troupe while introducing Disney’s “Moana 2”; and the head of distribution at Paramount entered the theater in full “Gladiator” armor on a gold chariot.
But Universal’s presentation of “Wicked” — director Jon M. Chu’s film adaptation of the hit Broadway musical — took the cake. Convention attendees arrived at their seats to find a surprise in their cup holders: roses that illuminated for a technicolor light show set to an instrumental medley of “Wicked” songs. After the overture, a pre-taped message to all “CinemaConians” from Jeff Goldblum’s imposing Wizard of Oz played onscreen, and Goldblum took the stage in real life.
He was later joined by Michelle Yeoh (Madame Morrible), Jonathan Bailey (Fiyero) producer Marc Platt and Chu, who fought back tears while talking about casting the film’s leading witches. On cue, Glinda and Elphaba themselves — Ariana Grande and Cynthia Erivo — emerged from the wings to thunderous applause.
Like Chu, Grande was overcome with emotion and paused briefly to compose herself while delivering her remarks. .
Other pictures teased during the studio presentations included Universal’s “Despicable Me 4,” Warner Bros.’ “Furiosa: A Mad Max Saga” and “Joker: Folie à Deux,” Paramount’s “A Quiet Place: Day One” and “Transformers One,” and Disney’s “Inside Out 2” and “Deadpool & Wolverine.”
Paramount deal looms
Amid the displays of corporate harmony, it was hard to ignore the elephant in the convention center: a potential merger between Paramount Global and David Ellison’s production company, Skydance.
Shares of Paramount Global — home of Paramount Pictures, CBS and several other legacy brands and franchises — took a nosedive Wednesday after news that a group of of the company’s directors are stepping down amid merger discussions.
This would be only the latest Hollywood merger in a string of deals, including Disney’s acquisition of Fox in 2019 and Warner Bros.’ union with Discovery in 2022.
When asked about the theatrical implications of another studio sale in an already rapidly consolidating industry, National Assn. of Theatre Owners President Michael O’Leary and Motion Picture Assn. Chairman Charles Rivkin largely waved it off.
“There’s always other things that we can do as an industry association to strengthen our industry, and I’ll cross that bridge when I get to it,” Rivkin said during a CinemaCon news conference.
Rather than avoiding the topic during the studio’s CinemaCon presentation on Thursday, Paramount Pictures chief Brian Robbins handled the situation with humor.
“There’s been a lot of speculation around our parent company around [mergers and acquisitions],” Robbins said before joking that Paramount’s head of domestic distribution, Chris Aronson, “has now thrown his hat into the ring as a bidder.”
“He’s starting a Kickstarter campaign,” Robbins continued as the crowd chuckled.
Japanese cinema and faith-based content reign
As the domestic film business has been thrown into turmoil in recent years, Japanese cinema and faith-based content have been two of movie theaters’ saving graces.
Industry leaders kicked off CinemaCon on Tuesday by singing the praises of Sony-owned anime distributor Crunchyroll’s hits — including the latest “Demon Slayer” installment.
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.
“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.”
Last year, event-cinema company Fathom Events decided to expand its annual Studio Ghibli series, screening “Spirited Away,” “Princess Mononoke” and other Hayao Miyazaki classics for five nights each instead of just one or two. Fathom Events Chief Executive Ray Nutt said that the extended runs allowed those titles to gross 142% more than they had in the past.
“Anime was one that did very well for us,” Nutt said. “The team is really good at sourcing content and then figuring out where the audiences drive tickets.”
Another type of product buoying the exhibition industry right now is faith-based programming, shepherded in large part by “Sound of Freedom” distributor Angel Studios.
During its presentation on Wednesday, Angel Studios unveiled its lineup of “stories that amplify light,” including an animated feature telling the biblical tale of David and a live-action drama about a German pastor who conspires against the Nazis during World War. II.
“Some of the faith-based things, especially in our part of the country — the Midwest — have had a lot of good traction,” Fetters said.
Nutt added that Fathom Events has also had “huge success” connecting with faith-based audiences by screening content such as episodes of “The Chosen,” a drama series chronicling the life of Jesus Christ. The latest season of the show generated $32 million at the box office, according to Nutt.
Exhibitors make plea for more movies… and flexible windows
The greatest challenge facing theaters right now is a dearth of theatrical releases, exhibitors say. Theater owners urged studio executives at CinemaCon to put more films in theaters — and not just big-budget tent poles timed for summer movie season and holiday weekends.
“There’s been a bit of a shortage of good content because of the strikes and that sort of thing,” said Mark Shaw, owner of Shaw Theatres in Singapore. “And also, during the pandemic, we lost some of the audience. Trying to get that audience back into theaters is a bit of a challenge.”
“Whenever we have a [blockbuster] film — whether it be ‘Barbie’ or ‘Super Mario’ … records are set,” added Bill Barstow, co-founder of ACX Cinemas in Nebraska. “But we just don’t have enough of them.”
During an industry think-tank panel on Wednesday, Disney distribution executive Cathleen Taff defended the company’s decision to delay certain movies — including the animated film “Elio” and a live-action remake of “Snow White” — to 2025, explaining that at least some of those titles were not finished in time for a 2024 release.
“From a studio perspective … we need to walk in tandem together,” Taff said.
“We have to pick some good dates and we had to do those shifts. And of course we thought about the theaters, but the reality is we’re not going to release an unfinished film.”
An additional issue affecting owners of independent theaters and smaller chains is studio-imposed three-week minimum runs for major movies. Multiple exhibitors told The Times that these businesses can’t afford to let one movie to take up a screen for three weeks because there simply isn’t enough population where they operate to fill seats for that long.
“If you run it for two weeks, the community has already seen it,” said Colleen Barstow, vice president of ACX Cinemas.
“There is no need to require three-week or longer commitments,” said Chris Johnson, chief executive of Classic Cinemas in Illinois. “If you have a hit, we will hold it.”
The next frontier: ‘alternative content’
One way that exhibitors are trying to fill the void of studio releases is by showing “alternative content” — from reissues of beloved films and screenings of TV shows to musical performances and sporting events.
The best example of this phenomenon is AMC Theatres’ distribution of Taylor Swift’s “The Eras Tour” and Beyonce’s “Renaissance.”
Fathom Events, which has been in the business of alternative content for decades, is going further by attaching live and pre-recorded Q&As to their screenings, as well as handing out collectible merchandise as an extra incentive for audiences.
“You go to go to a regular movie, you buy the ticket, you watch the movie — I don’t mean to demean the movie experience by any stretch of imagination — but that’s pretty much it,” Nutt said. “With us, you are going to … get something special.”
Larger companies such as AMC have been partnering with studios to level up their merchandise game as well. See: the infamous “Dune 2” popcorn bucket, which inspired Disney to promise at CinemaCon to deliver a must-have “Deadpool 3” popcorn bucket.
“There are some studios that inadvertently make crude and rude popcorn buckets,” joked Marvel Studios president Kevin Feige during Disney’s presentation. “And then there are popcorn buckets designed by Deadpool.”
Business
Commentary: Puncturing the myth of Alan Greenspan, whose policies gave us the Great Recession
Noah Cross, the archvillain of the movie “Chinatown,” had the definitive line on how old age brings respectability. “‘Course I’m respectable,” he tells Jake Gittes. “I’m old. Politicians, ugly buildings and whores all get respectable if they last long enough.”
I wouldn’t necessarily slot former Federal Reserve Chairman Alan Greenspan into any of those categories, but the general reaction to his death Monday at age 100 puts the lie to Cross’ observation.
As much as he was revered during his nearly two decades as Fed chairman for protecting the stock market from a series of crashes and near-crashes, his obituaries take a more measured view. The headline on the Wall Street Journal’s main take on his legacy is: “The Myth of Alan Greenspan as ‘The Maestro.’”
Stripped of its academic jargon, the welfare state is nothing more than a mechanism by which governments confiscate the wealth of the productive members of a society to support a wide variety of welfare schemes.
— Alan Greenspan, writing as an Ayn Rand cultist (1966)
The Journal blames Greenspan for fostering “the great credit mania of the mid-2000s” and observes that “the music stopped in 2008, producing the panic that did so much harm to the free-market economy that Greenspan promoted.” That was the Great Recession, which started with the 2008 crash in the housing market and persisted into 2012.
That is from a publication that was more or less in accord with Greenspan’s goals of less regulation and lower taxes. His contemporary adversaries were harsher. “R.I.P. Alan Greenspan: You were charming, thoughtful, powerful, and wrong,” writes Robert Reich, who served as Bill Clinton’s Labor secretary while Greenspan led the Fed.
The Great Recession, “in which in which millions of Americans lost their jobs, their savings, and even their homes — resulted from the deregulation of Wall Street that Greenspan advocated,” Reich wrote. But he had to admit that Greenspan’s “iron grip” over Fed policy forced Clinton “to do exactly what Greenspan wanted — which was to reduce the federal budget deficit and thereby destroy much of the agenda Clinton ran on.”
It would be unfair to depict Greenspan’s influence as invariably pernicious. Social Security advocates still think highly of his work chairing the so-called Greenspan Commission of 1982-1983, which developed a series of changes in benefits and revenues for that program to address a looming, immediate fiscal crisis.
Greenspan led the bipartisan panel “masterfully,” recalls William J. Arnone, the former chief executive of the National Academy of Social Insurance, who witnessed its deliberations as a consultant to the New York Citizens Committee on Aging.
Before the commission’s formation, “Republicans and Democrats fiercely disagreed over underlying data,” Arnone told me. “Greenspan used his expertise as an economic empiricist to convince both sides to agree on a singular, shared set of actuarial facts. Quite an accomplishment.”
To the public, Greenspan was known for his impenetrably cryptic speaking style and for the relative tranquility in the American economy during his tenure, which has been termed “the great moderation” despite recurrent short-term crises.
Greenspan was the second-longest serving Fed chair. But he may have had the weirdest background. Having grown up in an affluent New York household, he was talented enough on clarinet and saxophone to have sat in with Stan Getz’s band and attended Juilliard for a time.
He began his economics education in 1945 at New York University and got as far as a master’s degree, but by then he was already working on Wall Street, where his skill at financial analysis propelled him toward the top echelons of high finance.
Somewhere along the line he fell in with the arch-libertarian Ayn Rand, becoming part of her inner circle of economic cultists. Referring to his dour mien and predilection for charcoal gray garb, Rand called him her “undertaker.”
Greenspan provided a veneer of rigorous economic analysis for Rand’s ideology, which lionized the rich and described them as fighting a ferocious battle with the lazy and grasping hoi polloi. He contributed three essays to her 1966 anthology “Capitalism: The Unknown Ideal.”
His association with Rand was seldom highlighted during his Fed tenure, but even a casual reading of those essays exposes the Randian underpinnings — and the Randian self-contradictions — of his Fed policies.
One essay defended the gold standard, which had been discredited in the 1930s. Greenspan blamed “welfare-state advocates” for the developed world’s abandonment of the gold standard.
He wrote, “Stripped of its academic jargon, the welfare state is nothing more than a mechanism by which governments confiscate the wealth of the productive members of a society to support a wide variety of welfare schemes…. Gold stands in the way of this insidious process. It stands as a protector of property rights” — language that could have come right out of the text of Rand’s “Atlas Shrugged.”
Another essay called for the dismantling of government regulators such as the Food and Drug Administration and the Securities and Exchange Commission. Greenspan’s argument was that the consumer was adequately protected by the businessman’s profit-seeking, which in turn depended on maintaining a reputation for honesty and fair-dealing.
For drug companies, he wrote, “the loss of reputation through the sale of a shoddy or dangerous product would sharply reduce the market value of the drug company.” The same goes for securities brokers — “The slightest doubt as to the trustworthiness of a broker’s word or commitment would put him out of business overnight.”
One might ask what inspired Greenspan’s faith in, well, the faithfulness of business enterprises, given centuries of proof otherwise. Anyway, he refuted his own argument. “The guiding purpose of the government regulator is to prevent rather than to create something,” he wrote. “He gets no credit if a new miraculous drug is discovered by drug company scientists; he does if he bans thalidomide.”
He didn’t bother to question why his trustworthy drug companies had tried to market as a morning-sickness drug in the U.S. a formulation that already had been shown to produce severe birth defects in the children of mothers who took it overseas. (American families were largely saved from this tragedy by Frances Oldham Kelsey, who blocked its importation as an official of, yes, the FDA.)
To stock market investors, Greenspan’s chief legacy was the “Greenspan Put.” This was an implicit commitment by the Fed to counteract sharp declines in the market by pumping liquidity into the economy through the mass purchase of Treasury bonds.
The term comes from the options market, in which a “put” gives the holder the right to sell the underlying stock at a set price in the future, even if the market price has fallen below that price. In effect, it establishes a floor to the investor’s losses in a downturn.
The Greenspan put first appeared on Oct. 19, 1987, when the stock market suffered its greatest one-day percentage crash ever, 20.47%. Greenspan had been in office for only a few weeks, but his Fed issued a statement promising to inject liquidity into the system and cut interest rates. “We will back you,” he told bankers in a series of phone calls.
In truth, Greenspan had no legal authority to make that pledge. In any event, the market recovered the next day, and the Fed’s image as a willing bulwark against market declines was born.
The problem was that the idea that the Fed would act in a market crisis encouraged ever more flagrant risk-taking on Wall Street.
The harvest was a series of crises, notably the 1998 collapse of the hedge fund Long Term Capital Management, which was founded by Nobel economics laureates to pursue abstruse arbitrage trades. It was brought low by market moves that confounded their projections. LTCM was so deeply embedded in Wall Street trading it had to be saved with a $3.6-billion bailout the Fed orchestrated.
The Greenspan put, like so many other such grand schemes, worked well right up until it stopped working. That moment came in 2008, with a crash and a long, throbbing hangover.
Testifying to Congress in 2008, Greenspan acknowledged that maybe self-regulation, that watchword of his economic worldview, didn’t work.
“I made a mistake in presuming that the self-interest of organizations, specifically banks and others, were such that they were best capable of protecting their own shareholders and their equity in the firms…. Something which looked to be a very solid edifice, and, indeed a critical pillar to market competition and free markets, did break down.”
That, he said, “shocked me.” It was a rare admission of blame by a man who, as my former colleagues Thomas S. Mulligan and Don Lee reported in their Greenspan obituary, had told CNBC a few months earlier that he had “no regrets” about his policies.
Business
Cisco to lay off more than 400 workers in California
San José tech company Cisco plans to cut 471 workers in three Bay Area offices, according to layoff notices filed to a state agency.
The company, which provides networking devices along with other services including video conferencing and cybersecurity, told employees in May that it was going to cut fewer than 4,000 jobs or less than 5% of its workforce.
The notices, processed by the California Employment Development Department this week, provide more details about what jobs Cisco will cut in California.
The artificial-intelligence boom has fueled more investments in data centers, commercial real estate and other areas. But advancements in AI tools have also been reshaping jobs, especially in Silicon Valley, the epicenter of the tech industry.
Cisco’s layoffs in California impacted workers in its San José, Milpitas and San Francisco offices. The company cut a variety of roles in software engineering, product management, design, business operations and other areas, the notices show.
Cisco said it didn’t have anything additional to share beyond what it published in May about its restructuring plans.
Tech companies have been citing various reasons for layoffs including prioritizing investments in artificial intelligence. As workers use AI-powered tools to generate code, words and other content, some executives have said they don’t need as many employees. There’s also skepticism, though, about how big a role AI is playing at companies with a large amount of workers globally.
From January to May, U.S. technology companies announced 123,653 cuts, up 66% from the same period in 2025, according to a June report from global outplacement and executive coaching firm Challenger, Gray & Christmas. The firm said that AI was the leading reason companies cited for cuts but it still isn’t the “jobpocalypse some predicted.”
Meta, Snap, Block, Oracle and Amazon are among tech companies that have announced mass layoffs this year.
Cisco markets itself as a company that “provides critical infrastructure for the AI era” and has benefited from the AI boom, reaching a record revenue of $15.8 billion in the third quarter this year. The company’s net income grew 35% to $3.4 billion year-over-year during that quarter.
Cisco Chief Executive Chuck Robbins told employees in May it’s cutting costs in certain areas while prioritizing other investments. That includes employee use of AI across the company.
He said Cisco will be among winners in the AI era, but that means “making hard decisions — about where we invest, how we’re organized, and how our cost structure reflects the opportunity in front of us.”
As of July 2025, Cisco had roughly 86,200 employees, according to its annual report.
Business
Snap sued by parents of girl who was raped by man she met on Snapchat
Social media company Snap is being sued by the parents of a girl who was raped when she was 12 years old by a man she met on disappearing messaging app Snapchat.
The 111-page lawsuit, filed this week in a Missouri Circuit Court, alleges that Santa Monica-based Snap “enabled and facilitated the grooming, exploitation, and sexual abuse” of the minor who is referred to as “J.F.”
The company failed to disable or warn users about “dangerous” features that predators use on the app to find and abuse their victims, according to the lawsuit.
Missouri resident Gabriel Joel Valentin-Rios, who was 25 years old at the time, raped the girl in September 2021 after she sneaked out of her house, the lawsuit alleges. The parents are also suing the attacker, who pleaded guilty to sexually assaulting the girl and is serving 18 years in prison, according to the Social Media Victims Law Center.
The center and the Holland Law Firm announced Thursday they filed the lawsuit on behalf on the victim’s family.
“This assault did not happen in a vacuum — it happened because Snapchat’s product design made it easy for a predator to reach and manipulate an unsuspecting child,” said Matthew Bergman, founding attorney of the Social Media Victims Law Center, in a statement. “Snap executives have long known that their features create a perfect environment for predators to exploit children, yet they have repeatedly failed to make the platform safe.”
A Snap spokesperson said in a statement the company cares “deeply about the safety and well-being of all Snapchatters.”
“Our teams have worked for years to build safeguards, launch safety tutorials, partner with experts, and work with law enforcement to help prevent the misuse of our platform,” the spokesperson said in a statement.
The lawsuit is the latest legal hurdle facing Snap. Multiple parents who lost their children have previously sued the company, alleging that Snap failed to provide enough safeguards on the messaging app. Parents and child safety groups have voice concerns about how the app can be used to connect young people with drug dealers and child predators.
Other tech companies such as gaming platform Roblox, Google-owned YouTube and Facebook parent company Meta have also faced lawsuits over safety and mental health issues.
In March, a Los Angeles jury found that Meta-owned Instagram and YouTube were liable for the suffering of a California woman who alleged the platforms were built to addict young users. Snap settled that lawsuit before the trial started.
The latest lawsuit against Snap highlights safety concerns surrounding several features on the messaging app including “Quick Add,” which suggests users to connect with on Snapchat. Valentin-Rios used that feature to connect with the girl along with others to disguise his identity and groom her into sending explicit photos, the lawsuit said. The company’s “Snap Maps” feature allowed him to find the girl’s home address. And he used a cartoon avatar known as Bitmoji on Snapchat to conceal his age and present himself as a “a young, innocuous, and friendly looking boy.”
Families have faced challenges holding tech companies accountable for safety issues because a U.S. law shields platforms from being held liable for content posted by its users.
The lawsuit against Snap, though, says that it seeks to hold the company liable for the design and marketing of “unreasonably dangerous social media products.” It alleges that Snap co-created content such as Bitmojis abused by child predators and it designed the app to entice users to spend more time messaging others.
The lawsuit accused Snap of consistently turning a “blind eye” to underage users of its app. Snapchat requires users be at least 13 years old to sign up for an account, but J.F. started using the app when she was 11 years old. Snapchat was popular among her peers and friends so J.F. downloaded the app, which was presented as lighthearted and entertaining platform, without her parents’ knowledge or consent. The company failed to warn users about potential dangers, verify the ages of minors and lacks adequate parental controls, the lawsuit alleges.
Snapchat has a “family center” where parents can see their teen’s friends, view time spent and other insights about how their children are using the app. But the lawsuit said it isn’t enough because parents can’t restrict teens from sending private messages and children can create accounts without their parents’ knowledge.
The plaintiffs’ counsel also tested Snap’s “Quick Add” feature in 2023 and found that many of the usernames “generated by Snap’s recommendation algorithm appeared on their face to belong to predatory users,” the lawsuit said.
Valentin-Rios was also able to create a second Snapchat account with the username “Nocits21g” to connect with J.F. and to conceal the activity from his girlfriend, according to the lawsuit.
The rape victim, who was diagnosed with PTSD, anxiety and depression, started to engage in self-harm and expressed suicidal thoughts, the lawsuit states.
The lawsuit seeks a jury trial and financial damages for the harm allegedly caused by the company to the family.
“J.F. feels embarrassed and ashamed, but she is also angry that Snap facilitated this by design, and angrier still that Snap continues to operate its platform in the same manner today,” the lawsuit said.
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