Entertainment
Los Angeles loses ground to rivals in film and TV employment but remains the biggest player
Los Angeles’ portion of the domestic film and TV economy shrank last year amid devastating industry struggles, but it remains by far the most powerful entertainment player in the United States.
According to the latest Otis College Report on the Creative Economy, released Thursday, the City of Angels posted a 27% share of domestic film and TV employment in 2023 — down 8% from 2022 but still way ahead of its fiercest competitor, New York, which made up 12% of the entertainment workforce.
Other U.S. production hubs lagged far behind Los Angeles. Each claiming 2% of the entertainment pie last year were Atlanta, Dallas, San Francisco, Chicago and Miami; while Nashville, Tenn., Austin, Texas, and Washington, D.C., each hovered at 1% — largely in line with where they stood 10 years ago.
Additionally, the Otis report found that workers in Los Angeles County earned 50% of all wages across the domestic film and TV industry last year.
With the exception of New York — long a production stronghold — film and TV activity outside of Los Angeles was spread pretty evenly throughout other parts of the country, leading Otis College to conclude that there is no “New Hollywood” on the horizon.
The new report tracks the pivotal decade from 2013 — when Netflix launched the streaming revolution with the release of “House of Cards” — to early 2024, immediately following the Hollywood writers’ and actors’ strikes.
“Los Angeles is still the apex of the entertainment industry, but the industry itself is undergoing once-in-a-generation changes,” Patrick Adler, principal at Westwood Economics and Planning Associates, said in a statement.
“It is less dependent on film and television studios, more oriented toward online content creation, live events and gaming, and also much more technical and managerial than ever. What it means to work in Hollywood is starkly different today than even 10 years ago.”
According to the study, film and TV currently covers about 52% of the entertainment business in Los Angeles County, coming in 12% behind 2013. Employment levels spanning film, TV, sound, broadcasting and print media — all labeled “traditional” entertainment fields by Otis — have similarly fallen roughly 9% from 2013 to 2024.
The waning prominence of film and TV coincides with a drop in production, which is still down 9% from pre-strike levels, according to the report. Film and TV employment in Los Angeles County is 19% lower than it was prior to the work stoppages — leaving thousands of writers, crew members and other entertainment workers in a state of financial and emotional distress.
Otis College previously reported that entertainment employment in the greater Los Angeles area plummeted by 17% during the overlapping writers’ and actors’ strikes.
Previous reporting by The Times illustrates that the production and employment crisis in Los Angeles predates the walkouts and can be largely attributed to an ongoing industry contraction following studios’ overspending during the streaming wars.
As a result, film, TV, commercial and other production activity in the first quarter of 2024 was about 20% below the five-year average, according to FilmLA, a nonprofit organization that tracks on-location production in the Greater Los Angeles area.
Meanwhile, job growth in “modern” entertainment sectors — identified as software publishing, video gaming, social media, streaming, performing arts, live sports and “independent artists” — rose 53% between 2013 and 2024, Otis College reported.
The fastest-growing corner of the entertainment industry in the county is software publishing (including video games), which has jumped 149% in the last decade. Film, TV and traditional publishing are the only areas that have seen a decline.
The report also determined that the number of college-educated workers in the Los Angeles entertainment industry increased from 46% to 68% between 2000 and 2022.
Creative and management positions accounted for 59% of entertainment jobs in 2013 and had risen to 66% by 2022. Meanwhile, the amount of manual occupations, such as transportation, cleaning, groundskeeping and construction, had declined.
Additionally, the entertainment workforce over the last decade has become more racially diverse. The share of white workers in creative fields decreased between 2013 and 2022, while employment for all other racial groups grew, the report indicates.
“My hope is that the trends identified in this study and our ongoing Otis College Report on the Creative Economy give industry leaders and policymakers insight into the needs of an evolving workforce,” Charles Hirschhorn, president of Otis College, said in a statement, “one that requires more training, investment and education than ever before.”
Movie Reviews
Michael Jackson documentary set to release after massive re-write
-
Fans reignite Drake vs Kendrick feud after album announcement
03:35
-
Now Playing
Michael Jackson documentary set to release after massive re-write
02:57
-
UP NEXT
Patrick Brammall on How He Got His Role in ‘Devil Wears Prada 2’
05:43
-
Henry Winkler on ‘Hazardous History’ S2, Zip lining With Grandkids
07:38
-
Did Harry Styles and Zoë Kravitz Get Engaged?
04:05
-
Ana Gasteyer on Role in ‘Schmigadoon!’ Musical: ‘I’m Very Mean’
06:03
-
Laufey Talks Children’s Book ‘Mei Mei the Bunny,’ Coachella, More
05:15
-
Shania Twain to Host the 2026 Academy of Country Music Awards
00:26
-
Colman Domingo and Nia Long Talk New Michael Jackson Biopic
04:50
-
Charlize Theron Talks Intense Training for New Thriller, ‘Apex’
06:30
-
Jimmy Kimmel Shares Photo of His Son to Mark His 9th Birthday
00:39
-
Could Rocky Score an Oscar for ‘Project Hail Mary’ Movie?
01:36
-
‘The Pitt’ Season 2 Finale Sees Huge Surge in Streams
01:23
-
‘Top Gun’ Movies Are Returning to Theaters for 40th Anniversary
01:24
-
Chicago collectible store is latest target in Pokemon card crime spree
01:59
-
Victoria Beckham Shares Hot Takes on Chores, Nicknames, More
07:34
-
John Legend Talks New Book, ‘The Voice’ Finale, Marriage, More
06:37
-
Victoria Beckham Talks Family, Marriage, Navigating Tough Times
07:58
-
Steve Schirripa Joins TODAY With Dog WillieBoy to Talk New Book
04:32
-
Stars of ‘Running Point’ Discuss What to Expect From Season 2
06:34
Top Story
-
Fans reignite Drake vs Kendrick feud after album announcement
03:35
-
Now Playing
Michael Jackson documentary set to release after massive re-write
02:57
-
UP NEXT
Patrick Brammall on How He Got His Role in ‘Devil Wears Prada 2’
05:43
-
Henry Winkler on ‘Hazardous History’ S2, Zip lining With Grandkids
07:38
-
Did Harry Styles and Zoë Kravitz Get Engaged?
04:05
-
Ana Gasteyer on Role in ‘Schmigadoon!’ Musical: ‘I’m Very Mean’
06:03
Hallie Jackson NOW
Stay Tuned NOW
Play All
Entertainment
‘Clayface’ trailer teases DC Studios’ first proper horror movie
The DC universe is going full on body horror.
DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.
Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.
The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.
According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”
“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.
Who is Clayface?
Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”
Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.
Other versions of Clayface have been introduced in various media since.
Who is in ‘Clayface’?
The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.
Who are the ‘Clayface’ filmmakers?
Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).
The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
-
New York2 minutes agoMamdani Considers Delaying Pension-Fund Payments to Ease Budget Gap
-
Detroit, MI32 minutes agoThings to do in Metro Detroit, April 24 and beyond
-
San Francisco, CA44 minutes agoCA to open 3 new state parks and expand others, including in Bay Area: Here’s where
-
Dallas, TX50 minutes agoWild vs. Stars Game 3: Key takeaways as Dallas takes series lead on Wyatt Johnston’s 2OT winner
-
Miami, FL57 minutes agoMiami-Dade deputies detain elderly father who they say shot and killed his son after a domestic dispute
-
Boston, MA1 hour agoBoston has one of the best public markets in the country, says USA TODAY
-
Denver, CO1 hour agoRed flag fatigue? Colorado sees near-record number of critical fire days
-
Seattle, WA1 hour agoFOLLOWUP: West Seattle pickleball players band together to save court access