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    How 5 States Are Trying to Lure Hollywood Productions

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    States have spent at least $25 billion to attract movie and TV filming. Texas and New York are increasing their subsidies, while Georgia and Louisiana are broadening their programs.“Sinners,” about twin brothers who confront a supernatural evil through music, could have been shot in the Mississippi Delta where the story is set. Yet it was filmed in Louisiana, which has long lured Hollywood with tax incentives that the director Ryan Coogler said made the state an attractive choice.The competition for business is fierce, with states awarding at least $25 billion in filming incentives over the past two decades. Because of California’s struggle to retain movie and TV productions, state lawmakers have approved more than doubling its annual tax credit program to $750 million.Economists have called the subsidies a race to the bottom, but politicians have shown few signs of slowing down. Here is a roundup of how five other states are trying to attract productions from California.TEXASLawmakers approve $1.5 billion in spending over the next decade.For the second consecutive legislative session, Texas lawmakers voted to substantially expand the state’s incentive program.The biennial funding was below $100 million for two decades until lawmakers increased it to $200 million in 2023. This year, they overwhelmingly passed a bill that would increase the tax credits to $300 million every two years for the next decade, an additional investment of $1.5 billion.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      When Taxpayers Fund Shows Like ‘Blue Bloods’ and ‘S.N.L.,’ Does It Pay Off?

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      Gov. Kathy Hochul of New York has proposed an increase in the film tax credit to stay competitive with New Jersey and other states.New Yorkers — and residents of many other states — have paid more for entertainment in recent years than just their Netflix or Hulu subscriptions.Each New York household has also contributed about $16 in taxes, on average, toward producing the drama series “Billions” since 2017. Over that period, each household has also paid roughly $14.50 in production incentives for “Saturday Night Live” and $4.60 for “The Irishman,” among many other shows and movies.Add it all up, and New York has spent more than $5.5 billion in incentives since 2017, the earliest year for which data is readily available. Now, as a new state budget agreement nears, Gov. Kathy Hochul has said she wants to add $100 million in credits for independent productions that would bring total film subsidies to $800 million a year, almost double the amount from 2022.Other states also pay out tens or hundreds of millions each year in a bidding war for Hollywood productions, under the theory that these tax credits spur the economy. One question for voters and lawmakers is whether a state recoups more than its investment in these movies and shows — or gets back only pennies on the dollar.New York has one of the largest tax credit programs and makes most of its data public, so we totaled its spending to see which productions benefited the most. More

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      in Movies

      Upper West Side Theater Is Sold After Governor Allocates $3.5 Million

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      A nonprofit bought the landmark Metro Theater after receiving financial support from Gov. Kathy Hochul, the State Senate and Steven Spielberg’s foundation.A landmark Art Deco movie theater that closed 20 years ago on Manhattan’s Upper West Side was sold to a nonprofit after it received $3.5 million in discretionary grants from Gov. Kathy Hochul of New York.The nonprofit, the Upper West Side Cinema Center, used those funds and $500,000 in grants from the State Senate to complete its $6.9 million purchase of the Metro Theater on Friday. It plans to revitalize the building, on Broadway near West 99th Street, with a five-screen theater, a lobby lounge and a public cafe.Additional fund-raising of $15 million to $25 million is required to construct a new interior, replace the marquee and clean graffiti from the facade, the nonprofit says.“The Upper West Side community deserves another world-class venue for cinema and art, and that’s why I was proud to step in,” Hochul said in a news release.Assemblyman Micah Lasher, a Democrat who took office in January, grew up going to the Metro Theater and fondly remembers seeing “Ali” and “Mr. Holland’s Opus” there with his family.“Its loss for the last 20 years has been not just an eyesore, but a deeply felt scar for the neighborhood,” he said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      For Some Sex Assault Accusers, This Local Law Has Become a Last Resort

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      The law, which underpins several civil suits against Sean Combs, is the only remaining tool for reviving older claims in New York.In New York, where state laws that extended the time to file sex abuse suits have lapsed, plaintiffs have found one remaining tool: Section 10-1105 of New York City’s administrative code.The provision, known as the Victims of Gender-Motivated Violence Protection Law, has provided the basis for recent lawsuits against the Aerosmith frontman Steven Tyler; the luxury real estate agents Tal and Oren Alexander; New York City’s Department of Correction; and the hip-hop mogul Sean Combs, who is a defendant in four.“This statute continues to provide an avenue of relief for survivors,” said Douglas Wigdor, a lawyer for a woman who sued Mr. Combs under the gender-motivated violence law, accusing him and two other men of gang-raping her in a New York recording studio in 2003. He has vehemently denied the allegations.Lawyers say they have been increasingly using the law, first passed by the City Council in 2000, since the expiration last year of the New York state law that had allowed for the filing of lawsuits over sexual abuse allegations even after the statute of limitations had passed. The state law, one of many adopted around the country in the wake of a surge in #MeToo complaints, led to more than 3,000 state court filings relating to claims that often dated back decades — in addition to thousands more filed under an earlier law for people who said they were sexually abused as children.Now plaintiffs are often relying on the city law that — because of a 2022 amendment — established a two-year window in which plaintiffs can sue over older allegations. That window closes at the start of March 2025, and the claims have to be related to events said to have occurred in New York City.In recent months, though, defense lawyers have mounted significant legal challenges to the city’s amendment. They have argued that the City Council infringed on the jurisdiction of state lawmakers, and in several cases, judges have issued decisions limiting the amendment’s scope.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The N.Y. Law That Underpins Several Lawsuits Against Sean ‘Diddy’ Combs

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      The law, which underpins several civil suits against Sean Combs, is the only remaining tool for reviving older claims in New York.In New York, where state laws that extended the time to file sex abuse suits have lapsed, plaintiffs have found one remaining tool: Section 10-1105 of New York City’s administrative code.The provision, known as the Victims of Gender-Motivated Violence Protection Law, has provided the basis for recent lawsuits against the Aerosmith frontman Steven Tyler; the luxury real estate agents Tal and Oren Alexander; New York City’s Department of Correction; and the hip-hop mogul Sean Combs, who is a defendant in four.“This statute continues to provide an avenue of relief for survivors,” said Douglas Wigdor, a lawyer for a woman who sued Mr. Combs under the gender-motivated violence law, accusing him and two other men of gang-raping her in a New York recording studio in 2003. He has vehemently denied the allegations.Lawyers say they have been increasingly using the law, first passed by the City Council in 2000, since the expiration last year of the New York state law that had allowed for the filing of lawsuits over sexual abuse allegations even after the statute of limitations had passed. The state law, one of many adopted around the country in the wake of a surge in #MeToo complaints, led to more than 3,000 state court filings relating to claims that often dated back decades — in addition to thousands more filed under an earlier law for people who said they were sexually abused as children.Now plaintiffs are often relying on the city law that — because of a 2022 amendment — established a two-year window in which plaintiffs can sue over older allegations. That window closes at the start of March 2025, and the claims have to be related to events said to have occurred in New York City.In recent months, though, defense lawyers have mounted significant legal challenges to the city’s amendment. They have argued that the City Council infringed on the jurisdiction of state lawmakers, and in several cases, judges have issued decisions limiting the amendment’s scope.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 163 Shares189 Views

      in Theater

      Does a Smash Hit Like ‘Lion King’ Deserve a $3 Million Tax Break?

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      Broadway is still recovering from the pandemic. A state tax-credit program has helped, but watchdogs say it aids some shows that don’t need a boost.There is no greater success story on Broadway than “The Lion King.” It is reliably among the top-grossing stage shows in New York, where it has brought in nearly $2 billion over its 26-year run; its global total is five times that amount.The musical’s producer is the theatrical division of the Walt Disney Company, an entertainment industry behemoth that earned $89 billion in revenue during its last fiscal year.And yet, the show was one of roughly four dozen productions that have received millions of dollars in assistance from New York State under a program designed to help a pandemic-hobbled theater industry in New York City.Over the three years since the program was established, New York State has bestowed over $100 million on commercial Broadway productions.“The Lion King,” along with other juggernauts like “Aladdin,” “The Book of Mormon” and “Wicked,” each got the maximum $3 million subsidy.The program was initiated by Gov. Andrew M. Cuomo at the height of the coronavirus pandemic, as theaters were nervously preparing to reopen after being shut for a year and a half. It was later tripled to $300 million by Gov. Kathy Hochul, who is now considering whether to seek an extension when it expires next year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘Bella!’ Review: Taking the Fight to the Streets and the House

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      The jam-packed documentary “Bella!” hustles to chronicle the pioneering political career of the New York congresswoman Bella Abzug.Jeff L. Lieberman’s biographical documentary “Bella!” churns along at a hectic pace as if hustling to keep up with its subject. Bella Abzug fought ferociously for equal rights and against the Vietnam War in the U.S. Congress, bringing a New Yorker’s tenacity and a plain-spoken dedication to democratic ideals, akin to fellow pioneer Shirley Chisholm.The child of Russian Jewish immigrants, Abzug began her political path with pamphleteering in childhood, and later drew on organizer-style moxie and a Columbia legal education (defending Willie McGee in a notorious case in Jim Crow Mississippi). But it wasn’t until 1970 that she ran for a congressional seat, beating a longtime incumbent in Manhattan in the primary and kicking off a busy decade of legislative battling.Lieberman’s starry interviews — from Hillary Clinton to Gloria Steinem to Representative Maxine Waters to the avid Abzug fund-raiser Barbra Streisand — speak to the liberal, feminist revolution of which Abzug was a vital part. Abzug’s own words — drawing on audio diaries — provide the background to her political worldview: as a reaction to the “cocoon approach to living” of the 1950s, as a manifestation of Judaic notions of justice, and as a dedication to equal rights for all, leading to her sponsoring the Equality Act of 1974, intended to “prohibit discrimination on the basis of sex, marital status, and sexual orientation.”Aides and others recall that the tireless Abzug could be both a charmer and a screamer. After losing a 1976 Senate race to Daniel Patrick Moynihan, she tried and failed to attain other offices before shifting to international activism; she died in 1998. Her never-say-die advocacy still inspires, but the film also illustrates the merciless challenges of electoral endurance even for the fiercest fighter.Bella!Not rated. Running time: 1 hour 42 minutes. In theaters. More

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      in Music

      The Cure Says Ticketmaster Will Issue Refunds After Fee Complaints

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      The band said it wanted to make its North American tour “affordable for all,” but after tickets went on sale this week, fans said that fees had ratcheted up the price.The Cure’s frontman, Robert Smith, said on Thursday that Ticketmaster will provide $5 and $10 refunds to fans who purchased tickets for the band’s North American tour after the band complained to the company about high fees.In recent months, Ticketmaster faced increased criticism from ticket buyers as well as from members of Congress who accused its owner, Live Nation Entertainment, of being a monopoly that hinders competition and harms fans.Mr. Smith said on Twitter that Ticketmaster would provide the refunds. “Ticketmaster have agreed with us that many of the fees being charged are unduly high,” he wrote.1 OF 2: AFTER FURTHER CONVERSATION, TICKETMASTER HAVE AGREED WITH US THAT MANY OF THE FEES BEING CHARGED ARE UNDULY HIGH, AND AS A GESTURE OF GOODWILL HAVE OFFERED A $10 PER TICKET REFUND TO ALL VERIFIED FAN ACCOUNTS FOR LOWEST TICKET PRICE (‘LTP’) TRANSACTIONS…— ROBERT SMITH (@RobertSmith) March 16, 2023
      Ticketmaster did not immediately respond to a request for comment.Mr. Smith said that people who had purchased the lowest-priced tickets would automatically receive a $10 refund per ticket and that all other ticket buyers would get a $5 refund. He said that these refunds applied to people who had purchased tickets as a “verified fan,” a Ticketmaster system that requires people to register to gain early access to ticket sales.Fans who buy tickets during the general sale on Friday will “incur lower fees,” he said.This week on Twitter, Mr. Smith addressed questions and concerns from fans about buying tickets for the 30-show tour, which runs from May to July and includes three performances at Madison Square Garden in New York in June.The Cure had said in an earlier statement that it wanted tickets “to be affordable for all fans.” As part of this effort, Mr. Smith said that the Cure had refused to participate in Ticketmaster’s dynamic pricing system, which adjusts ticket prices based on demand.The system was criticized last year after it drove up the cost for Bruce Springsteen tickets, some of which were selling for thousands of dollars.After tickets for the Cure’s tour went on sale on Wednesday, fans shared screenshots that showed tickets priced at $20 with added fees close to or above the $20 base price.Mr. Smith said on Twitter later that day that he was “sickened” by Ticketmaster’s fees.“I have been asking how they are justified,” he wrote in all capital letters, his usual Twitter writing style. “If I get anything coherent by way of an answer I will let you all know.”Ticketmaster and Live Nation Entertainment have been under increased scrutiny since November, when the company botched its planned public sale of tickets to Taylor Swift’s latest tour.In November, the Justice Department opened an antitrust investigation into Live Nation Entertainment focused on whether it had abused its power over the live music industry.In December, 26 of Ms. Swift’s fans filed a lawsuit accusing Live Nation Entertainment of anticompetitive conduct and fraud.In January, the company was the subject of a Senate Judiciary Committee hearing in which senators from both parties criticized the company’s handling of ticket sales for Ms. Swift’s tour as well as its wider business practices.Last month, on the same day Live Nation Entertainment announced it had made $651.3 million in ticket revenue in the fourth quarter of 2022, the company responded to politicians in a statement.The company, which sold more than 550 million tickets last year, said it had submitted more than 35 pages of information to policymakers to provide context on the “realities of the industry” that it has dominated since Ticketmaster and Live Nation, an events promoter and venue operator, merged in 2010.“These include the fact that this industry is more competitive than ever: Ticketmaster has actually lost market share since the 2010 merger, not gained it; that venues set and keep most of the fees associated with tickets and are increasingly taking an ever-larger share; and Ticketmaster has for years been advocating for a federal all-in pricing requirement,” the statement said.Ticketmaster and Live Nation Entertainment have for decades been criticized for their business practices. The Justice Department said in 2019 that Live Nation Entertainment had “repeatedly violated” the terms of the regulatory agreement that the government imposed as a condition of the merger.The Justice Department investigated complaints of anti-competitive practices by Ticketmaster in the 1990s, after a dispute with the Seattle grunge band Pearl Jam. More

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      in Movies

      Film Festival Season Comes to New York

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      Wanda ProductionsIn the mood for something shorter? The New York Shorts International Film Festival has over 300 films, including “Booksmart” (shown here, 3 minutes, France), “Quico” (12 minutes, United States), “Genius Artist” (8 minutes, China) and “Bienvenidos A Los Angeles” (15 minutes, United States). More