The Brief

On a Hollywood backlot in Los Angeles, you can find a replica New York City street — complete with a diner, a newsstand, brownstones, a bodega and a subway entrance.

It's part of the Radford Studio Center, a sprawling production hub in Studio City. In 1928, silent film actor and director Mack Sennett built the studio on what was once a lettuce ranch. Classic TV shows Gunsmoke, Gilligan's Island and The Mary Tyler Moore Show were all made here. So was the hit 1990s TV show Seinfeld.

"This stage has a ton of positive juju," says Zach Sokoloff from Radford's soundstage nine, where Seinfeld taped. Sokoloff is senior vice president at Hackman Capital Partners, which manages Radford Studio Center and studios around the world.

Riding in a studio golf cart to the backlot, Sokoloff points out the spot where the show's famous episode "The Soup Nazi" was made.

The lot is full of recognizable Seinfeld spots: "Up there, you've got the balcony where Jerry threw the marbled rye," he says.

Sokoloff explains that the studio built this backlot for Seinfeld in 1994, after a massive 6.7 magnitude earthquake rocked Los Angeles and destroyed much of the set.

"There was trepidation about remaining in LA, so we decided to bring New York to the production, as opposed to having the production go to New York," he says.

Building a replica New York City is what it took to convince Seinfeld to stay in California, says Sokoloff. But keeping productions in the area – and even in the country – has become a challenge, at a time when film and TV production has increasingly moved elsewhere.

The issue came to national attention this month, when President Trump took to Truth Social to declare, "The movie industry in America is DYING a very fast death." He announced he would authorize a 100% tariff on movies made outside the U.S.

Trump's proclamation — prompted by a visit from one of his "special ambassadors" to Hollywood, Jon Voight – shocked and confused film industries around the world. But the president quickly paused to consider the idea, saying he'd meet with industry leaders because he wanted "to make them happy." In the days since, Voight, and fellow "ambassador" Sylvester Stallone teamed up with the Motion Picture Association and several industry unions to craft a letter urging the president to consider enacting federal tax incentives and adjusting certain tax provisions to increase film and TV production in the United States.

The entire episode opened a conversation about the decline of TV and movie-making — and what can be done about it.

A worldwide competition for production work 

According to FilmLA, which issues film permits, production still hasn't rebounded from the COVID-19 pandemic and delays triggered by the writers and actors' strikes in 2023. Studios and streamers also aren't ordering as many shows these days.

"With less work to go around, the competition for what's left is intensified," says spokesman Philip Sokoloski.

Most states have some sort of financial incentive for productions. So do nearly 100 countries, including Canada, the U.K., Ireland and Australia.

"Even Thailand [has incentives]," says Joe Chianese, senior vice president of Entertainment Partners, a global production services company. "The recent season of The White Lotus was shot entirely in Thailand. With the number of incentives here in the U.S. and around the world, producers really have a lot of choices."

Chianese consults with producers about production laws, incentives and taxes around the world.

He says that productions can bring a lot of money to an area at once, "which is a real stimulus to the economy, creating jobs." The trend of what's known as "runaway production" began in the late 1990s, he says, when Canada introduced tax credits for film and TV production, and "you saw that rolling out in other countries."

Ever since, there's been global competition for entertainment jobs and bragging rights.

Even within the U.S., states are competing for production 

Within the U.S., states are jockeying to get those show business jobs. Last week, New York passed its budget with an $100 million increase in funds dedicated to production incentives, setting aside a total of $800 million.

This week, thanks to New Jersey's tax credits, Netflix broke ground on new soundstages, a backlot, and post-production facilities on a former U.S. Army base at Fort Monmouth.

And in Texas, a proposed state bill offering more incentives to film there has gotten a boost from some famous celebrities.

"Small fraction of the Texas budget surplus could turn this state into the new Hollywood," actor Woody Harrelson says in a recent video, teaming up with Matthew McConaughey, Billy Bob Thornton, Dennis Quaid and Renée Zellweger.

"No shade to Texas, but I think people would rather film in California," says Steven Jaworski, vice president of production for A&E Studios.

Jaworski is in charge of budgeting for the Netflix series The Lincoln Lawyer, a legal drama produced at Los Angeles Center Studios, not far from City Hall and other downtown locations where the show often shoots.

"The reality is this show could be shot anywhere," he says from the set of The Lincoln Lawyer. "LA is a character to our story … but as costs increase, whether it's inflation or even the way that the economy may be going, there may be a mandate of 'you have to cut your costs,' and the only way to keep the show going would be to relocate. It would be heartbreaking if this show had to leave."

Long before Trump's announcement, Jaworski and others were sounding the alarm about productions leaving California.

"The situation's so dire," he says, "that if something is not done this summer, I truly believe California being the entertainment capital of the world and the production capital of the world — I think that will be a thing of the past."

California needs a comeback, studio executives and grassroots groups agree

It wasn't until 2009 that California began offering tax credits to film there – and by that time, production was already moving elsewhere to take advantage of lucrative credits. The California legislation was even nicknamed "The Ugly Betty Bill" – after the hit ABC series that moved its production from California to New York for the tax credits there.

But California's existing tax credit program badly needs updating, according to Casey Bloys, the chairman and CEO of HBO and Max Content.

"The talent is here, the infrastructure is here. We have a number of shows, including Hacks, that are shooting here," he said on a panel at the Milken Institute earlier this month. "But the issue becomes, when you try to plan, you have to get into a lottery, and you're not sure your show is going to get a tax break or not."

Ravi Ahuja, President and CEO of Sony Pictures Entertainment, speaks at the Milken Institute Global Conference in Beverly Hills in May.

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Sony Pictures Entertainment CEO and president Ravi Ahuja also made the case for helping out the state.

"While it's true a lot of production has left the United States, it's even worse for California," he said on a panel. He and other studio executives said they like filming in LA, but also want to be able to film and shoot on location around the world.

To solve the problem, California Gov. Gavin Newsom has already been pushing to more than double California's tax credit program, and two bills going through the state legislature would expand the types of productions that are eligible for credits.

After Trump introduced the idea of movie tariffs, he blamed Newsom for allowing the Hollywood jobs to leave. Newsom stood by the program in California and the incentive increases he's already proposed. He also volunteered to help the president craft a $7.5 billion dollar federal tax credit plan. "America continues to be a film powerhouse, and California is all in to bring more production here. Building on our successful state program, we're eager to partner with the Trump administration to further strengthen domestic production and Make America Film Again," he said in a statement.

Despite the recent attention on keeping production in the country, industry leaders in California still say the program there needs help. Boosting California's budget and revising its tax credit program would offer a reward for productions made in the state, not a punishing tariff for producing outside the U.S., says Pamala Buzick Kim, co-founder of a grassroots group called Stay in LA.

The group has been lobbying for enhanced incentives to keep production in California.

"A lot of people outside of LA think that when you say Hollywood, everyone's rich," Kim says. "I wish that that was the case. But 99% of us who are in production really are your everyday working class folks."

Kim says Trump's movie tariff idea "definitely sent a spiral of confusion through the industry and through the international market, but the fact that we are getting attention at a national level is great."

Kim says it's important to preserve LA's legacy and its biggest greatest export.

"We have generations of people who have been in this business who are in this area who are the best of the best. And we need to protect that."

Copyright 2025 NPR

This story first appeared on The LA Local.

Since 1977, Richard Santillan has been to every Opening Day game at Dodger Stadium. 

“The tradition goes from my father, to me, to my children and grandchildren. Some of my best memories are with my father and children here at Dodger Stadium,” Santillan told The LA Local, smiling under the shade of palm trees near the entrance to the ballpark Wednesday morning. He was there to protest the team less than 24 hours before Opening Day.

Santillan, like countless other loyal Dodgers fans, is grappling with his fan identity over the team’s decision to accept an invitation to the White House and owner Mark Walter’s ties to ICE detention facilities.

More than 30 people joined Santillan on Wednesday morning for a press conference held near 1000 Vin Scully Drive to convey a message directly to the team. 

“We are demanding the Dodgers stop participating in funding of inhumane treatment of families and do not go to the White House to celebrate with the criminal in chief,” Evelyn Escatiola told the crowd. “Together, we have the power to make a change.”

Escatiola, a former dean of East Los Angeles College and longtime community organizer, urged fans to flex their economic power by “letting the Dodgers know that we do not support repression.”

Jorge “Coqui” Rodriguez, a lifelong Dodgers fan, spoke to the crowd and called on Dodgers ownership to divest from immigration detention centers owned and operated by GEO Group and CoreCivic.

Jorge Coqui H Rodriguez speaks at a press conference outside Dodger Stadium on March 25, 2026, to demand the Dodgers not to visit the White House following their 2025 World Series win.

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In a phone interview a day before the protest, Rodriguez told The LA Local he did not want the Dodgers using his “cheve” or beer money to fund detention centers. 

“They can’t take our parking money, our cacahuate money, our cheve money, our Dodger Dog money and invest those funds into corporations that are imprisoning people. It’s wrong,” Rodriguez said. 

Rodriguez considers the Dodgers one of the most racially diverse teams and said the players need to support fans at a time when heightened immigration enforcement has become more common across L.A.

The team’s 2025’s visit to the White House drew ire from the largely Latino fan base, citing the Trump administration’s ongoing attacks on immigrants. 

In June, the team came under further scrutiny when rumors swirled online that federal immigration agents were using the stadium’s parking, which immigration authorities later denied in statements posted on social media accounts.

The team again came under fire after not releasing a statement on the impacts of ICE raids on its mostly Latino fan base at the height of immigration enforcement last summer. The team later agreed to invest $1 million to support families affected by immigration enforcement.

When he learned the Dodgers were pledging only $1 million to families in need, Rodriguez called the amount a  “slap in the face.” 

“These guys just bought the Lakers for billions of dollars and they give a million dollars to fight for legal services? That’s a joke,” Rodriguez said. “They need to have a moral backbone and not be investing in those companies.”

According to reporting from the Los Angeles Times, former Dodgers pitcher Clayton Kershawsaid last week that he is looking forward to the trip.

“I went when President [Joe] Biden was in office. I’m going to go when President [Donald] Trump is in office,” Kershaw said. “To me, it’s just about getting to go to the White House. You don’t get that opportunity every day, so I’m excited to go.”

The Dodgers have yet to announce when their planned visit will take place. 

Santillan sometimes laments his decision to give up his season tickets in protest of the team. His connection to the stadium and the memories he has made there with family and friends will last a lifetime, he said. On Thursday, he will uphold his tradition and be there for the first pitch of the season, but with a heavy heart.

“It’s a family tradition, but the Dodgers have a lot of work to do,” he said.

A local favorite mom-and-pop bookshop in Eagle Rock is facing displacement due to a steep rent hike. The owners say theirs is just one of several small businesses along Eagle Rock Boulevard struggling to keep up with lease increases.

Over the past 19 years, many in the neighborhood have come to love READ Books for its eclectic collection of used titles and shop dog Florence.

Co-owner Jeremy Kaplan said it’s been a delight to grow with the community over the years.

“Like seeing kids come back in, who were in grade school and now they’re in college,” Kaplan said.

But the building where Kaplan and wife Debbie rent was recently sold, and the rent increased by more than 130% to $2,805 a month, Kaplan said. He told LAist it was an increase his small business simply could not absorb.

Kaplan said he originally was given 30 days notice of the rent increase. After some research, assistance from Councilmember Ysabel Jurado’s office and some pro-bono legal help, Kaplan said he pushed back and got the 90-day notice he’s afforded by state law.

California Senate Bill 1103 requires landlords to give businesses with five or less employees 90 days’ notice for rent increases exceeding 10%, among other protections.

Systems Real Estate, the property management company, did not immediately respond to LAist’s request for comment.

What can small businesses do? 

Nadia Segura, directing attorney of the Small Business Program at pro bono legal aid non-profit Bet Tzedek said California law does not currently allow for rent control for commercial tenancies.

Outside of the protections under SB 1103, Segura said small businesses like READ Books don’t have much other recourse. And even then, commercial landlords are not required to inform their tenants of their protections under the law.

“There’s still a lot of people that don’t know about SB 1103. And then it’s very sad that they tell them they have these rent increases and within a month they have to leave,” Segura said.

She said her group is seeing steep rent hikes like this for commercial tenants across the city.

“We are seeing this even more with the World Cup coming up, the Olympics coming up. And I will say it was very sad to see that also after the wildfires,” Segura said.

Part of Bet Tzedek’s ongoing work is to advocate for small businesses, working with landlords who are increasing rents to see if they are willing to give business owners longer leases that lock in rents.

What’s next 

After READ Books posted about their situation on social media, commenters chimed in to express their outrage and love for the little shop.

While he looks for a new spot, Kaplan says he’s forming a coalition of local businesses and activist groups to see what can be done to help other small businesses facing similar displacement. He wants to address the displacement issue for businesses like his, which have made Eagle Rock the distinctive neighborhood that it is today.

Owl Talk, a longtime Eagle Rock staple selling clothing and accessories in a unit in the same building as READ Books, is facing a “more than double” rent increase, according to a post on their Instagram account.

Kaplan said he’s been in touch with the office of state Assemblywoman Jessica Caloza and wants to explore the possibility of introducing legislation to set up protections for small businesses like his, including rent-control measures or a vacancy tax for landlords. Kaplan said he also reached out to the office of state Sen. Maria Durazo.

By his count, Kaplan said there are about a dozen businesses within surrounding blocks that are at risk of closing their doors or have shuttered due to rent increases or other struggles.

When READ Books was founded during the Great Recession, Kaplan said he knew it was a longshot to open a bookstore at the same time so many were struggling to stay in business.

“It was kind of interesting to be doing something that neighborhoods needed. That was important to me growing up, that was important to my children, that was important to my wife growing up,” Kaplan said.

“And then somebody comes in and says, ‘We’re gonna over double your rent.”

Topline:

Frozen budget: Most of the city’s Bureau of Street Lighting budget comes from an assessment that people who own property illuminated by lights pay on their county property tax bill. The amount people pay depends on the kind of property they own and how much they benefit from lighting. A typical single-family home currently pays $53 annually, and in total, the assessments bring in about $45 million annually for the city to repair and maintain streetlights. Changing the amount the Bureau of Street Lighting gets from the assessment requires a vote among property owners who benefit from the lights.

Ballots: L.A. City Council’s vote gives city staff the green light to prepare and send out those ballots. Miguel Sangalang, who oversees the bureau, said at a committee meeting earlier this month that he expects to send out ballots by April 17. Notices about the ballots will be sent out prior to the ballots themselves.

Near unanimous vote: L.A. City Councilmember Monica Rodriguez was the only “No” vote Tuesday, saying she wanted to see a more current strategic plan for the bureau. Sangalang said the bureau developed a plan in 2022 that lays out how money will be spent. Councilmember Imelda Padilla was absent for the vote.

Vote count: Votes will be weighted according to the assessment amount. Basically, the more you’re asked to pay yearly to maintain streetlights, the more your vote will count. Ballots received before June 2 will be tabulated by the L.A. City Clerk.

How much more money: According to a report, the amount needed in assessments from property owners to meet the repair and maintenance needs of the city’s streetlighting in the next fiscal year is nearly $112 million.

Use of the money: Sangalang said at a March 11 committee meeting that the extra funds would be used to double the number of staff to handle repairs and procure solar streetlights, which don’t face the threat of copper wire theft. That would all potentially reduce the time it takes to repair simple fixes down to a week. Currently, city residents wait for months to see broken streetlights repaired. The assessment would come with a three-year auditing mechanism.