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.

(

Patrick T. Fallon

/

AFP via Getty Images

)

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

Beyond the Rose Bowl and historic bungalows, Pasadena has stranger tales to tell. David Kalbeitzer has been seeking out those stories where rocket science meets the occult and ghosts haunt the city’s grandest buildings.

For Kalbeitzer, a Disney executive who investigates the paranormal in his free time, his fascination with the city’s mysterious side started when he bought a Victorian north of Old Town.

He sensed a spirit at the open house a dozen years ago and took it as a reason to move his family to Pasadena. Then he started learning the city’s history.

David Kalbeitzer, a paranormal investigator from Pasadena, is giving a talk about the city's strange history Saturday night in Old Town.

(

Courtesy of David Kalbeitzer

)

“I realized, ‘Oh, this place called us just as much as we were looking for it,’” he said.

On Saturday night, he’s sharing the lore he’s collected at Mesmer Mesmer an Old Town shop and event space. While the event is full, there’s a waitlist, and more talks featuring Kalbeitzer are in the works.

A city of ghost stories 

Ask Kalbeitzer about haunted Pasadena, and the list stretches from alleyways to the Colorado Street Bridge to Castle Green, the turreted former hotel overlooking Central Park.

“The Pasadena Playhouse theater is, you know, very haunted,” he added.

He says playgoers have reported hearing disembodied voices.

“And you look, and there’s no one there, or apparitions that have been seen sort of standing in the corner, and then you walk up, and they kind of disappear,” he said.

As for the spirit that helped draw him to his current Pasadena home?

Kalbeitzer says she’s still around — and a psychic friend says she has a name: Dolores.

“It’s actually haunted by a very kind ghost that looks out for the house, protects my family and has been able to activate our alarm,” he said.

Having a Dolores in the house might send some people running, but Kalbeitzer said he grew up in a haunted house in Idaho Falls, Idaho.

And when his family moved to Charleston, South Carolina, a teenage Kalbeitzer started seeking out places known for paranormal activity.

Rocket science, ritual magic and mind-reading

Having lived in different neighborhoods in L.A., Kalbeitzer says there’s something uniquely otherworldly about Pasadena — and it goes beyond ghost stories.

He said the city has an energy that draws people exploring the unknown, perhaps most famously Jack Parsons.

The rocket pioneer who helped launch the Jet Propulsion Laboratory also practiced ritual magic at his Pasadena home with the likes of L. Ron Hubbard before he founded Scientology.

“Many people call it the occult. I don’t know that I fully subscribe to that, but there is spiritualism and occult mixed in there,” Kalbeitzer said.

Then there was Upton Sinclair, the muckraking author of The Jungle, whose interests while living in Pasadena extended to telepathy and séances.

Upton Sinclair, pictured with his wife Mary Craig Sinclair in 1935, several years after he published a book examining her reported telepathy.

(

Los Angeles Times via Wikimedia Commons

)

In 1930, Sinclair published Mental Radio, a book about experiments in mind-reading. Albert Einstein provided a preface. Yes, that Einstein, who would spend the following winter at Caltech expanding on the theories of relativity and cosmology.

“Like it’s the craziest mixture of things that were happening at that time and all of it at the same time,” Kalbeitzer said.

A presence in the shop 

The event couldn’t have found a more appropriate venue.

Since opening five months ago in Old Town, Mesmer Mesmer has embraced the dark and mysterious, offering tarot and crystal readings and hosting events on subjects such as hip-hop’s relationship with ghosts.

At that event, a medium told owner Tyke O’Brien she could sense a presence in the shop, which formerly housed a bridal store.

“She goes, ‘Do you ever feel it?’” O’Brien recounted, “And I’m like, ‘I am such a bummer. I really wish I could. How wonderful would that be to be able to?’”

The same can be said for this writer who’s lived and worked in and around Pasadena for years without so much as a brush with the otherworldly.

Kalbeitzer, on the other hand, reports supernatural encounters all around town.

“I think that how you see yourself in the world has a lot more to do with it, and whether you want to have those experiences,” he said.

Los Angeles officials expect construction of a fence around MacArthur Park will start in November and continue through fall 2027. 

At a community meeting Thursday night at MacArthur Park Elementary School, officials said fence installation is now expected to continue through fall 2027, overshooting the previously announced spring 2027 completion date.

Thursday’s meeting highlighted the divide over the city’s plan to fence off MacArthur Park, with tensions rising during public comment. The Los Angeles Police Department says the fence will make drug enforcement easier, while some in the community who volunteer around the park questioned whether it will improve safety enough to justify the cost.

The city has allocated $2.3 million for the project, but officials have not said whether that will cover the full cost.

Installation of the green metal fence around the park’s perimeter is expected to begin in November and take about a year. A second phase, adding decorative elements to the fence, is planned for fall and winter 2027. Officials said the schedule could change because of weather or other unforeseen circumstances.

The park is expected to remain open during construction.

Capt. Ben Fernandes with the LAPD’s Rampart Division said the fence would create a barrier along Alvarado Street and other areas where officers have seen people using narcotics. That would allow police to focus more of their enforcement efforts inside the park, he said.

“So if people are going deeper into the park to use, that’ll make it easier for us to go in and do enforcement on them and arrest them for that use,” Fernandes said. 

MacArthur Park will close every night once an 8-foot-tall fence goes up around the green space, with Los Angeles police officers sweeping the park for encampments and people sleeping there before the gates shut. The Board of Recreation and Park Commissioners approved the plan Thursday.

(

LA Recreation and Parks

)

“I’ve been an officer for 29 years, and I’ve always known I can go buy drugs there, and I did as a narcotics officer. So what I’m saying is, we are trying to make it not convenient,” he added. 

Fernandes also said the city plans to enhance the park’s existing camera network. LAPD officers and Los Angeles Park Rangers will be able to monitor the cameras from their respective stations, he said. City officials are still evaluating whether additional cameras will be needed to address blind spots in the park after construction is complete.

Ariana Walker, who visits MacArthur Park every Saturday with a group of friends who pool their own resources to distribute food and hygiene kits, questioned whether the city had shown that the fence would improve safety and how much it would cost to maintain.

“The fence is a $2.3 million fence at the base level,” she said. “And they haven’t given us any indication of how much more it’s going to cost for upkeep, to keep anybody safe. There’s no conclusive evidence that a fence is going to stop crime the way that they’re suggesting.”

The meeting grew tense when John Alle, a local property owner whose family owns the building that houses Langer’s Delicatessen across the street from the park, objected to having his comments read from a written comment card rather than speaking directly to officials. Alle has been a vocal critic of the city’s response to drug activity and public safety concerns around MacArthur Park.

He was allowed to comment during the meeting and said the city needs to take a tougher approach to drug use and sales around the park. 

“We see knife attacks at all hours of the day. It’s out of control. And it’s not gotten any better,” he said. “We want to bring it back to where it was 15 or 20 years ago.”

Los Angeles officials expect construction of a fence around MacArthur Park will start in November and continue through fall 2027.

(

Gary Coronado

/

The LA Local

)

Alle pointed to public events at the park, including an upcoming Día de los Muertos celebration and a Labor Day weekend picnic hosted by Los Angeles County District Attorney Nathan Hochman as positive developments for the space. But he added those events do not reflect conditions throughout the park.

Officials also outlined other planned improvements, including restoring access through the tunnels connecting the park’s north and south sides, making accessibility upgrades and providing free Wi-Fi for parkgoers. 

Residents who want to provide input on the fence’s decorative elements can email admin@themorcosgroup.com or call (310) 479-4727 for more information.

The post MacArthur Park will remain open as the city takes a year to fence off the space appeared first on LA Local.