The Brief

On a late autumn day, a team of forestry workers spreads out among the burned trunks of giant sequoia trees. The 1,000-year-old trees in the grove are dead but still standing, killed in an extreme wildfire that raced through Sequoia and Kings Canyon National Parks.

In the shadow of one of the trees, the crew gets to work, pulling tiny, 4-inch seedlings out of bags clipped to their belts and tucking them into the dirt.

"Wish it some luck and that's it," says Micah Craig of the Eastern Sierra Conservation Corps, standing back to look at the young sequoia. He then grabs another seedling, part of a historic planting effort that the National Park Service hopes will be enough to preserve one of the world's most iconic species.

Ecologists estimate that up to 14,000 sequoias have been killed in recent wildfires, a shocking number for a species that was thought to survive most fires.

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Over only two years, about one-fifth of all giant sequoias have been killed in extreme wildfires in California. The numbers shocked ecologists, since the enormous trees can live more than 2,000 years and have evolved to live with frequent, low-intensity fires in the Sierra Nevada.

Recent fires have burned bigger and more intensely than sequoias are accustomed to, a result of the way humans have changed the forest. After the 2020 and 2021 fires, scientists watched the sequoia groves to see if the next generation of trees is emerging to replace their lost parents. In some places, seedlings are filling the forest floor. In others, fewer are emerging from the burned soil.

The smaller numbers of seedlings concerned scientists and the National Park Service. So in a historic step, the agency for the first time has begun replanting some severely burned areas. With a life span of thousands of years, the new seedlings will grow up in a climate that's rapidly changing. So, park officials are bringing in seedlings from other sequoia groves, ones that may have the genetic tools to handle a more hostile future.

With so many ancient trees killed, the National Park Service has sprouted hundreds of sequoia seedlings to replant the severely burned areas, along with other species normally found there like white fir and sugar pines.

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The project has run into opposition. A handful of conservation groups are suing to halt the effort, arguing that such intervention shouldn't occur in an area designated as federal wilderness and that the sequoia trees could possibly regenerate adequately on their own.

The debate is one occurring on public lands across the country as the impacts of climate change get worse. Land managers face a key question: As humans take an increasing toll on natural landscapes, how far should we go to fix it?

Sequoia National Park was created in 1890 to protect the mammoth trees for the public. Along with Kings Canyon National Park, the two parks are home to about 40% of all sequoias.

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A carpet of green

Hopeful signs have emerged in the wake of the KNP Complex Fire, which tore through Sequoia National Park in 2021. The forest floor is still scorched black, but in some areas, thousands of lime-green sequoia seedlings have sprung up, a few inches high.

"It's awesome," says Christy Brigham, chief of resources management and science at Sequoia and Kings Canyon National Parks. "This is what has happened for millennia."

The lifecycle of sequoias is bound to fire. The massive trees, often 15 feet around, are protected from the heat by a thick, shaggy bark. Their lowest branches are far from the forest floor, reducing the chances they'll ignite when smaller trees burn. And when a fire's heat rises, the sequoias' cones open up, releasing thousands of seeds. Those seeds sprout quickly in the newly cleared soil below their parent trees. Most of the seedlings will die, eventually leaving only one or two giant trees centuries from now.

Some areas of Sequoia and Kings Canyon National Parks show a carpet of green — thousands of sequoia seedlings poking a few inches above the ground. In more severely burned areas, there are fewer emerging from the soil.

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"Lots of bad things are going to happen to these," Brigham says, looking down at the carpet of green. "Another fire, fire after fire, before they get that big. Dead trees are going to fall on them. So they make a lot. A lot, a lot, a lot."

High above, the thousand-year-old sequoias in this part of Redwood Mountain Grove are still alive, their broccoli-shaped tops still green. The fire burned at low or moderate intensity here because the forest floor was relatively clear of brush and other vegetation that could burn. National Park Service crews had previously done prescribed burns, purposely using fire to remove the dry, dead fuels.

Sequoia trees are susceptible to heat and drought, conditions that are expected to get more extreme as the climate keeps changing.

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Gates of Mordor

Farther down the trail, it's a different story. Many of the giant sequoias have little or no green foliage left, their bare, jagged branches rising high above the rest of the forest.

"We have now arrived at the location we call the Gates of Mordor," Brigham says. "These trees are not coming back."

The KNP Complex Fire roared up this sequoia grove in less than a day. Fire crews made a last-ditch effort to save some of the enormous trees, clearing the vegetation around them as the flames moved in.

"It was horrible," Brigham says. "I don't think I've cried so much in my entire life."

Smaller pines and other trees, killed in California's extreme droughts, acted as kindling in recent wildfires, fueling the intense burning.

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The forest here was primed to burn. Historically, the Sierra Nevada saw regular low-grade wildfires, caused by lightning strikes and set by Native American tribes who shaped the landscape through controlled burning. But for the last century, humans have extinguished wildfires, allowing dead and dry vegetation to build up on the forest floor.

Extreme drought, exacerbated by climate change, has also led to millions of smaller trees dying in recent years. Water-stressed pines and other trees were more vulnerable to attacks from bark beetles. Researchers found that the dead trees acted as kindling, contributing to the extreme heat and intensity of the KNP Complex Fire.

Along with two other extreme fires in 2020-21, between 13% and 19% of all giant sequoias were killed, up to more than 14,000 trees.

"We have never seen anything like this in giant sequoia," Brigham says. "Large giant sequoias, before now, survived wildfire."

With so many giant trees gone, teams from several federal agencies turned to another key issue: the next generation of sequoias. They surveyed how many seedlings are growing below the burned trees. Two studies from scientists at the U.S. Geological Survey found that some of the severely burned areas have lower densities of sequoia seedlings, compared to the numbers found after previous fires.

Brigham says it's possible that too many sequoia cones and their seeds burned up in the fire. But with fewer adult trees left alive to make seeds in the future, there's a risk some of this sequoia grove won't come back.

"These parks were in part established to conserve sequoias," Brigham says. "What would it mean for that mission if we did nothing here?"

Mules and horses are stationed at a trailhead to help transport seedlings deep into the park.

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A replanting effort begins

In the late afternoon, a line of mules winds its way through the burned sequoia grove. On their backs, they carry boxes of sequoia seedlings deep into the backcountry. A crew from the Eastern Sierra Conservation Corps takes the seedlings on the last steps of their journey, searching for planting spots that offer some protection from the upcoming summer heat.

"Planting sequoias, that's a legacy thing. Something we were all stoked to do that will transcend after us," says crew member Micah Craig.

Micah Craig and a team from the Eastern Sierra Conservation Corps replant sequoia seedlings. Some are from groves already experiencing hotter, drier conditions, which could give them a better shot at withstanding climate change.

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Most of these sequoia seedlings were grown from seeds collected from this same grove. But 20% come from seeds collected from other groves. Sequoia seedlings are vulnerable to heat and drought, conditions that will get more extreme as the climate keeps changing. With that in mind, managers selected seeds from groves at lower elevations that already naturally live in hotter conditions. The idea is to increase the genetic diversity, in case those trees are better adapted to a hotter, drier future.

"We have the ability to give this grove a little bit of a bigger toolkit for adapting to changing conditions, and that's what we're trying to do," Brigham says. "We're asking a lot of these trees to survive for 400 years, 1,000 years, and they can do it, but let's give them a little help."

A mule train delivers boxes of sequoia seedlings through shrubs that have sprung up in the wake of the KNP Complex Fire. Sequoia seedlings do best in the first few years after a fire, when there's little vegetation to shade them out.

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The technique, known as "assisted gene flow," has been used in a handful of cases already to help coral survive a hotter climate or whitebark pine trees resist disease. It's part of a larger toolkit land managers are beginning to consider as ecosystems struggle to keep up with climate change. The National Park Service has developed a new framework for considering when to intervene, known as "resist, accept, or direct," acknowledging that some ecosystems will need help to resist changes, while in others, change may be inevitable.

Lawsuit filed to stop replanting

A group of four conservation groups is suing to halt the project, contending that because the sequoia groves are protected under the federal Wilderness Act, a higher level of intervention isn't appropriate. They argue that having wilderness protection means the land should remain untouched, even if that means losing sequoias there.

"We need to allow nature some places where human beings aren't trying to be the managers, aren't trying to be the gardeners," says George Nickas, executive director of Wilderness Watch, one of the groups that filed suit. "Because we're the ones that messed it up, it doesn't flow that we're the ones to fix it. That's that sort of arrogance of humanism, if you will. That's when we need to learn to step back."

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The Wilderness Act specifies that protected areas should be "untrammeled by man." That framing has frustrated Native American tribes in California, which shaped the landscape for millennia with cultural, or prescribed, burning.

The National Park Service doesn't comment on pending lawsuits. But in public documents, it responded that language in the Wilderness Act mandates that the land be "protected and managed so as to preserve its natural conditions," and the act doesn't infringe on the agency's responsibility to preserve the ecosystem.

The conservation groups' lawsuit also contends that sequoias in severely burned areas could regenerate on their own. Sequoia seedlings tend to do best in places that have burned more intensely, since it clears out vegetation that shades the forest floor.

"I'm not worried about it because the system is massively and redundantly resilient to these sorts of disturbances," says Chad Hanson, director of the John Muir Project, another group that joined the lawsuit.

"These parks were in part established to conserve sequoias," says Christy Brigham of the National Park Service. "What would it mean for that mission if we did nothing here?"

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Hanson contends that any number of sequoia seedlings, no matter how low, is adequate for the groves to endure into the future. However, numerous scientific studies show that sequoia seedlings have high rates of mortality over the first few centuries of life, with more than 90% dying in the first 20 years alone.

In proposing the project, the National Park Service says climate change poses an even greater risk that sequoia seedlings will struggle to get established. Hanson says he'd prefer that the park service monitor the seedlings' survival before making a decision to replant.

"What I would say is if they start dying at high levels, which is inconsistent with the data we've had up until this point, then I would have to evaluate my assumptions and maybe would need to do something there," Hanson says.

Light streams through the trees in Grant Grove in Kings Canyon National park.

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The debate is a sign of the increasingly complex decisions land managers are facing in a hotter climate. In the face of unprecedented impacts, the risk of losing species only gets worse. Managers are having to weigh bigger and bigger human interventions, if they're seeking to preserve what's left.

Brigham says that as one of the largest and longest-living species on the planet, giant sequoia trees are forcing that conversation to happen.

"You cannot look at them without thinking about 1,000 years in the future," Brigham says. "They demand better of us. And I think we need that. We need those species that are being impacted by climate change that we love to be, like, hey, I think you can do better."

Orcas, the lovable black and white marine predators, have taken over 10,000 square feet of the Natural History Museum of L.A. County.

Orcas: Our Shared Future, which opened Sunday, includes floor to ceiling screens that play orcas swimming in the wild and a life-size replica of Ruffles.

He was one of the first orcas Alisa Schulman-Janiger, lead research biologist for the California Killer Whale Project, saw in the wild back in the 80s.

“It’s not him but it represents him. And I can actually go back in time and replay: I was standing here and my boyfriend who became my husband was standing next to me... seeing them under us foraging for fish,” she said.

Schulman-Janiger, who is also a research associate for the museum, said there was a sighting of these giants – the largest members of the dolphin family – in our local waters just this month.

“In the Channel Islands,” she said. “I just looked at some photos today sent to me by one of the naturalists... and she saw at least 16 different orcas.”

There are 140 original artifacts and specimens to see and experience at the immersive show, including sculptures and masks by Indigenous artists of the Pacific Northwest Coast.

Fred DeNisco, an orca expert from British Columbia who goes by ‘The Orca Man’ on social media, said he fell in love with orcas at the age of three, while watching 1993’s Free Willy in the back of a mini-van.

An original 'Free Willy' VHS clamshell on display at the Natural History Museum of LA County

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He’s followed the exhibition all over the U.S. and Canada.

“It is just so unique in the breadth of topics that it covers, both in indigenous relationships with orcas, the research and more particularly our human relationship and the tumultuous relationship that has in media and captivity and even whale watching,” DeNisco told LAist.

And in case you’re wondering, the exhibition does include an original clamshell for a VHS copy of Free Willy, the film that inspired a generation of orca-lovers like DeNisco.

You can check out Orcas: Our Shared Future through April 25, 2027.

Ticket info is at the Natural History Museum website.

LAist is one of the Natural History Museum’s media partners for the exhibition, Orcas: Our Shared Future.

I’ve loved reading your reactions to the new LACMA David Geffen Galleries. Here are just a few of the many responses we received; most were positive, but there were some smart criticisms as well:

“The architecture by Peter Zumthor and the uniquely designed way of displaying the collection across time and place was brilliant! The joy is in finding the connections.” —Marlan

“Time and place braid together in a continuum unleashed from the strictly defined spaces typical of an encyclopedic museum. Truly radical in the best way possible.” —Bianca

“The art seemed to be presented in an almost random order, as if they took LACMA's collection like a deck of cards, shuffled them twice, and then just hung everything in the resulting order.” —Steve

Licorice Pizza has your music picks for the week, including post-hardcore band La Dispute at the Belasco, indie-folk star Cut Worms at Pacific Electric and rock en español sensation Julieta Venegas at the Grammy Museum — all on Tuesday. Wednesday, Charlie Puth is at the Forum, dream-pop trio Sunday (1994) is at Hollywood Forever Cemetery, singer-songwriter and breakout The Voice contestant Carol Ades plays the Troubadour and Latin rock band Zoé plays the first of two nights at the YouTube Theater. Thursday, Chet Faker plays the Novo, Maro is at the Fonda, King Tuff plays Sid The Cat Auditorium and a cappella legends Take 6 begin their four-night residency at the Blue Note.

Elsewhere on LAist, you can get a first look at the new Annenberg Wildlife Crossing, find out more about this King Taco’s historic designation, and grab your tickets for Wild Card with NPR’s Rachel Martin Live at the Crawford on May 2.

Events

Enormous Things

Tuesday and Wednesday, April 28 and 29
Elysian Theater
1944 Riverside Drive, Elysian Valley
COST: $25; MORE INFO

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A more up-my-alley musical has never before landed in my Instagram feed. Do you, like me, enjoy modern art and showtunes more than almost anything else? Enormous Things — a musical about Claes Oldenburg where Jeff Koons is the villain — might also be for you.

Just Sing 

Thursday, April 30, 7:30 p.m. 
Laemmle NoHo 7
5240 Lankershim Blvd., North Hollywood
COST: $14.50; MORE INFO

Fans of Pitch Perfect will want to check out this local real-life story. Just Sing follows the USC a cappella group SoCal VoCals as they make their way to the International Championship of Collegiate A Cappella in New York City. Co-directors and cinematographers Angelique Molina and Abraham Troen will host a Q&A following the screening.

Japanese Heritage Night at Dodger Stadium

Monday, April 27, 7:10 p.m.
Dodger Stadium 
1000 Vin Scully Ave., Elysian Park 
COST: FROM $70; MORE INFO 

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Japanese superstar Yoshiki will perform at the Dodgers vs. Marlins game ahead of his headliner performance at Disney Hall in July, marking Japanese Heritage Night at the stadium. Get there early to hear the music, enjoy Japanese food specials and grab your special game jersey.

Old Woman Naked

Wednesday and Thursday, April 29 and 30, 7:30 p.m. 
The Broadwater Second Stage
6320 Santa Monica Blvd., Hollywood 
COST: $45; MORE INFO 

Acclaimed author Pamela Redmond is no stranger to using her own life for inspiration for her beloved fiction, like Younger (which later became the hit Freeform show) and Older. But baring all — emotionally and physically — onstage? That’s new territory for the 72-year-old. First performed in New York to a sold-out one-night-only crowd, Old Woman Naked digs into the truth about aging, sexuality, feminism, motherhood and coming into your own. An additional date of May 17 has just been added.

Comedy, at Night 

Tuesday, April 28, 8:30 p.m. 
UCB Franklin 
5919 Franklin Ave., Hollywood
COST: $20; MORE INFO 

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Bob Odenkirk, Sarah Silverman and many more bold-faced comedy names join this showcase at UCB Franklin, hosted by Nate Odenkirk and Ari Mostow.

Double Chin pop-up 

Monday, April 27, 9 a.m. until sold out 
Petitgrain Boulangerie 
1209 Wilshire Blvd., Santa Monica 
COST: VARIES; MORE INFO

Double chin? More like double yum. Get in line early for this pop-up at Petitgrain, featuring Leah Chin-Katz’s popular pastries and jams.

Glowworm Full Moon Night Hike 

Thursday, April 30, 7 p.m. to 9 p.m.  
Gabrielino Trail, Western Trailhead
915 Ventura Street, Altadena
COST: FREE; MORE INFO 

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Rattlesnakes sleep at night (right?), so head out for a late-night hike to see the rare California pink glowworms that come out this time of year in the Altadena foothills. Intrepid hiker Jason Wise (Journeyman) leads this nature-filled evening with L.A. Rises.

Screening: Dead City Punx 

Thursday, April 30, 7:30 p.m.
Brain Dead Studios
611 N. Fairfax Ave., Melrose 
COST: $18; MORE INFO 

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Dead City Punx exhibit 

Through Saturday, May 30
Beyond the Streets 
434 N. La Brea Ave., Mid-City
COST: FREE, MORE INFO 

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Punk in Los Angeles is far from dead. Dead City Punx, whose shows have shut down streets and seen fans start fires, are the focus of a new documentary and gallery show at Beyond the Streets. Dead City Punx (trailer here) tells the story of the band that built a following through “chaotic, illegal outdoor shows during the pandemic — complete with bonfires, fireworks, graffiti and clashes with law enforcement — ultimately sparking a movement that challenged what DIY and punk culture mean today.” Produced by Rage Against the Machine’s Zack de la Rocha, the film and gallery show are out now.

Los Angeles County is home to the largest homeless population in the U.S. — more than 72,000 people, according to official estimates.

In 2024, county voters approved Measure A, a half-percent sales tax increase aimed at raising $1 billion a year for homeless services and affordable housing.

Its backers promised voters more transparency, accountability and results.

As new revenue flows in, questions about how L.A. County spends homelessness dollars aren’t going away.

How Measure A came to be 

Homeless service providers and advocates wrote and campaigned for Measure A in 2024. Their goal was for it to replace a smaller, temporary county sales tax for homeless services known as Measure H, which was set to expire in 2027.

That quarter-percent sales tax, approved by voters in 2017, delivered about $500 million a year.

That new funding helped move more people into shelter beds, and the number of unhoused people in shelters in L.A. County increased from about 15,000 in 2017 to about 23,000 in 2024, according to official estimates.

But the county's overall unhoused population — which includes people staying in shelters as well as those living on the streets —- grew by 37%, from about 55,000 in 2017 to more than 75,000 in 2024.

Measure A’s solution was to double the special sales tax for homelessness, make it permanent and use the extra revenue to help build more affordable housing in addition to homeless services.

A majority of county voters agreed. The county enacted the “Affordable Housing, Homelessness Solutions, and Prevention Now Transactions and Use Tax Ordinance” — and then started collecting the Measure A tax in April 2025.

Elise Buik, President and CEO of United Way of Greater Los Angeles presents an award to Peter Laugharn, President and CEO of Conrad N. Hilton Foundation at the United Way "Annual HomeWalk To End Homelessness" in 2017. Both organizations were major backers of Measure A, along with the California Community Foundation and others.

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Measure A’s promises

Voters approved Measure A amid increasing concerns about the regional agency long tasked with managing public homelessness dollars by the county and city of L.A.

A county audit in late 2024 found that the Los Angeles Regional Homelessness Authority, or LAHSA, had regularly paid service providers late and failed to properly monitor contracts. A separate court-ordered report found L.A. city officials had made it impossible to accurately track homelessness spending, largely by outsourcing to LAHSA.

Measure A proposed a new approach to the region’s homeless services system, which many have described as “dysfunctional.” Written into the ordinance were clearer systemwide goals, increased accountability over spending and consequences for programs that fail to perform.

Unlike Measure H, which focused on getting people off the street, Measure A was written to also focus on preventing people from falling into homelessness. It directs more than 35% of its roughly $1 billion in yearly revenue to a new county affordable housing agency. Supporters estimated it could produce 18,000 new affordable units in L.A. County over 10 years.

It directs 60% or revenues towards homeless services — and dedicates a portion of that funding to be split directly among L.A. County’s 88 cities.

Measure A delegated oversight responsibilities for the spending to the county Board of Supervisors and two governance bodies the board had established in 2023 to coordinate regional planning on homelessness.

The first is an advisory group called the Leadership Table for Regional Homelessness Alignment. It includes nonprofit service providers and experts who meet regularly and inform policy decisions.

That group advises a more powerful one called the Executive Committee for Regional Homelessness Alignment, which sets Measure A’s goals and makes plans and funding recommendations.

Its nine members include two county supervisors (currently Kathryn Barger and Lindsey Horvath), the L.A. mayor (currently Karen Bass), an L.A. City Council member (currently Nithya Raman), a representative from Gov. Gavin Newsom’s administration and four officials from cities across the county.

The committee’s recommendations go to the county Board of Supervisors, which has the final say.

Last March, the supervisors formally adopted five-year Measure A goals with 2030 deadlines. They include: reducing unsheltered homelessness in the county by 30%, moving twice as many people annually into permanent housing and boosting affordable housing production by about 50%.

Measure A’s effects

One of the early after effects of passing Measure A has been a reorganization of who controls the growing pot of county homelessness dollars.

In April 2025, the Board of Supervisors voted to divert more than $300 million from LAHSA and create a new county department, the Department of Homeless Services and Housing, to manage homelessness funding directly.

Supporters of the move said it was necessary because Measure A voters were demanding accountability that LAHSA wasn’t delivering. The new county department formally launched in January.

The full transition of LAHSA programs to the county is planned in July. The Board of Supervisors recently directed the new department to create strict oversight procedures for all homeless service contracts.

Last March, L.A. County approved its first annual budget that included projected allocations from Measure A, totaling about $1 billion. The county had twice as much funding at its disposal but still cut tens of millions of dollars in programs and services for unhoused people, citing a strategic shift.

Now, the county is finalizing the budget for the next fiscal year, which starts July 1. It again includes $1 billion for homeless services and affordable housing because of Measure A, but the homelessness spending plan includes nearly $200 million in program reductions.

County officials said those reductions were necessary to cover rising shelter costs and the loss of pandemic-era state and federal funding.

Measure A has allocated about $100 million annually, or roughly 9% of all Measure A revenues, directly to the 88 cities within L.A. County to address homelessness in what’s known as the Local Solutions Fund. The county publishes a regional plan showing how that money is used.

The funding is awarded based primarily on a city’s recent unhoused population numbers, using estimates from the official annual homeless count.

Some city leaders complain that their residents are paying way more into the Measure A tax than they are getting out of it.

Torrance mayor George Chen says his city will generate about $26 million annually for the county through the Measure A sales tax, and it will receive about $559,000 in local funding through the measure.

Los Angeles County Supervisor Lindsey Horvath supported the Measure A sales tax, and also championed the effort to break from LAHSA and form a new county homelessness department.

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Affordable housing focus 

The major structural difference between Measure A and its predecessor is that it earmarks roughly 36% of its proceeds — about $363 million a year — for affordable housing development. Those funds flow through a new independent regional agency called the Los Angeles County Affordable Housing Solutions Agency, or LACAHSA.

The agency’s mandate is to create new affordable homes, preserve lower-rent housing and prevent displacement. It is still in its early stages.

As of March, the agency had received $275 million from Measure A and distributed $25 million to recipients, according to its Measure A Funds Tracker. Most of what had been awarded was emergency rental assistance.

On April 15, the agency’s board conditionally approved its first major round of housing production funding, approximately $102 million for 10 projects that will add 566 units of affordable housing, according to a recent report.

Projects are required to break ground within one year of receiving awards. A second round of awards is scheduled for the board's May 13 meeting.

Demand for funding far outpaced what was available: LACAHSA received 242 applications for 127 projects totaling $1.56 billion and representing 11,484 units.

What’s next?

The goals Measure A set are ambitious, and the deadline is 2030. A county dashboard tracking progress shows the region gaining ground reducing unsheltered homelessness while falling behind on other targets.

The county hasn’t made any progress decreasing the number of people falling into homelessness or decreasing homelessness among people with mental health or substance use disorders. The dashboard does not yet include affordable housing production metrics.

The transition from the regional Homeless Services Authority to the new county Department of Homeless Services and Housing is still underway, with a full handoff of staff and programs targeted for July 2026.

LAHSA recently announced it will lay off 284 employees at the end of June.

Federal cuts and changes to funding from Medicaid and the U.S. Housing and Urban Development — flagged as “threats to recent progress” in the county's recent budget documents — loom over the entire system.

According to new data from TikTok and theater trade group Cinema United fan-made TikToks can now do what big marketing campaigns couldn't always achieve: keep a movie thriving after opening weekend.

At this year's CinemaCon, the annual convention for movie theater owners, director Denis Villeneuve showed the first seven minutes of his third Dune film. He told the crowd he made his latest installment of the science fiction saga for the fans. And long before the December opening, fans have been posting their own reactions on TikTok.

"There's this incredible chant in Dune 3 that's in the trailer and what we've seen is it's a soundbite that users on TikTok have embraced and made their own content with," says Cameron Curtis, executive vice president of global digital marketing for Warner Bros.

He says TikTok is a tremendous platform for reaching new audiences.

"We often see that the creator content on [the] platform outperforms our traditional advertising content by 3-to-1. It's become just critical to our strategy and everything that we do," says Curtis.

He says Warner Bros. and other studios have been partnering with TikTok creators to market their films. According to TikTok executives, that's for good reason. "We really saw that the buzz doesn't stop with the opening weekend," says Dennis Papirowski, TikTok's global head of Entertainment and News.

He says every day, the platform's users create 6.5 million posts related to content from new and classic films and TV shows. According to TikTok, half of their users say they discovered a new movie through the platform. And of those, more than a third looked up showtimes and purchased a movie ticket.

Dawn Yang, the company's global head of entertainment partnerships and business development, says studios tend to do a lot of marketing for the first weekend a film opens.

"But on TikTok, it really takes off after the first weekend," she says, "because people have seen the entire movie and they want to talk about it."

TikTokers post enthusiastic movie reviews, they cosplay and reenact scenes, and some create new edits from the official trailers and footage. For instance, 24-year-old college student Josiah Pilet remixed Spider-Man clips set to music.

Fan edits would have been no-nos in the old Hollywood strategy of protecting intellectual property, says Paul Dergarabedian, senior media analyst for Comscore, which analyzes the box office.

"There was a time when studios did not want marketing messaging going out that wasn't from them," he says. Now, he says even negative responses to movies are welcome "as long as it's not something horrible, that can boost the profile of a movie and excitement around it, because sometimes people want to see what the fuss is all about."

Dergarabedian says studios are increasingly embracing and harnessing the power of short TikToks made by the key Gen Z audience.

"You have some movies that open huge, have a huge opening weekend, then drop by 70% or more in their second weekend," he says. "But the way you keep people coming back is that you not only have a great movie, but the social media engagement continues, amplifies and creates that excitement and the FOMO factor among potential moviegoers."

Take last year's box office hit Sinners. Cinema United and TikTok's report found that buzz about the film surged on the platform during its opening week — and ticket sales barely dipped the following week.

But social media platforms, including TikTok, have also sometimes caused minor headaches for theaters. Last year, fan-made posts chronicled the mayhem sparked by a line spoken by Jack Black's character in The Minecraft Movie.

Audiences shouted "chicken jockey" along with him and tossed popcorn in theaters. The ruckus was so chaotic that one fan even carried a live chicken into the movie, as shown by one viral video.

At CinemaCon, Warner Bros. executives offered a good-natured apology to theater owners for the mess.

But it's not just fans posting TikToks. As executive director of communications and content for B&B Theatres, Paul Farnsworth makes funny TikToks, starring himself and the staff — often in the lobby, playing around with the latest movies.

"It's like a little wink-wink joke, nothing that you're going to like, pay money to go see a stand-up comedian say," he says. "But I think for us, it indicates to our guests a sensibility of like the playfulness of the movies, the magic of the experience, the shared communal thing that we're all trying to achieve with them."

Farnsworth says he asks the studios for guidance on the material — hoping his viral TikToks get people into movie theaters.