Kevin J Nelson

ALERT TO CALIFORNIA PRODUCERS: Major Film & TV Tax Credit Expansion & Key Dates   California has significantly expanded its Film & TV Tax Credit Program to boost local production and jobs.   Application Windows (Under New CA 4.0 Program): - Television Series (New, Relocating, Pilot, Limited, Recurring): July 7 – 9, 2025 - Independent & Non-Independent Feature Films: August 25 – 27, 2025   AB 132 (Funding) - Approved & Signed: Assembly Bill 132 was signed by Governor Newsom on Friday, June 27th, and takes effect July 1, 2025. - Funding: Annual cap increased from $330 million to $750 million for five years. This makes CA one of the most generous states for capped film incentives.   AB 1138 (Program Changes) - Expected Passage: This companion bill, expected to pass and take effect before July 4th, introduces significant improvements. While not signed as of today, July 2nd, reports indicate it's imminent.   Key Program Changes (Effective July 1, 2025, with AB 1138 passage):   - Enhanced Credit Rates: Base credit jumps from 20% to 35%. An additional 5% uplift (total 40%) for filming outside Los Angeles County.   - Expanded Eligibility (California Spend $1M+):   * Animated series/films   * Multi-camera sitcoms (animated, scripted, large-scale competition shows <30 min)   * Large-scale competition shows   * TV shows with episodes <30 minutes  Exclusions still apply for reality, documentary, game/talk shows, and above-the-line labor.   Workforce & Equity:  - 2% Bonus for Trainees: Additional credit for hiring 1-4 trainees from targeted programs serving underserved communities (in addition to union crew).  - Expanded Reporting: Productions must report ZIP codes and veteran status, in addition to race, ethnicity, and gender, for workforce inclusion. California Tax Credit Refundability (Major Change July 1, 2025):  - All qualified applicants can elect refundability.  - Electing refundability means receiving 90% of the credit paid over five years, regardless of tax liability.  - Non-refundable option still requires CA income/sales tax liability or independent producer transfer option. This significant investment is expected to support 40-50% more jobs, translating to roughly 4,400 to 5,500 new industry jobs, reclaiming California's position as a leading production hub. Entertainment Partners California Film Commission FilmLA California Production Coalition #StayinLA #StayinCA

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Wonderful news for the TV, Film, and Animation Industry in CA... The proposed $750M a year TV & FILM tax incentive has been approved by lawmakers, and a formal vote should be held on Friday. And it doesn't stop here. To reverse the declining industry in CA, The California Film Commission awarded $96 million in tax incentives to 48 films, 43 of which are independent projects, and many working w/budgets no greater than $10 million. https://lnkd.in/g7pc_Ha6

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L.A. sees 16% drop in film & TV shoot days compared to 2024 - new article: https://lnkd.in/gEDn6XFq - plus Los Angeles On-Location Production Down 16.1% In 2025, But California’s Revamped Tax Incentive Helps Fuel Small Growth In Q4 - new article: https://lnkd.in/gEDn6XFq - plus Why film productions are leaving Hollywood | Morning In America - new video: https://lnkd.in/gbr87r_W - Last year’s 19,694 shoot days was the lowest total since 2020, according to the nonprofit FilmLA, which tracks filming in the greater L.A. area - In 2024, that total was 23,480 shoot days - About 13% of the shoot days in the greater L.A. area in Q4 were the result of incentivized productions - Since the program expanded in July, 119 projects have been awarded - Since all approved projects have 180 days after receiving their incentive award to begin production, FilmLA says to expect more movement in the coming months - Cash infusions alone aren’t going to revive Los Angeles’ film & television industry - Local officials have been working to streamline some of the permitting processes, reduce fees, & make the area more accessible for productions

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EXCLUSIVE: Hollywood workers have committed to a show of force ahead of key hearings this week for the California legislation aimed at expanding and amending the state’s Film and Television Tax Credit Program. Deadline understands that more than 100,000 letters have been sent to Sacramento in support of SB630 and AB1138, which would not only allocate $750M annually in tax incentives for production in the state but also redefine and broaden eligibility for the program. Read the full story here: https://lnkd.in/erqDQ9JP (Photo: Getty)

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The Paramount–Skydance merger isn’t just about a new owner. It’s a new operating system. With the $8 billion deal now closed, Skydance officially takes control of Paramount Global—ending Shari Redstone’s reign and decades of family-led media ownership. Skydance is backed by private equity and tech capital. The people now calling the shots aren’t legacy studio execs—they’re founders, financiers, and efficiency strategists. Hollywood’s old guard is being replaced by teams who think more like Silicon Valley than old-school Hollywood. This marks the end of legacy studio dominance—and the rise of tech-first, globally scaled media brands. Skydance doesn’t just want to own content. It wants to rebuild the machine—from production to platform—using data, IP strategy, and leaner ops. This will reshape what gets made, who gets hired, and how content is monetized. The future of media is no longer controlled by families, creatives, or moguls. It’s venture-backed, algorithm-aware, and consolidation-driven. A new Hollywood is being coded. And it looks nothing like the one it just replaced.

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As Miami continues to rise as a production capital, it’s worth noting how aggressive the local landscape has become for film incentives — particularly at the county level. johnparrino.com The Miami-Dade County High Impact Film Fund Program currently offers a cash rebate of up to 20% on qualifying in-county production expenditures. Unlike a tax credit, this is a direct rebate — paid out after a professional audit and compliance verification — and it remains one of the most strategic film incentive structures in the Southeast. To qualify, productions must spend a minimum of $5 million locally, conduct at least 90% of Florida-based filming within Miami-Dade, and ensure 60% of the qualified labor force are county residents. At least 70% of vendors and contractors must also be Miami-Dade registered businesses. The program allocates $10 million per fiscal year, part of a five-year, $50 million commitment designed to attract high-value productions that stimulate job creation, vendor utilization, and cultural impact across the region. Rebates are distributed only after completion and audit verification by a Florida-licensed CPA. Productions must also include an on-screen credit acknowledging Miami-Dade County. For smaller productions, a second-tier grant structure awards up to $100,000 for projects spending $1 million or more in the county, and up to $50,000 for qualified spends between $500,000 and $1 million — with similar local hiring and vendor requirements. While no legislative changes have been announced yet for 2026, the county’s 20% rebate, $5 million minimum spend, and $10 million annual cap are expected to remain in effect through the upcoming cycle — reinforcing Miami-Dade’s long-term goal to anchor film, television, and streaming production within its growing creative economy. Miami’s trajectory is clear: between emerging studio infrastructure, global accessibility, and a maturing incentive framework, the next two years could define a true film and content corridor for South Florida. THE BIRDCAGE (1996) A landmark comedy of identity, family, and performance — The Birdcage reimagines the 1978 French film La Cage aux Folles through the lens of South Beach in the 1990s. Set in Miami’s flamboyant drag scene, the film delivers both high-style farce and heartfelt social satire, centering on the clash between authenticity and appearances. Director — Mike Nichols Writer — Elaine May (screenplay, based on La Cage aux Folles) Starring — Robin Williams, Nathan Lane, Gene Hackman, Dianne Wiest, Hank Azaria, Dan Futterman, and Calista Flockhart Setting — Miami’s South Beach, Florida Budget — $31 million Box Office — $185 million worldwide Awards — Academy Award Nomination (Best Art Direction–Set Decoration); Screen Actors Guild Award Nomination (Outstanding Cast in a Motion Picture); GLAAD Media Award Winner (Outstanding Film) johnparrino.com Photo Image via PinkNews

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Disecting Latino Themed Indie Film Marketing By Andrea Nunez-Gamboa In a rare occurrence, two Latino-themed films—"Clika" and "The Dreamer Cinderella" —competed at the box office this past January 23. The films simultaneous release offers a revealing look at how marketing strategies that address similar markets operate at opposite ends of the industry spectrum, namely studio-backed campaigns with substantial resources versus the limited marketing budget of independent films. Read Full Article: https://lnkd.in/gJedrejh Mexican-American Cultural Education Foundation Sol Trujillo Ana Valdez Sony Pictures Benjamin Odell #Latinofilms #latinoindiefilm #latinoindiefilmmarketing

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HOW MONEY IS MADE IN MUSIC 1. Music Production for other Recording Artists (Upfront+Royalties) 2. Music Distribution (Spotify, etc) (Royalties) 3. Sync Licensing (Song is Licensed by TV Show, Movie, etc) (Upfront+Royalties) 4. Radio Syndication (You are paid each time your Song is played on a Radio Station) 5. Publishing Rights (You sell the Rights or Lease the Rights to your catalog of songs) 6. Live Performances (Concerts) 7. Merchandise (T-Shirts, Stickers, Hats, etc) 8. Video Syndication (You are paid each time your Music Video is played on a media channel) 9. Sponsorships (Brands pay to be advertised alongside the Recording Artist's artwork, music videos, etc) 10. Songwriting (Songwriters are paid $3000 to $100,000 upfront plus royalties)

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Marvel Moves to the U.K., Leaving Its Juicy Georgia Peach Behind For over a decade, Georgia was the undisputed peach of Hollywood’s eye. With generous tax incentives and world-class studios like Trilith, the state transformed into the “Hollywood of the South.” Marvel films alone fueled an economic boom, keeping thousands of crew members, businesses, and communities thriving. But now, the story has shifted. Marvel is moving its major productions—including Fantastic Four, Spider-Man, and new Avengers films—across the Atlantic to London. The reason? Rising labor costs, healthcare burdens, and the lure of equally generous U.K. incentives where studios can save millions. Georgia, once the crown jewel of American film incentives, has been left watching its stages sit idle and its workforce searching for what’s next. This moment exposes a larger truth: tax incentives built a nomadic industry, not a permanent one. States believed they were planting seeds of sustainability, but in reality, many were renting loyalty. When the money shifts, so do the productions. So where does this leave America’s creative economy—and more importantly, what opportunities does it open? Minnesota’s Opening Minnesota has quietly positioned itself with competitive tax credits of its own. But here’s the difference: we have the opportunity to learn from Georgia’s experience. Instead of chasing blockbusters as temporary guests, Minnesota can build an industry rooted in: • Workforce development: Training and retaining local crews who make this state indispensable. • Diversity and equity: Ensuring BIPOC-owned and women-led production companies benefit directly from incentives. • A balanced ecosystem: Nurturing independent films, television, commercials, and music productions alongside larger projects. • Cultural storytelling: Branding Minnesota as the home of authentic, community-driven narratives that resonate nationally and globally. Where JahPenée Productions Steps In At JahPenée Productions, we believe film incentives should mean more than temporary jobs. They should build communities, launch careers, and amplify voices too often ignored in Hollywood boardrooms. Our role is not only to tell powerful stories but also to connect local creatives with national opportunities, ensuring Minnesota’s rise as a film hub is sustainable, inclusive, and innovative. The Big Question Marvel may have left Georgia behind, but the broader question remains: will America keep chasing Hollywood with ever-larger tax breaks, or will we finally invest in building lasting creative economies? Minnesota has a rare chance to step into this conversation—not as a stand-in for Georgia, but as a leader in redefining what film and media can look like when rooted in equity, community, and bold vision. Marvel has chosen London. The question is, who will choose Minnesota?

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