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After Trump’s Truth Social outburst on Sunday—where he called foreign film production a “national security threat” and demanded “MOVIES MADE IN AMERICA, AGAIN!”—Hollywood went into full panic mode. But Newsom, long a vocal opponent of Trump, pivoted fast, proposing a federal incentive modeled after California’s own plan to raise its production tax credit cap from $330 million to $750 million annually.

“America continues to be a film powerhouse, and California is all in to bring more production here,” said Newsom in a statement. “We’re eager to partner with the Trump administration to further strengthen domestic production and Make America Film Again.”

That last line might sting some of Newsom’s usual allies, but the timing is hard to ignore. With U.S. film production down nearly 40 percent over the last decade and more than a quarter of spending gone since 2022, the pressure is on to stop the bleeding. Studios have been flocking to the U.K., Canada, and Hungary to chase generous tax incentives and lower costs. But with the threat of a Trump tariff hanging overhead, producers prepping shoots in Budapest or the UK might be asking themselves: Is it worth the risk?

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The tech giant has quietly launched a film and TV production initiative dubbed “100 Zeros”, a multi-year collaboration with Range Media Partners, the rising talent and production firm behind indie breakouts like A Complete Unknown and Longlegs. According to a report from Business Insider, the goal is simple but strategic: identify, fund, and co-produce content that can amplify Google’s growing suite of AI and spatial computing tools—while also giving the company a foothold in the creative pipeline.

This isn’t Google’s first brush with the entertainment industry—nor Range Media’s first collaboration with the tech behemoth. Just last month, the two companies announced a joint initiative to commission AI-themed films, with Sweetwater and LUCID on track for release later this year. And if you’re wondering what Google’s endgame is, it’s less about boosting YouTube and more about selling projects to major distributors like Netflix or legacy studios.

Why Now?

The timing couldn’t be more calculated. With the U.S. film industry still recovering from the 2023 strikes and bracing for potential tariffs that could kneecap foreign-shot productions, there’s a rare opening to shift more production back to U.S. soil. Google’s 100 Zeros initiative—paired with Range’s indie cred—could be the kind of domestic production engine that studios increasingly turn to as they rethink overseas strategies.

Also worth watching: Google isn’t trying to turn YouTube into the next HBO. In fact, Business Insider notes that 100 Zeros projects won’t be headed for YouTube distribution. Instead, they’ll pitch them to the usual suspects—Netflix, Amazon, and traditional studios—keeping the tech company behind the scenes while embedding its technology and ethos into the heart of high-end storytelling.

Google’s push into entertainment also serves a bigger goal: boosting adoption of its AI tools like Gemini, and showing creatives what’s possible when spatial computing meets serious storytelling. It’s a Trojan horse of sorts—Hollywood polish with a tech core.

Whether 100 Zeros becomes a disruptive force or a niche label, it marks a significant moment: Silicon Valley is no longer content just powering Hollywood from behind the scenes. Now, it’s angling for a producer credit too.

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Trump’s directive could, ironically, do what years of lobbying failed to achieve—drive a mass return of production to U.S. soil. For domestic producers, soundstage operators, and service vendors, this shock policy move might be the golden ticket. For those prepping to shoot in London, Budapest, or Vancouver, the risk-reward equation just shifted overnight.

With the industry scrambling for clarity, here are the 10 biggest questions everyone from Hollywood to Halifax is asking—along with a closer look at how this chaos could catalyze a U.S. production renaissance:

1. What counts as a “foreign” film?
Will any international location trigger the tariff? Will percentage-based thresholds apply, or is a single overseas day enough? No guidelines have been issued, leaving studios to guess.

2. Will it be retroactive?
Studios fear tariffs could hit films already in production or post. Would Disney’s “Avengers: Doomsday,” currently filming in the U.K., owe 100% on its U.S. box office? The ambiguity is chilling.

3. Are streaming series included?
Trump’s statement mentioned “movies,” but streamers like Netflix rely heavily on global originals. If series like “Squid Game” or “The Crown” are subject to tariffs, it would upend the platform model.

4. What about post-production?
Many U.S. films do VFX or editing in Canada, New Zealand, or Europe. Would overseas post trigger penalties? If so, even U.S.-shot productions could be at risk.

5. What does this mean for U.S. producers?
If enforced, the tariff could drive a seismic shift back to American soundstages. Why gamble on foreign tax credits if the final product gets taxed? Domestic producers may find themselves in high demand.

6. Will this kill co-productions?
Indie films often survive on international co-production deals. A tariff could decimate these arrangements, limiting access to foreign grants and making smaller U.S. projects harder to finance.

7. Can the tariff be enforced under current law?
Legal experts question whether intellectual property like film can even be tariffed under existing trade rules. Expect lawsuits, delays, and lobbying warfare in the months ahead.

8. How will foreign governments respond?
Hollywood exports triple what it imports. Tariffs could spark retaliatory taxes from Europe, Canada, or Asia, slicing into U.S. studio profits and box office performance abroad.

9. Could this lead to a federal film incentive?
If the goal is to reshore production, tariffs alone aren’t enough. Studio insiders are calling again for a long-sought federal incentive to compete with Canada, the U.K., and Australia.

10. Will this actually happen?
Like many Trump edicts, this may be more saber-rattling than policy. But while Wall Street shrugged, the production world is already adapting. For U.S. infrastructure, this could be the spark that lights a comeback.

Bottom Line:
Trump’s proposed film tariffs have thrown the global production playbook into disarray. But amid the uncertainty lies opportunity. For U.S.-based studios, service vendors, and infrastructure developers, this could mark the beginning of a new golden era—if they’re ready to move fast and fill the gap.

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So far, he’s sat down with key Hollywood labor pillars: the Directors Guild of America, IATSE, and the Teamsters, seeking firsthand accounts of how rising costs, global tax competition, and fractured state-by-state policies have chipped away at the U.S. production base. Missing from the table so far are the Writers Guild and SAG-AFTRA, but the tone of Voight’s effort has caught insiders’ attention: part nostalgia, part policy pitch.

At the heart of his proposal? A federal tax incentive to counteract the aggressive credits offered abroad—particularly in the UK, Canada, Hungary, and beyond. As productions continue to chase savings and infrastructure overseas, Voight believes the U.S. needs to level the playing field with national support, not just fragmented local programs.

What’s remarkable is that Voight is acting as a bridge between Hollywood labor and Trump-world rhetoric. Despite being a conservative lightning rod and longtime Trump supporter, he’s meeting with traditionally liberal unions and aiming to reframe the conversation not around politics, but around jobs, infrastructure, and keeping creative work on American soil.

Trump himself has promised to “get done what they suggest” when it comes to his three appointed ambassadors (Voight, Mel Gibson, and Sylvester Stallone), though sources say neither Gibson nor Stallone have joined any meetings or taken part in crafting this initiative. If this plan moves forward, it will be because of Voight’s hustle, not the optics of celebrity muscle.

Union leaders reportedly support the spirit of Voight’s efforts but remain cautious. As one rep put it: “We’ve heard about federal credits before—but until D.C. actually moves, the work is still leaving.”

Meanwhile, California is trying to hold its ground. Governor Gavin Newsom has proposed expanding the state’s Film & TV Tax Credit from $330M to $750M annually—a necessary bump to compete with Georgia’s uncapped program. Two bills, SB630 and AB1138, are also gaining traction. They aim to ease eligibility and unlock credits for productions that commit to hiring locally—something that’s been hamstrung by bureaucracy.

Voight’s push comes at a time when more than 100,000 production workers have sent letters to Sacramento supporting California’s expanded program. But the problem, many argue, is national. Without a unified federal incentive, Hollywood will continue to fragment—state by state, shoot by shoot.

So the question becomes: Can Jon Voight, an Oscar winner with deeply political ties, be the unexpected ally who finally puts federal support on the table? Or will his plan be another well-meaning conversation that never gets past the coasts?

In a moment when the U.S. film industry needs bold ideas and strange bedfellows, Voight may just be the unlikely messenger this fractured industry didn’t expect—but might need.

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The initiative, announced by Prime Focus founder and CEO Namit Malhotra alongside Maharashtra Chief Minister Devendra Fadnavis, represents a 3000 crore rupee investment expected to create thousands of high-skill jobs across media, tech, hospitality, and tourism.

“This is about honoring India’s 100-year cinematic legacy while building the most advanced content creation hub on the planet,” said Malhotra. “By bringing together DNEG’s Oscar-winning visual storytelling, Brahma’s AI technology, and Prime Focus Studios’ production capabilities, we’re creating a powerhouse for global production—right here in Mumbai.”

The new complex will rise near Prime Focus’s existing footprint, which includes one of Asia’s largest production facilities and eight Hollywood-designed soundstages, plus DNEG’s cutting-edge VFX and animation studio in the city.

More than just a film studio, the new hub is designed to be a cultural and tourism engine, showcasing India’s creative capabilities through immersive experiences and lifestyle attractions.

“Leveraging our country’s legacy of craftsmanship and innovation, we’re creating a destination that represents India’s identity to the world,” said Malhotra.

Chief Minister Fadnavis framed the project as a strategic investment in the state’s economic future. “This next-generation entertainment hub will help secure Mumbai’s place on the global stage—as both a filmmaking powerhouse and a cultural tourism destination.”

With Hollywood increasingly turning to India for VFX, animation, and production services, the development arrives at a pivotal moment. For Prime Focus, this isn’t just infrastructure—it’s a global statement.

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After a cooling period tied to the 2023 Hollywood strikes, global studios are returning to Canada’s Rocky Mountain capital. Major players including Netflix, Paramount, and Apple are actively circling new projects, according to CED CEO Brad Parry. “There’s a lot of pent-up production right now,” he said. “And Alberta is firmly back on the map.”

That momentum is already showing up on set. Alberta currently has three ‘Tier A’ productions underway—projects typically tied to higher budgets and union rates. These include MGM+’s third season of Billy the Kid and a film adaptation of Reminders of Him, the bestselling romance novel by Colleen Hoover.

What’s driving the activity? A mix of smart policy shifts, competitive landscapes, and strategic repositioning. Consultant Michelle Wong credits the weakened Canadian dollar, the rollout of Bill C-11 (which boosts Indigenous production), and international diversification as key factors behind Alberta’s strong start to 2025. “We expected a downturn,” said Wong, “but we’re actually seeing a slight uptick.”

Alberta’s appeal is also broadening beyond Hollywood. Productions from Korea and Europe are actively scouting the region, seeking dramatic landscapes, cost efficiencies, and a less congested pipeline than traditional U.S. hubs.

Still, the resurgence hasn’t fully reached everyone. Damien Petti, president of IATSE Local 212, noted that only 65% of the province’s 1,500+ union crew members are currently working. He’s pushing for a base tax credit increase—from 22% to 25%—to keep Alberta competitive as more countries step up with aggressive incentives.

“There have always been peaks and valleys,” said Petti, “but the global playing field is changing fast. We need to adjust if we want to keep projects here.”

In response, Alberta’s Ministry of Finance pointed to recent amendments that expanded the Film and Television Tax Credit (FTTC) to include more genres and offer higher rebates for productions in rural and remote areas. While no immediate increase to the base credit is planned, the province said it is “monitoring developments in other jurisdictions.”

Meanwhile, long-running Canadian series like Heartland (renewed for a 19th season) continue to provide a stable base of local employment, while industry insiders hint at several unannounced big-budget shoots on the horizon.

For an industry long defined by its peaks and valleys, Alberta seems poised for another climb—one shaped by both its natural scenery and its growing role in the global production economy.

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The Fairmont Heights High School campus, located near the Cheverly and Deanwood Metro stations, has sat vacant for years in the heart of a residential neighborhood. This week, the Prince George’s County Council voted to designate the 14-acre property as surplus land, clearing the way for the county’s Redevelopment Authority to finalize a sale to a film company planning to convert the site into a full-scale studio complex.

The new studio won’t just house film and TV shoots. It’s designed to be a hybrid production campus and educational facility, offering hands-on training in cinematography, sound, editing, production design, writing, and more.

“It’s not just going to be a company that is producing films,” said Fred Smith of the Fairmont Heights Alumni Association. “It’s going to allow people to learn all of the various aspects of what it takes to make a film… It’s still going to be an educational facility, and that’s the thing that we like about it.”

The project is already drawing praise as a win for both cultural preservation and economic revitalization. Fairmont Heights is considered a landmark in Maryland’s Black educational history, having served generations of students during segregation. Now, it’s being reimagined to serve a new generation—one trained to enter an industry growing well beyond the traditional coastal hubs.

The state of Maryland is backing the plan with a $5 million investment, signaling its intent to compete with regional powerhouses like Atlanta and New York. Donna Dodson of the Prince George’s County Film Office put it simply: “This is a great opportunity for us to continue to attract film productions… It brings revenue, tourism, and puts us out in the universe as a place to come to.”

County leaders say community support was a non-negotiable. Angie Rodgers, Deputy CAO for Economic Development, emphasized that the deal only moved forward after local alumni and neighborhood voices signed off on the plan. “It was important that this be a collaborative decision—and it is.”

A few dissenting voices, including the Greater Capitol Heights Improvement Corporation, had hoped the site would be used for mixed-income housing. But the Council ultimately sided with those pushing for the film studio, citing long-term economic and educational potential.

With its Metro-accessible location and strong state backing, the new facility could help put Prince George’s County on the map as a viable East Coast production hub—while honoring the legacy of the school it replaces.

“This is the absolutely, amazing, correct and the right use for the building,” said Joan Crowder, president of the Fairmont Heights Alumni Association.

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Two parallel proposals—one from Governor Tony Evers and another with bipartisan support in the Legislature—aim to reintroduce competitive film and TV tax credits and establish a long-overdue state film office. The state is currently one of just four in the U.S. without a dedicated film office and one of 13 without a tax incentive program.

Gov. Evers’ 2025–27 budget outlines the creation of the Office of Film and Creative Industries, which would serve as a centralized hub to attract productions and grow Wisconsin’s creative economy. It also proposes a 25% tax credit on qualified production costs and wages, capped at $10 million per year. Meanwhile, the bipartisan bill currently in the Legislature proposes a more aggressive 30% tax credit on both wages and expenditures—designed to keep Wisconsin competitive with top-tier incentive states like Georgia, New Mexico, and Illinois.

“If we want to be in like the top eight or so states in the country, we had to be at that 30 percent,” said Rep. David Armstrong, R-Rice Lake, the bill’s co-author.

Filmmakers and producers across Wisconsin say the time has come.

“Any studio or production company, their No. 1 factor in deciding where to film is what is the tax incentive program,” said Jeffrey Kurz of Action! Wisconsin, a statewide coalition supporting the proposals.

The state had a modest incentive program briefly in the late 2000s, but it was discontinued in 2013. Since then, producers like Kurt Ravenwood (Hundreds of Beavers) have struggled to make the case for filming locally.

“We need the tax credits to bring those people here,” Ravenwood said. “And then it’s great because they’re coming in, and they’re spending all the money that you spend on a shoot, which trickles over to hotels and restaurants and bars.”

Recent examples underscore that economic impact. The two-month Top Chef shoot in Milwaukee reportedly generated nearly $4 million in hotel night stays. The holiday film A Cherry Pie Christmas spent $600,000 over three weeks in Door County alone.

Kurz also highlighted the potential to retain talent and stop the creative brain drain. “About 500 film students graduate from UW–Milwaukee every year,” he noted. “We have a ready workforce, but because the opportunities don’t exist, they go elsewhere to live, work, and pay taxes. We want to stop the brain drain.”

Filmmaker Tim Schwagel echoed that sentiment: “It’s pretty much impossible to make a proper living doing any kind of narrative film in the state.”

If passed, either version of the proposal would provide the foundational infrastructure needed to bring scripted production back to Wisconsin. The budget plan would reestablish the state’s role in the national conversation, while the bipartisan bill’s stronger incentives could make Wisconsin a serious contender for commercial, independent, and studio-backed projects.

Whether it’s Top Chef, indie comedies, or the next prestige drama, the message is clear: producers are ready. Now it’s Wisconsin’s move.

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