Overview of The Town
In this episode of The Town, Matt Belloni speaks with Congresswoman Laura Friedman, one of the co-authors of a newly introduced bipartisan federal bill designed to keep film and TV production in the United States. The conversation focuses on what the bill actually does, what it leaves out, why it was crafted that way, and how realistic it is that Congress could pass it—possibly as soon as this year.
The broader theme is clear: Hollywood’s production flight to other countries has become a jobs-and-economics crisis, and this bill is meant to use federal tax incentives to bring labor, post-production, VFX, and studio work back to the U.S.
The Core Proposal
What the bill does
- Creates a 20% federal tax credit on labor expenses for qualified film and TV productions.
- The credit can rise to 30% through bonus add-ons.
- It is designed to be transferable, which makes it easier for productions to use even if they themselves don’t need the credit directly.
Bonus incentives
The base credit can be increased by 5% increments for things like:
- Shooting in a federally designated disaster area
- Shooting in a rural area
- Being an indie producer
- Bringing a significant amount of overseas production back to the U.S.
Only two of the bonus add-ons can be stacked.
What’s Included — and Why That Matters
Broad coverage
Friedman emphasized that the bill is intentionally broad and competitive:
- It includes above-the-line costs like actor, writer, and director expenses
- It includes post-production
- It includes special effects / VFX
That above-the-line piece is especially important because California’s state credit has often been criticized for not being competitive with countries like the UK, which subsidize those costs.
Why above-the-line is in
Her argument:
- If productions go overseas, the U.S. loses not just jobs but tax revenue
- A federal credit that excludes high-cost talent would be less effective at keeping major productions domestic
- The goal is to make the U.S. actually competitive, not just symbolically supportive
What’s Not Included
Explicit exclusions
The bill excludes:
- News
- Live sports
- Talk shows
- Daytime dramas
- Radio
- Social media content
Reality / unscripted programming
Friedman clarified that unscripted productions are not excluded outright. Her position was that many reality shows could still qualify, though game shows may be treated differently.
No content policing
A major point of emphasis:
- There is no content oversight
- No requirement that productions meet ideological standards
- No “red-state approved content” mechanism
Friedman argued this is essential both constitutionally and politically, especially if the credit is meant to survive beyond the current administration.
Why the Bill Was Built This Way
It’s a jobs bill first
Friedman framed the legislation primarily as an American job-creation measure:
- Production has moved overseas
- That hurts crew jobs, vendors, restaurants, dry cleaners, and the broader local economy
- Hollywood remains a major source of accessible, well-paying jobs, including work that does not require a college degree
It’s meant to be politically durable
The bill was designed to:
- Satisfy both labor and studio interests
- Work for big productions and indie filmmakers
- Avoid content restrictions that could kill support later
- Make it easy for members of Congress outside California to defend the bill to their constituents
Politics and the Path Forward
Bipartisan coalition
Support comes from:
- Democrats in California
- Republicans in states like Georgia and Texas
- Labor groups
- Studios
- Independent producers
Trump’s role
The episode stresses that this effort gained real momentum after Donald Trump publicly endorsed a tax-credit approach over tariffs. Friedman said that endorsement opened the door to moving the bill forward.
John Voight’s influence
A recurring theme was that actor John Voight has been a key behind-the-scenes advocate for the bill. Friedman described him as deeply passionate about preserving Hollywood and protecting the workers who make the industry run.
Next procedural steps
The bill now has to move through:
- Ways and Means
- Continued negotiation and coalition-building
- Possible consideration in the lame duck session
Friedman said speed matters, but not at the expense of votes or support. She also signaled that if the bill misses this window, the political environment could change.
California’s Role and the Local Stakes
California isn’t enough by itself
Belloni pressed Friedman on whether the federal bill could end up helping the industry nationally without sufficiently helping California. Her response:
- She still wants California to improve its own incentives
- She believes state-level reform, combined with the federal bill, could create a much stronger result
The Bonta settlement
They also discussed California Attorney General Rob Bonta’s recent settlement with Paramount/Skydance-related concerns and whether it meaningfully helps production in California. Friedman’s view was that:
- It’s not ideal
- But it may create leverage for better state incentives
- A stronger California credit plus a federal credit would be much more effective
Public opinion is shifting
Friedman argued that California voters are now more aware of the crisis:
- People increasingly understand that production losses hurt not just crews but the entire local economy
- The urgency is higher now than it was several years ago
Notable Takeaways
Friedman’s main arguments
- The bill is about jobs, tax revenue, and competitiveness
- Above-the-line inclusion is necessary if the U.S. wants to compete globally
- The bill avoids content rules on purpose
- The goal is to create a system that both studios and workers can actually use
Belloni’s central skepticism
- Whether the politics can actually hold
- Whether California will benefit enough
- Whether a federal subsidy could end up favoring studios more than workers unless state policy also improves
After the Interview: Quick Pop-Culture Segment
The episode ends with a brief Call Sheet discussion about the upcoming Saturday Night Live season premiere hosted by Jalen Brunson.
Main points from that segment
- The hosts debated whether Brunson is famous enough to draw a strong ratings bump
- They noted that SNL’s recent ratings have been uneven
- They also joked that the cast is still too large, with too many veterans and not enough room for new talent
Bottom Line
This episode is really about a major federal attempt to reverse Hollywood’s production decline. Laura Friedman presents the bill as a pragmatic, bipartisan jobs measure built to be politically survivable and economically competitive. The big question now is whether Congress can move quickly enough—and whether California can pair the federal push with its own reforms before the window closes.