Issue 113 - The Future of Hollywood | Little White Lies

Issue 113: The Future of Hollywood – Out now!

Issue 113

The walls are caving in on Hollywood as we know it. The time to keep calm and carry on is over. There’s a major studio merger on the horizon that could lay waste to the current Hollywood landscape, especially if anti-trust laws – intended to prevent corporate monopolies – are not brought into force. Tech companies are desperate for Hollywood to legitimise their AI wares, wilfully blind to the fact that thousands would lose their livelihoods in the process. And not to mention that the places we go to to consume art will quickly be filled with auto-generated slop that has ripped off existing art forged by human hands. 

Yet it’s not all doom and gloom, and any sense of anger or injustice should be couched in a feeling of hope. Yes, people are still going to the cinema to watch movies, and young people are taking up the mantle more than most. Cinephelia and movie consumption are on the rise, with people more than ever wanting to enter into creative discourse around the beauty and joy of movies. And we’re in a moment where two filmmakers weaned on YouTube have made zeitgeist-smashing features in the form of Obsession and Backrooms.

In this issue, we take a look at where Hollywood is and where it’s headed, at problems and solutions. The issue covers themes of Hollywood’s romantic iconography in 2026; systemic misogyny and fallen female actors; strategies from an insider to fix Hollywood’s many ills; a look into the crystal ball to see what small-screen viewers have ahead of them; and a celebration of filmmaking craft and how the behind-the-scenes artisans are fighting to have their skills recognised. All presented to you via the best film writers and illustrators on the block. Happy reading! 

On the cover…

For this cover we have created a spinning wheel of doom intended for use by Hollywood studios heads and which offers creative ideas for the future. Nick Taylor, an illustrator and graphic designer based in Nottinghamshire, draws on the ephemeral and tactile qualities of vintage design and pop culture for this cover, exploring sign-writing, graphic iconography and vintage textures in a retro-futuristic fashion. Elsewhere in the issue we showcase new illustrated work by Ariadna Sysoeva, Graham Corcoran, Yu-Ching Chiu, Stéphanie Sergeant, Emma Zanelli and Hazel Mason.

Inside this issue

Essay

On Hollywood Boulevard

Billie JD Porter chronicles her dark march down the Los Angeles locus of dream-factory mythologising.

Feature

Love/Hate – A Hollywood Introduction

David Jenkins introduces an issue about Hollywood then, Hollywood now and Hollywood always.

Essay Series

Three Women

Christina Newland profiles three fallen female actors from across the span of Hollywood picture-making.

Feature

I Can Fix You

Screenwriter Aaron Stewart-Ahn on whether there are any reasons to be cheerful in modern Hollywood.

Feature

The Future of TV

Emma Fraser looks into her crystal ball and ponders the future of the small screen.

Interview

Landscape Collector

Leila Latif speaks to location scout extraordinaire, Lori Balton, about the shifting nature of her globe-trotting craft.

Interview

Knoxville or Bust

Natalie Marlin sits down with the master of mayhem Johnny Knoxville, who gets reflective about the final run-out of Jackass.

Interview

Smokin’ Joe

David Jenkins chats to Hollywood legend Joe Dante about a new restoration of his sci-fi screwball classic Innerspace.

In the back section

Interview

John Waters

Marina Ashioti speaks to the Pope of Trash following new restorations of the upbeat/downbeat duo, Hairspray and Desperate Living.

Interview

Ben Rivers

The British experimental filmmaker speaks with Lucy Peters on how he got Don DeLillo to let him adapt his one-act play ‘The Word for Snow’.

Interview

Robin Campillo

The French filmmaker speaks with Josh Slater-Williams on how he helped bring Laurent Cantet’s posthumous swansong, Enzo, to life.

Interview

Karim Aïnouz

Karim Aïnouz tells Katherine McLaughlin how disruption and provocation were key motives behind the decision to make Rosebush Pruning.

Interview

Sophy Romvari

The writer/director of Blue Heron tells Marina Ashioti how the nostalgic power of cinema can create poetic chronicles of the past.

Column

Home Ents

Arrow’s releases of Soylent Green and Wake in Fright, Indicator's release of Stavisky, Third Window's release of Scars of the Night and Blow the Night!, Radiance's release of Histoire(s) du Cinéma and Warm Water Under a Red Bridge, BFI's release of The Cars that Ate Paris, and 88 Films release of Ping-Pong.

Also in the issue...

Hannah Strong and David Jenkins report from the main competition and the sidebars at the 2026 Cannes Film Festival, Hannah Strong surveys a strong shorts showing at IndieLisboa, and Marina Ashioti writes in praise of queer masterpiece, Pink Narcissus.

In review

Olivia Wilde’s The Invite

Matt Johnson’s Nirvanna the Band the Show the Movie

Pete Ohs’ Erupcja

Anders Thomas Jensen’s The Last Viking

Ben Rivers’ Mare’s Nest

Oscar Boyson’s Our Hero, Balthazar

Marc Evans’ Effi O Blaenau

Robin Campillo’s Enzo

Imran Perretta’s Ish

Emma Hough Hobbs and Leela Varghese’s Lesbian Space Princess

Seán Dunn’s The Fall of Sir Douglas Weatherford

Tina Gharavi’s Virginia Woolf’s Night & Day

Francesco Sossai’s The Last One for the Road

Marc Issacs’ Synthetic Sincerity

Sarah Friedland’s Familiar Touch

Karim Aïnouz’s Rosebush Pruning

Rohan Kanawade’s Cactus Pears

Julien Schnabel’s In the Hand of Dante

Sophy Romvari’s Blue Heron

About the Magazine

Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies  and the talented people who make them. Combining cutting-edge design,  illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” 

Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. 

We believe in Truth & Movies.

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