Can Ryan Kavanaugh and Partners Save Hollywood Again?

Nobody in Hollywood will say it on the record, but everyone knows: the system is broken. Studios have retreated into franchise bunkers, greenlighting only sequels, prequels, and IP extensions with built-in audiences.

The streamers, who were supposed to be the cavalry, have pivoted hard from growth to profitability — which in practice means fewer shows, smaller orders, and a near-total unwillingness to bet on anything that doesn’t come pre-loaded with data-validated demand. Original storytelling, the kind that built this industry, has been priced out of the conversation.

The numbers are ugly. Hollywood’s share of qualified film and television projects fell from 23 percent in 2021 to 18 percent just two years later. Entertainment industry layoffs topped 17,000 in 2025 alone. Filming activity in Los Angeles cratered — down 40 percent from 2022 levels before dropping another 13 percent last summer. David Simon, one of the most respected showrunners alive, told an interviewer that he hasn’t had a greenlight in two years. David Chase said the same thing, warning that the business is devolving back to the pre-golden-age network model where executives prioritize financial safety over ambition.

And the foreign sales market, once the financial oxygen that kept mid-budget films alive, has tightened considerably. International buyers want proven IP. They want franchise value. They don’t want to write seven-figure checks for an original thriller from a first-time director, no matter how good the script is. The economic architecture that used to make a $40 million original film pencil out — presales covering a chunk of the budget, domestic theatrical providing upside, home video and international filling in the gaps — barely exists anymore.

So what happens next? Does Hollywood just keep cranking out franchise entries until audiences stop showing up entirely? Or does a computer take away everyones jobs and turn content like a tuna can factory? Perhaps AI has not been given a fair chance to be the savior, not the terminator for media companies and personel.

Enter Acme AI & FX. Never heard of them? That’s by design. For almost two years now they have quietly been building. No web site, no PR just building. Building what they call the ethical, talent friendly AI Studio.

Acme is not another AI startup promising to replace human creativity with algorithms. It’s closer to the opposite — a production infrastructure company that uses proprietary AI technology to make the physical act of filmmaking radically cheaper and faster while keeping every human job intact. Their approach centers on performance capture shot entirely on Acme’s proprietary grey stage. Actors perform. Directors direct. Writers write. Department heads run their departments. What Acme eliminates is the staggering cost of everything else: location shoots, set construction, travel, permits, the logistical sprawl that eats 20 to 30 percent of a typical feature budget before a single frame of story gets captured.

The technology generates 100 percent photorealistic environments. Not “pretty good for AI” — photorealistic. Every exterior, interior, cityscape, and landscape that would normally require a location scout, a construction crew, and a travel budget is instead built digitally at a quality level that holds up on a 60-foot screen. The performances remain entirely actor-driven. This is not deepfake territory. Nobody is being digitally puppeteered. The actors act. The AI handles the world around them.

One source who spent time at Acme’s London facility — but declined to go on the record due to NDA obligations — described what they witnessed there. “You’ve got to see it. It’s unbelievable,” the source said. “Over a one-week period, I watched at least numerous studio heads and the like come through. Most of them clearly showed up ready to shut down the concept of shooting in AI on the spot, and every single one of them left saying some version of ‘how quickly can we start.’ They have a pre-production AI tech that is something this industry has been dreaming of. I know I’m repeating myself, but it’s unbelievable.”

The economics are striking. Acme can deliver a film at roughly 20 percent of traditional below-the-line cost while cutting shoot schedules by 60 to 70 percent. Think about what that means for the greenlight problem. A $50 million film that studios won’t touch because the downside risk is too steep? At Acme’s cost structure, you’re making substantially the same movie for a fraction of the price. Suddenly the risk-reward math works again — not just for franchise plays, but for original stories, character-driven dramas, ambitious genre films, the entire category of movies that Hollywood has abandoned because the production economics stopped making sense. It sounds too good to be true. And in Hollywood usually when it is too good to be true it isnt true. In this case, however, we were able to visit them during their last production, Bitcoin: Killing Satoshi and saw it all come to life.

Garret Grant, who joined ACME as a partner, said  “When I was first approached about joining ACME was expecting to lose my job to an ai producer.  That’s not what’s happening here. My entire department is intact. My crew is working. The difference is I’m not spending three weeks in prep dealing with location permits and weather covers and travel logistics. We’re just making the movie. I’ve been doing this for 25 years and I’ve never had a shoot move this fast without something falling apart.”

Acme has already built studios in London and has broken ground in Spain , with plans to open facilities in New York and has a mini studio in Los Angeles. Their flagship production, Killing Satoshi, is nearing the finish line — a $70 million conspiracy thriller directed by Doug Liman (The Bourne Identity, Edge of Tomorrow) and starring Casey Affleck and Pete Davidson, Gal Gadot and Isla Fischer,  almost done with production. The film was shot entirely on Acme’s grey stage with all AI-generated environments, in partnership with 30 Ninja’s. It tracks the mystery of Satoshi Nakamoto, the anonymous inventor of Bitcoin who allegedly still controls a wallet worth tens of billions, and the powerful forces working to ensure that identity stays hidden. Nick Schenk, who wrote Gran Torino for Clint Eastwood, penned the original screenplay. It’s exactly the kind of high-concept, original, non-franchise film that the traditional studio system won’t make anymore. Acme made it.

And the pipeline is already filling up behind it. The trailer for Stop That Train, a new  Adam Shankman movie, just dropped — with Acme serving as the VFX/AI partner on the project. The company is very firm about not announcing their projects, but letting the directors or studios lead that. All told, the company has over 15 projects ( films and television) in various stages of pre-production and production, plus advertising work. This isn’t a proof-of-concept experiment. It’s a production operation scaling in real time, with finished product to show for it.

A senior executive at one of the major talent agencies, speaking on background, framed Acme’s emergence in market terms. “The foreign sales conversation has gotten brutal. Buyers want IP, they want franchise, they want safety. But when you can show them a film with a real director and real cast at this budget level, the risk profile changes completely. I’ve already had two distributors ask me what else Acme has coming. That never happens with a company this new.”

The leadership group behind Acme — Ryan Kavanaugh, Garrett Grant, Lawrence Grey, and Matthew Kavanaugh — brings a combination of Hollywood production pedigree and financial engineering experience that is genuinely rare. Kavanaugh in particular has spent his career arriving at the intersection of crisis and innovation, usually with a structural solution that the rest of the industry eventually adopts wholesale.

The elephant in the room. Ryan Kavanaugh’s Realtivity Media, a company, he founded and built into the largest mini-major studio, underwent a hostile takeover in 2015 which led to Kavanaugh putting it into a chapter 11, and, after a two year battle, buying it back out of chapter 11.  In that process he became Hollywood’s favorite whipping boy. Article after article with salacious headlines that seemed to point to Kavanaugh having done something wrong, some kind of giant scandal. The biggest “scamndal”was a fraud lawsuit brought by one of the hedge funds called RKA. It was front page everywhere. What wasn’t front page and still is left as a footnote, that RKA lost the case in a Motion to Dismiss. That means a judge found that they did not even have the basic elements to have brought the case in the first place, let alone have it adjudicated. Thats the story, nothing less nothing more. But the only thing hollywod likes more than a star is a falling star. Now onto why him?

Consider the track record. In the mid-2000s, when studios were cash-starved and struggling to finance their own slates, Kavanaugh introduced slate financing — a model that bundled groups of films to spread investment risk across portfolios rather than individual bets. That model channeled more than $25 billion into Hollywood through deals with Warner Brothers, Universal, Sony, and Lionsgate. He pioneered the finance structure for post-bankruptcy Marvel that allowed it to become an independent studio, creating the architecture that led directly to the Marvel Cinematic Universe — the single most valuable entertainment franchise in history. In 2010, he brokered the first-of-its-kind deal with Netflix that effectively created the Subscription Video on Demand window, a move that boosted Netflix’s market cap from $2 billion to $10 billion and laid the groundwork for the streaming revolution. He was also among the first to recognize that film IP could be systematically repurposed for television, a strategy that is now standard industry practice. In 2014 he gave the Keynote at MIPCOM, where he spent an hour explaining how movies, his movies made the best pilots for TV shows-their underlying IP. It was met with much skepticism, however Kavanaugh had one thing the most successful and longest running show in MTV’s history Catfish, based off of a movie he was involved with Catfish.

Every one of those moves happened at a moment when the conventional wisdom said the industry was stuck. Every one of them restructured the underlying economics in a way that unlocked a new wave of production. The pattern is hard to ignore.

What Kavanaugh and his partners are doing with Acme follows the same logic: identify the structural bottleneck choking the industry, then build the infrastructure to eliminate it. Right now, the bottleneck isn’t capital — Netflix alone is spending $18 billion a year on content. The bottleneck is production cost. It’s the fact that making a film still requires an industrial-era apparatus of physical construction, global logistics, and time-intensive shoots that push budgets past the point where anything but a guaranteed franchise hit makes financial sense. Acme’s technology collapses that cost structure without collapsing the workforce. Actors keep their jobs. Department heads keep their jobs. Directors keep their creative authority. What goes away is the waste.

Hollywood has been waiting for someone to solve this equation — to figure out how AI can lower costs without gutting the creative workforce that makes the product worth watching. The industry’s greatest fear about artificial intelligence has never really been about the technology itself. It’s been about who would wield it and what they’d prioritize. A technology company with no production experience optimizing for efficiency above all else is a terrifying prospect. A production company with decades of filmmaking experience using AI to restore economic viability to original storytelling is something else entirely.

A Director on one of their current projects who spoke to us on background gave the following quite: “I’ve spent the last two years getting told no. Not because the scripts aren’t good — because the budgets don’t work. If these guys can actually deliver what they showed me, and everything I’ve seen says they can, this is the first real reason to be optimistic about this business that I’ve had since before the strikes.”

Acme AI & FX, with Killing Satoshi nearly complete, Stop That Train freshly unveiled, and a full slate ramping up behind them, is making the case that the answer to Hollywood’s crisis was never about choosing between human creativity and technological capability. It was about building a company that refuses to sacrifice one for the other. Ryan Kavanaugh, Garrett Grant, Lawrence Grey, and Matthew Kavanaugh appear to be betting their reputations on exactly that proposition.

Given Kavanaugh’s history of being right about these things before anyone else catches on, the rest of Hollywood might want to pay attention.