John Leguizamo Says ICE Supporters Should “Don’t Watch My Movies” as “The Odyssey” Surges Toward $200M Domestic

Actor John Leguizamo, who is associated with Universal Pictures’ new release “The Odyssey,” told ICE supporters on social media not to watch his movies, saying, “don’t watch my movies” if they advocate for the actions of U.S. Immigration and Customs Enforcement. In the remarks reported by Deadline on July 24, Leguizamo also urged followers to disengage, writing, “If you follow ICE, unfollow […]”.

The statements came as “The Odyssey” continued its early run at the domestic box office, with Deadline reporting that the film was approaching 200 million dollars in domestic grosses after its first week. The article framed the comment as Leguizamo drawing a line for his audience and fandom, tying what viewers choose to watch to their stance toward ICE and its enforcement activities.

Deadline described Leguizamo as a Golden Globe nominee and located the exchange in the context of his own online presence, where he has used direct language in past moments. The outlet did not attribute the message to an official Universal campaign, and it was presented as the actor’s personal statement to specific groups rather than a formal studio policy.

The film’s public-facing performance matters for more than fandom, because major opening-week numbers can affect theater contracts, marketing momentum, and the visibility of a release across streaming and home entertainment windows. While the Deadline report focused on Leguizamo’s social media comments, it also linked them to a moment when the movie is drawing large audiences, making the actor’s demand more likely to be noticed by ticket buyers.

ICE is a U.S. Department of Homeland Security component responsible for enforcement and removal activities, and the actor’s message appears intended to connect viewing choices to opposition to those actions. Deadline’s report did not provide additional details on what specific ICE activities he referenced, nor did it describe any direct response from ICE officials or Universal executives to the comments.

For viewers, the immediate practical effect is informational and reputational rather than formal. There is no indication in the Deadline account that the statement changed release plans, distribution terms, or any legal status for the film. Still, the controversy raises a familiar question for entertainers at the center of public debate: how to separate personal advocacy from the commercial and community reach of mainstream releases.

The next developments that could clarify the scope of any fallout are whether Leguizamo, Universal, or ICE issues further comment. Because Deadline’s article emphasizes Leguizamo’s words rather than institutional action, any escalation would likely depend on additional statements, public clarifications, or responses from the studio or from government stakeholders. If no further information emerges, the episode would remain a snapshot of how political conflict and audience identity can surface around high-visibility entertainment.