audience

Tony Hawk, the skateboarding legend synonymous with daring tricks and modern skate culture, over the weekend faced an experience “WAY outside” his comfort zone: performing in a ballet.

The San Diego native and “Tony Hawk’s Pro Skater” namesake, 57, made his ballet debut Saturday skating on stage for Golden State Ballet’s production of “The Nutcracker.” During the one-of-a-kind showing at San Diego’s Civic Theatre, Hawk appeared in multiple scenes of the beloved holiday ballet, entertaining audiences with tricks while in costume.

“Sometimes you just have to say yes to things WAY outside your comfort zone, especially when your daughter thinks [it’s] funny,” he wrote Sunday in an Instagram post.

Golden State Ballet teased Hawk’s “Nutcracker” cameo on social media earlier this month, announcing, “he’s trying something completely new.”

“He’s supporting San Diego arts,” the original post read. “He’s making his daughter proud.”

“The Nutcracker” is a two-act ballet that follows a girl named Clara who receives a nutcracker doll for Christmas. When the toy magically comes to life, he defends Clara from the Mouse King and takes her on the journey of her dreams through the colorful land of sweets, where the Sugar Plum Fairy rules.

So how exactly does a pro skater fit in?

Hawk posted several photos and videos from his performance, including footage of his first cameo during the ballet’s opening number. The sports icon, donning a scarf and newsboy hat, disrupts the snowy scene outside of Clara’s home. He skates across the stage balancing on his board with both hands in the air as a police officer runs after him.

In the ballet’s second act, Hawk was not the only skater to take the stage. During the crowd-pleaser trepak, or Russian dance, Hawk and young skater Katelyn West joined a trio of dancers, launching themselves into the air off a quarter pipe. Like the dancers, both Hawk and West wore Russian-inspired fur hats, tunics and baggy red pants. The audience erupted in raucous applause.

Finally, Hawk and West rolled on stage for the show’s curtain call. Not too shabby, skater boy.

The holiday season is Hallmark’s Super Bowl.

This year alone, Hallmark has 80 hours of original holiday-themed programming, including two unscripted series, two scripted series, a holiday special and 24 movies with titles such as “The Snow Must Go On” and “Christmas at the Catnip Cafe” that run from mid-October to Christmas.

The company also has branched out into the experiences business with a Hallmark Christmas Cruise and the Hallmark Christmas Experience festival in Kansas City, Mo., where the company is based.

“I think that’s one of the most brilliant business decisions they’ve made, and they’re expanding there because they have to,” Anjali Bal, associate professor of marketing at Babson College, said of Hallmark’s experiences business. “It allows a connection between the consumer and the brand on a direct level in a way a movie can’t provide.”

It may seem like a far cry from Hallmark’s roots as a greeting card purveyor, but company executives say the holiday feelings evoked by its cards, ornaments and gift wrap translate into the type of content they produce.

And that plethora of content has turned Hallmark into a Christmas juggernaut, fueling competitors such as Lifetime and Netflix, which also produce holiday romantic comedies in the vein of Hallmark movies.

But Darren Abbott, Hallmark’s chief brand officer, doesn’t seem overly concerned.

“There’s a reason everyone else is trying to do this, and it’s because consumers are looking for this,” he said.

Hallmark’s legacy is rooted in celebrating holidays and Christmas, he said, “and no other business or brand has that.”

Countdown to Christmas

Founded in 1910 by an 18-year-old entrepreneur hawking postcards, Hallmark built its brand over the years through cards, holiday ornaments and retail stores.

The family-owned business ventured into entertainment in 1951 with the television presentation Hallmark Hall of Fame. Today, Studio City-based Hallmark Media operates three cable networks, including the Hallmark Channel, which debuted in 2001, as well as a subscription streaming service.

Though Hallmark had aired holiday movies practically since the inception of its cable channel, the company doubled down on the season in 2009, rolling out “Countdown to Christmas,” a 24-hour-a-day programming block focused solely on holiday content, a tradition that has lasted for 16 years.

Hallmark produces about 100 movies a year, both holiday and non-holiday films.

As a privately-held company, Hallmark did not disclose its finances, though executives acknowledge the holiday season is a key driver of entertainment revenue.

The expansion into entertainment is a way for Hallmark to stay in the zeitgeist over multiple generations and to diversify its business beyond just cards and retail products, analysts said.

“Their television stations and experiences business allows them to stay culturally relevant while staying true to their origin,” said Bal, the marketing professor.

Holiday programming — and the breezy, romantic fare Hallmark has become known for — has become increasingly popular with audiences.

Holiday features, both old movies and new, typically make up more than a third of total movie viewing time in December, according to U.S. television data from Nielsen. That percentage has remained fairly consistent for the last three years, though it reached 42% in December 2021.

Hallmark’s television viewership also edges up in the months leading into the holidays. In October, Hallmark commanded 1% of total viewership across linear TV and streaming, ticking up to 1.2% in November, according to Nielsen data. During that same time, competitor A&E, which owns Lifetime, remained constant at 0.9%.

Hallmark’s feel-good movies typically resonate with audiences across the country. They invariably conclude with happy endings (and at least one kiss), where romantic misunderstandings, financial difficulties and family drama all get resolved. After years of criticism, the movies’ casts and plot lines are diversifying, though experts say there is still room for improvement.

“These films are designed to be highly appealing to broad audiences,” said Kit Hughes, associate professor of film and media studies at Colorado State University, who watched every single Hallmark film released in 2022 for research on the portrayal of small business owners. “They’re good consensus movies.”

To grow its audience and the types of stories it tells, Hallmark has increasingly turned to brand partnerships, including with the NFL.

Last year, the company released a movie centered around a Kansas City Chiefs romance; this year, it released one about Buffalo Bills fans. Hallmark also has a partnership with Walt Disney Co. to release a holiday movie next year set at Walt Disney World. The film stars Lacey Chabert, who Abbott describes as Hallmark’s “Queen of Christmas.”

Meeting Hallmark stars on cruise ships

Hallmark’s foray into the cruise business might seem odd, but it follows a long tradition of entertainment companies
creating real-world experiences with their fans, whether that’s on a ship, in a theme park or on a stage. As part of its massive tourism business, Disney operates its own line of cruise ships that promote the company’s classic characters.

Hallmark launched its first “Hallmark Christmas Cruise” last year on Norwegian Cruise Lines. The inaugural cruise from Miami to the Bahamas sold out even before a planned TV marketing campaign. After racking up a wait list of 70,000 people, Hallmark had to add a second cruise, Abbott said.

For this year’s cruise, from Miami to Cozumel, Mexico, Hallmark had to book a bigger ship to accommodate demand. During the November cruise, attendees participated in various Christmas festivities, such as ornament-making workshops and cookie-decorating, and mingled with Hallmark stars in various on-stage games.

The cruises even spawned an unscripted Hallmark show focused on the experiences of several attendees and their interactions with Hallmark actors.

Many are not exactly household names, but they’ve starred in dozens of Hallmark holiday movies over the years and have loyal fan bases.

Abbott joined the cruise last year, and while he’s not a “cruise person,” he said he was fascinated to see how guests interacted with the stars.

“We’re a bit of a respite from what’s going on in the world right now,” he said, “and these experiences sort of hit on that at the right time and the right place.”

KYIV, Ukraine — Before the war, Ukraine’s own “Dancing with the Stars” was a cherished and popular television show, dazzling the audiences with performances by celebrities and professional dancers. The show is now back on for one special episode — this time with Ukrainian wartime heroes as the stars, underscoring the nation’s resilience in difficult times.

Many still remember how President Volodymyr Zelensky — then an actor — won the dance competition in 2006, the year that “Tantsi z zirkamy” as the show is known in Ukrainian, first debuted.

In the new, special episode, the dancers perform with prosthetic limbs, showcasing their strength in overcoming adversity. The lineup of participants includes public figures who rose to prominence since Russia’s full-out war on Ukraine was launched in February 2022.

But like all of present-day Ukraine, the show — which is part of an international franchise — has had to deal with a multitude of wartime challenges, including frequent power outages.

All the proceeds will go to the Superhumans Center, a specialist clinic for the treatment and rehabilitation of war-wounded victims.

A new reality

During a prerecording last week, dancers spun, leapt and glided under the sparkle of lights, some seamlessly integrating their prosthetic limbs into the choreography.

For creative producer Volodymyr Zavadiuk, every segment of the show is precious, creating something special during tough times.

“It’s about our resilience and it’s about our future,” said Zavadiuk, who also heads Big Brave Events and the Big Entertainment Shows department at 1+1 Media.

Among the performers was Ruslana Danilkina, a war veteran who lost her leg in combat in 2022 and is now renowned in Ukraine for dedicating herself to helping injured troops adapt to life with prosthetics.

She delivered a passionate performance centered on reclaiming her womanhood following the traumatic injury.

Also back in the show is beloved dancer Dmytro Dikusar, this time as a competition judge. He juggled filming and serving with his platoon on the front lines.

Ukrainian rock musician Yevhen Halych sat in the makeup chair ahead of his number, reflecting on his own determination to bring back the show.

“We are filming this project in a country where there is a war. … We have power cuts, we may have an air alert, it could be bombing,” he said. “What do I feel? I feel a genuine desire to live a full life, no matter what happens.”

Wartime challenges

Producing the show’s special episode has been no easy feat in time of war. A live broadcast was impossible — a Russian attack can happen at any time. Then there were the technical obstacles: during last week’s recording, a key generator malfunctioned.

When the show airs on Sunday, audiences will vote for their favorite.

Danilkina, who was only 18 years old when she lost her leg and who today works at the Superhumans Center, enthralled everyone with her passionate performance, her prosthetic limb artfully integrated into her routine.

“Our dance number is about life. It’s about accepting love,” she told The Associated Press after her performance. “Because in reality, when your body is wounded, it’s very difficult to love yourself. And allowing someone else to love you is even harder.”

Her injury was not the end of her life, she said, and now she wants to show “thousands of wounded boys and girls who are starting their lives over again” that it’s not the end of theirs.

For veteran Ivan Voinov and his wife of three months, Solomiia, the show was more than just a dance performance: it was the second time they had danced together since his injury, the first time was at their wedding.

Solomiia Voinov smiled shyly, recounting how she had long tried to persuade Ivan that they should dance until he gave in.

“We don’t take our eyes off each other while dancing, and it’s a great connection,” she said. “I’m happy.”

Voinov said he was already planning their next dance — a bachata, a fast-paced, hip-swaying style of dance that originated in the Dominican Republic.

“We will be able to continue dancing,” he said. “It means that there is a future.”

Kullab and Stepanenko write for the Associated Press. AP videographer Alex Babenko in Kyiv, Ukraine, contributed to this report.

Imax is having a moment. More than 50 years after debuting at the 1970 Osaka world’s fair with the 17-minute experimental film “Tiger Child,” the format has become the ascendant king of spectacle. Today, Imax counts 1,829 screens in 89 countries — just 1% of theaters — yet makes up an increasingly vital part of the theatrical box office, with 50% market share growth since 2018 and an estimated $1.2-billion take in 2025. And the company shows no signs of slowing down.

“As long as there are filmmakers who are fans as well as studios who are fans, we’re going to make a difference,” says Chief Executive Richard Gelfond, who acquired the company in 1994 with business partner Bradley Wechsler.

Breaking into mainstream Hollywood didn’t come easy. For decades Imax films were largely documentaries, often about space exploration, nature or discoveries, with systems installed in museums and science centers. The flash point came in 2008 with Christopher Nolan’s “The Dark Knight,” which featured 28 minutes filmed with Imax 70mm cameras. Film buff and industry content creator Lizzy Gonzalez vividly remembers when the Joker (Heath Ledger) unmasks himself during the chaotic bank heist. “It was my earliest Imax experience, and my jaw dropped in awe,” she says. Ever since, she’s been hooked, admitting the premium format is “the only legit movie experience that immerses you in the story.”

Directors are now leaning in, with the “Filmed for Imax” (FFI) lineup expanding to 14 titles in 2025 — doubling last year’s total. The program lets filmmakers shoot with Imax cameras or other approved cameras and provides additional production support, such as a longer window with the equipment and more publicity during release. “In previous years, Imax used to do about 10% of the box office in North America, but [with] FFI movies we’ve averaged about 15%. It means more dollars to whoever makes them and more profit to the studio,” says Gelfond.

Regina Hall in “One Battle After Another.”

(Warner Bros. Pictures)

Not all movies exhibited in Imax formats are shot under the FFI banner — indeed, from James Cameron’s original “Avatar” to Paul Thomas Anderson’s “One Battle After Another,” the majority of Imax releases are instead enhanced using digital media remastering. But movies that take advantage of FFI, including “Sinners,” “Superman” and “F1,” are seeing box-office benefits and a palpable moviegoing experience.

“Today’s audiences are searching for an emotional connection; they want to feel something, to step inside the filmmaker’s vision. That’s exactly what we wanted to give them by shooting in 65mm Imax,” says “Sinners” cinematographer Autumn Durald Arkapaw, who was the first woman to shoot in the format. “When you sit in a dark theater and take in a full 1.43:1, 15-perf Imax image, it fills your field of view, and you finally understand what cinema can be.”

Claudio Miranda, the cinematographer behind Joseph Kosinski’s “Top Gun: Maverick” and “F1,” agrees. “For me, Imax is all about immersion. It brings audiences more into the movie than any other format, surrounding them from the north, south, east and west with the film, which is needed for a story of the size and scope of ‘F1.’ Joe and I operate under the shared understanding that audiences react more viscerally to a film that’s been shot authentically, and they can feel it in their bones if it’s not. So we gravitate towards telling immersive, human stories.”

Imax is improving technical capabilities too, including a new Imax 70mm film camera system nicknamed “The Keighley” in honor of late Chief Quality Officer David Keighley, who oversaw hundreds of Imax projects. Its most significant improvement is reduced noise. The previous model was bulky, heavy and notoriously loud. Thanks to the quieter design, Nolan’s “The Odyssey” will become the first theatrical movie shot entirely on Imax film cameras, something he couldn’t achieve on “Oppenheimer” due to sound issues.

“Brad Pitt” in “F1.”

(Warner Bros. Pictures)

Nolan’s adaptation of Homer’s epic has already caused a stir, as most Imax tickets sold out a year before its release next July. Imax superfan Shane Short, who saw “Oppenheimer” 132 times and once sat next to Arkapaw during a screening of “Sinners,” says it’s a good thing. “What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.”

Of course, Imax is not the only big-screen game in town. There’s AMC Prime, Cinemark XD, Regal RPX, Dolby Cinema, Real3D and 4DX, to name a few. All share one thing in common: an extra premium for a ticket. “The upcharges for a lot of people are worth it,” says Comscore senior media analyst Paul Dergarabedian. “When you go into Imax or other premium formats, it’s really about the sound and vision coming together. And for the right movie, the right screen, fans who don’t go to the movies every day are going to splurge.”

How much that will cost audiences going forward is left up to theaters. “By way of our agreement, it’s not our place to get involved,” says Gelfond about pricing. “We believe there could be more elasticity if it’s a big release, but again, it’s up to the exhibitor.” Any indication of a price squeeze on consumers will likely surface in the next two years with the forthcoming “Project Hail Mary,” “Supergirl,” “The Batman: Part Two” and “Dune: Part Three,” for which director Denis Villeneuve shot scenes using the new Imax 70mm cameras.

Our guess? Start saving now.

Advertising on streaming services is a big new growth business for marketing and media companies, but consumers are increasingly frustrated by what they see and hear on their screens.

Ads might be too loud, of poor quality or irrelevant, and repeat too often. Sometimes, there’s an ad in a foreign language or a blank screen. As more streaming services launch ad-supported plans, viewers are experiencing these issues in greater numbers, which could come at a cost to the media companies.

“It can lead to them losing subscribers,” said Ruben Schreurs, chief executive officer of Ebiquity Plc, a London-based consultancy that says 75 of the world’s top 100 advertisers are clients.

Better, more-relevant advertising has been one of the recurring mantras of the connected-TV world. As online platforms gathered more data on their users, they were supposed to provide sponsors with targeted opportunities. Consumers would see spots for products they were more likely to want. Instead, those advances have become the source of viewer frustration.

National ad spending on streaming is expected to climb 13% to $12.3 billion this year, while such spots on traditional TV networks fall 4.9% to $33.8 billion, researcher Magna Global estimated in June. Streaming now reaches 96% of U.S. households, according to another researcher, Kantar Group & Affiliates, making the services a big opportunity for advertisers.

“We’ve seen more budget and spend move over,” said Joe Nowak, senior vice president of growth and strategy at Kantar.

Walt Disney Co. and Netflix Inc. have launched advertising-supported plans for their streaming services. At Netflix, ad-supported plans account for more than half of new subscriptions in markets where those plans are offered. They are usually offered at a discount. Disney+ with commercials is $12 a month, for example, while the ad-free version is $19.

Streaming offers advertisers distinct advantages over other media, according to Nowak, including interactive capabilities. On Amazon.com Inc.’s Prime Video service viewers can click into ads to buy the products shown.

In theory, advertisers can also target consumers more closely on streaming services. In traditional TV, all viewers typically see the same ads during a given broadcast. With streaming, commercials can become more personalized through a process called “dynamic ad insertion.” Audiences see commercials tailored to attributes like their location or viewing history.

It’s also easier and cheaper for advertisers, including smaller ones, to purchase streaming spots than it is on broadcast or cable.

Streaming ads are typically sold in online auctions, where spots for shows, sporting events and movies go to the highest bidder. That’s led to “democratization of access,” according to Ebiquity’s Schreurs.

“Instead of actual salespeople from the network negotiating directly with media agencies for big activations, big deals for well-known brands where they can vet the creatives, the process has become real-time,” he said.

Without that vetting, streaming platforms have less control over the ads that appear on their platforms. The smaller brands winning auctions may not have the same resources to produce high-quality commercials, according to Sean Muller, chief executive officer of the ad measurement platform iSpotTV Inc. These businesses sometimes rely on artificial intelligence to produce their ads, he said.

“You absolutely get a lot of that, and they do tend to be lower-quality,” Muller said.

Another common issue centers on ad frequency. With brands able to snap up ad blocks at auction, they sometimes get overzealous, feeding viewers the same spot over and over in a single show.

That’s particularly frustrating for streaming viewers, who are “more of a captive audience” than traditional TV audiences, who can easily change channels.

“Switching apps is a little bit of a pain in the butt,” Muller said.

And unlike the old days when consumers recorded programs to watch later, in the streaming era you can’t skip the commercials.

While streaming ads can pinpoint audiences based on their ZIP code, they sometimes miss wildly. For instance, viewers in a neighborhood with a large Latino audience may get an ad in Spanish even while watching a show in English.

“If it was done the right way, it would be running in Spanish-language content,” said Jim Wilson, CEO of Madhive, an ad platform designed for local advertisers.

There are other problems with streaming ads that seldom pop up on regular TV. For example, a blank screen sometimes appears during commercial breaks.

“They’re either not sold out on their inventory or there’s some sort of technical issue,” Wilson said.

But perhaps the biggest annoyance for streaming viewers happens when ads are ear-splittingly loud — a problem that used to crop up on conventional TV. That happens when streaming services fail to “normalize” the volume on ads before they are inserted.

In October, California passed a law requiring the services to keep the sound level of ads the same as the programming they accompany. It was inspired, according to state Sen. Tom Umberg (D-Orange), by one of his staffers whose sleeping baby was awakened by a loud streaming ad.

“This is a quality-of-life issue,” he said in an interview.

The legislation, which takes effect on July 1, 2026, could inspire changes on a national level and is one of the most well-known bills he’s worked on.

“This struck a chord with anyone who watches any entertainment on a streaming service,” Umberg said.

Miller and Palmeri write for Bloomberg.

Director Paul Feig has proved himself to be the preeminent purveyor of the finest high-camp trash one can find at the movie theater these days — and that’s a compliment. If he’s serving up the trash, then call me a raccoon, because I’m ready to dive in.

Feig’s special sauce when it comes to these soapy, female-driven thrillers like “A Simple Favor” and now “The Housemaid,” adapted by Rebecca Sonnenshine from a “BookTok” sensation by Freida McFadden, is clearly his comedy background. The filmmaker understands exactly the tone to deploy here; you can feel his knowing winks and nudges to the audience with every loaded glance, stray graze or wandering camera movement. It’s as if he’s saying to us and all the tipsy ladies in the audience: Check this out — LOL, right? LOL indeed, Mr. Feig.

“The Housemaid” is an erotic crime thriller that deploys silly sexual stereotypes and fantasies like the naughty maid and then flips them on their head. In the opening scene, the drably dressed, bespectacled Millie (Sydney Sweeney) interviews for a live-in maid position with the warm and friendly wife and mother Nina Winchester (Amanda Seyfried) in her gorgeously appointed Long Island mansion designed by her wealthy husband, Andrew (Brandon Sklenar of “Drop”).

But all is not what it seems, for applicant and employer. Both are hiding dark secrets but Nina hires Millie nevertheless. Millie, without any other options, gratefully accepts.

When Millie moves into the maid’s quarters in the attic, she discovers that the Winchester home isn’t as picture-perfect as it seemed. Little things are off: She can’t open her window, the groundskeeper, Enzo (Michele Morrone), glowers at her constantly, items go missing and CeCe (Indiana Elle), Nina’s daughter, is exceedingly cold.

Then there are the big things that are off, like Nina’s wild mood swings and the vicious gossip about her mental health among the other Stepford wives of the area. Millie realizes she’s in over her head with Mrs. Winchester, but her saving grace is the warm and handsome Mr. Winchester. Is that where this is going? Of course it is, we all groan together, happily.

“The Housemaid” is like “Gaslight” meets “Jane Eyre,” with a dash of “Rebecca,” and all the various roles are lightly scrambled, infused with a much sexier, nastier streak than any of those mannered mindbenders. Feig stylishly waltzes us through this steamy, twisty mystery with ease, but not necessarily sophistication — this is the kind of frothy entertainment that you can still enjoyably comprehend after a glass or two (which in fact might enhance the experience).

But it doesn’t fly without an actor of Seyfried’s caliber, who can summon unpredictable mayhem from her fingertips. Nor would it function without Sweeney, who works best in a register somewhere between ditzy blond and tough little scrapper. Both actors exude an element of the unhinged that simmers right below the doe-eyed blond surface and we know we should be a little (or a lot) afraid of these women. The film also doesn’t make sense without a heartthrob like Sklenar, since we need to fall in lust with his gorgeous exterior and intoxicatingly cuddly aura for this all to eventually make sense.

There’s not much more to say without giving it all away, so prepare to titter, gasp, scream and cheer for this juicy slice of indulgent women’s entertainment. Go on, you deserve a little treat this holiday season.

Katie Walsh is a Tribune News Service film critic.

CBS News is moving forward with a series of town hall and debate telecasts with a major advertiser backing them, the first major initiative under editor-in-chief Bari Weiss.

The news division announced Thursday it will have a series of one hour single issue programs under the title “Things That Matter” done in collaboration with the digital platform the Free Press.

CBS News parent Paramount acquired the Free Press which was co-founded by Weiss, in September.

Bank of America will be a major sponsor of the series.

The town hall participants include Vice President JD Vance, who will discuss the state of the country and the future of the Republican Party, OpenAI Chief Executive Sam Altman on artificial intelligence and Maryland Gov. Wes Moore on the future of the Democratic Party.

The debate subjects include “Should Gen Z Believe in the American Dream?,” “Does America Need God? and “Has Feminism Failed Women?” The debaters include journalist Liz Plank, New York Times opinion writer Ross Douthat, and Isabel Brown, a representative for the right-wing organization Turning Point USA.

No dates have been set, but the programs will air in the current 2025-26 TV season which ends in May.

CBS tested the town hall format Saturday with a telecast that featured Weiss sitting down with Erika Kirk, the widow of slain right-wing activist Charlie Kirk. The program taped in front of an invited audience and averaged 1.9 million viewers according to Nielsen data, on par with what CBS entertainment programming has delivered in the 8 p.m. hour in the current TV season.

The town hall format where a news subject takes questions from audience members has long been a staple of cable news channels. Broadcast networks have typically only used it with presidential candidates.

“Things That Matter” is less of a play for ratings than a symbol of the new vision for CBS News under Weiss.

“We believe that the vast majority of Americans crave honest conversation and civil, passionate debate,” Weiss said in a statement. “This series is for them. In a moment in which people believe that truth is whatever they are served on their social media feed, we can think of nothing more important than insisting that the only way to get to the truth is by speaking to one another.”

Weiss hosted the town hall with Kirk. CBS News has not announced the on-air talent for the “Things That Matter” series.

Weiss was recruited by Paramount Chief Executive David Ellison to pull the news division towards the political center where he believes most of the country stands.

The Free Press gained popularity for its criticism of DEI, so-called woke policies, and strong support of Israel. The site is often described as “heterodox” and has been critical of numerous actions of the Trump administration. But its biggest fans tend to be in the business community who disdain high taxes and big government.