Bright

A TEENAGER has been shot and killed in a tragic accident while squirrel hunting.

Carson Ryan, 17, was on a hunting trip when he was shot by a fellow hunter in Iowa on Saturday.

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The Washington teen was “mistaken for a squirrel by a member of his hunting party”, according to the Iowa Department of Natural Resources.

“[He was] struck in the back of the head”, a spokesperson said.

“Carson was transported to UI Health Care Medical Center, where he later died from his injuries,” the spokesperson added.

An investigation into the incident is ongoing.

Carson was in his final year at Washington High School and a player on the varsity football team.

In a tribute Facebook post, the Washington Boy’s Track and Field team said their “hearts are broken”.

“[We] ask you to keep Carson’s mom, family, classmates and teammates in your hearts as we navigate the devastating loss of Carson,” the post read.

A vigil was held for Carson on Saturday evening, hosted by the secondary school to honour their former pupil.

Assistant football coach Nic Williams said: “Carson was a fierce competitor in everything he did”.

“He loved fishing. He loved being with his friends. But more importantly, Carson was a person of incredible faith,” he said.

The heart breaking accident has added fuel to the fire of the ongoing debate surrounding gun laws and young people in the US.

Carson’s shock death comes as the New York Police Department revealed that a 13-year-old boy had been declared brain dead after being shot in the head on his way to school.

Just last week a mass shooting at a church in Michigan also claimed four lives and left eight survivors injured.

The gunman, Thomas Jacob Sanford, 40, ploughed his car into the church before unleashing gunfire on worshippers inside.

In replacing Emma Hayes at Chelsea last summer, Sonia Bompastor perhaps faced the toughest task in women’s football.

But you wouldn’t have guessed this after a season in which the Blues won the WSL, FA Cup and League Cup, and lost in the Women’s Champions League semi-finals to Barcelona.

Despite only being under the guidance of the Frenchwoman for a year, Bright has built a relationship with Bompastor similar to what she had with Hayes, who left the Blues to take charge of the United States women’s national team.

“To be able to experience that and have that relationship with two separate managers is really special,” added Bright.

“To still feel you have that open-door policy, I could go to her for anything, and she has been amazing throughout the summer as well.

“I know if I needed her, I could go to her. You feel really lucky to have that.”

Bright said it was “really refreshing” to return to Chelsea training and is now raring to go for the new campaign.

“I was eager to get back on the pitch and finally be pain free with my knee and it not blow up after every session and I am actually able to walk down stairs after a tough day,” she added.

“I don’t feel like I ever lost the buzz, but I was so drained that I was so ready for a break. But now I am so ready for the first game and get back out there.”

Having won the last six WSL titles and claimed the two cup competitions last season, Chelsea are the dominant force in women’s football.

Before their season opener at Stamford Bridge against Manchester City on Friday, 5 September, Bright said her side will not rest on their laurels, especially having missed out on a coveted first Champions League.

“You can’t stand still,” she added. “You have to look at every factor of the game, what we do and the Chelsea model.

“We achieved a lot, but we didn’t achieve one thing that we really want. We want to do it all again. We don’t just want that, we want everything. We want to be even better.

“Every other team has grown and is getting even stronger and every team is going to want to win like us.

“It’s scary that we are going to another level, but that is the exciting part.”

If you have been affected by any of the issues raised in this story, information and support can be found at the BBC’s Action Line.

https://www.bbc.co.uk/actionline

Toni Gray’s phone is blowing up these days.

The head of production at Dhar Mann Studios, which makes shows for YouTube and other online platforms, said entertainment industry friends in Los Angeles had once held out before seeking work in the digital realm.

But now, with jobs few and far between at the legacy studios, they are reaching out “all the time” looking for opportunities at the Burbank-based studio, known for posting family-friendly dramas addressing topics like bullying.

Seeing some of her peers now flock to be a part of production companies built for distribution on YouTube and other online platforms is exciting for Gray, who worked in traditional television for more than a decade and joined Dhar Mann Studios in February.

“It’s giving people hope that they can get back to work again,” she said. “And it’s not just monetary hope for their house and their kids. It actually is giving their own being life again to bring their creative element.”

Pave Studios founder Max Cutler.

(Christina House / Los Angeles Times)

In Hollywood’s TV and film industries, droves of workers are competing for jobs at a time when many companies are consolidating and laying off hundreds of people at a time. But one segment of the entertainment industry has emerged as a bright spot — the economy made up of people creating video for YouTube and social media.

That part of the industry, once dominated by amateurs making funny viral videos with smartphones has blossomed into a formidable entertainment force, where video creators are setting up real businesses with large studios in Southern California funded through advertising by major brands.

Dhar Mann Studios plans to add 15 positions to its staff of about 75 full-time employees. In Sherman Oaks, Pave Studios, which produces wellness- and true-crime-related shows, is adding 16 full-time workers to its staff of 67 contractors and employees.

Nationwide, there were more than 490,000 jobs supported by YouTube’s creative ecosystem last year, according to the Google-owned video platform, citing data from Oxford Economics. That’s roughly 60,000 more jobs than in 2023, YouTube said.

“It’s beginning to mature into creators really building businesses,” said Thomas Kim, YouTube’s director of product management for creator monetization. “We see more and more of that, and that also means that the number of employees and help that they need to sustain their business has grown over time.”

Sean Atkins, chief executive of Dhar Mann Studios, called it a big growth opportunity in the market. YouTube is a major player in streaming, representing 12.5% of U.S. TV viewing in May, according to Nielsen, more than streaming services including Netflix and Amazon Prime Video.

“Everything is so new and nascent,” said Atkins, a former president at MTV. “I imagine, particularly when you walk around our studio … that this is what it looked like in the ‘20s when MGM and Disney and Warner [Bros.] were [founded]. Just this enthusiastic chaos where everyone’s trying to figure out what this environment is.”

The growth in Southern California influencer businesses is a boon to the local production economy that is otherwise struggling. L.A. County saw a 27% decline to 108,564 employees from 2022 to 2024 in the motion picture and sound recording industries, according to data from the U.S. Bureau of Labor Statistics.

Many Hollywood workers have struggled to find roles, as studios cut down on their programming after the 2023 actor and writer strikes and after overspending during the streaming wars. For years, productions have fled the area to take advantage of lucrative financial incentives out of state and abroad. Production in L.A. County also took a hit following devastating wildfires in January.

Meanwhile, the amount of employment in the creator economy is trending up, according to the Los Angeles County Economic Development Corp. Total workers in the L.A. County creator economy, composed of businesses such as media streaming distribution services and social networks, as well as independent artists, writers and performers, increased 5% to 70,012 from 2022 to 2024, LAEDC said. Companies in the creator economy space also increased 5% to 46,425 businesses during the same time period, according to LAEDC.

The bleak job market has caused more people who have worked in traditional studio and TV networks to apply for jobs at digital media companies that produce content for platforms such as YouTube or work with influencers who are growing their staffs.

The migration reflects changing realities in the business. Consumers’ habits have shifted, where more people are watching YouTube on TV screens these days instead of on smartphones in the U.S., eating into territory held by broadcast and cable television. Video creators have adapted, building production teams and expanding into podcasts, merchandise and sometimes scoring streaming deals.

For example, one of YouTube’s top creators, Jimmy Donaldson, known as MrBeast, has a reality competition show on Amazon Prime Video, sells products such as Feastables chocolates and has brand partnerships and sponsorships. His North Carolina holding company, Beast Industries, employs more than 500 people.

Kyle Hjelmeseth, chief executive of talent representation firm G&B Digital Management, said he is receiving more calls from people coming with traditional media backgrounds seeking collaborations with influencers.

“Five years ago, it would have been very different,” he said. “Anytime that somebody from Hollywood or the entertainment complex talked about creators, it was with such a different lens … a little bit like nose in the air.”

His company, which has 25 contractors, part-time and full time employees, added four people last month with plans to hire more.

“All the pressures of what’s happening in Hollywood and the growth of the creator economy [are] crashing into each other in this moment, and that’s why we’re having a conversation about jobs, because there’s such a shift in the energy, and we’re certainly feeling it,” he said.

Morgan Absher, left, and Kaelyn Moore, right, record “Clues” podcast at Pave Studios.

(Christina House / Los Angeles Times)

Pave Studios launched last year with fewer than 10 employees and now has grown to 67 contractors and employees. Part of that growth is fueled by the increasing audience for its videos and podcasts available on platforms including YouTube, Spotify and Apple Podcasts. The company is hiring for roles including executive producers, with a pay range of $95,000 to $145,000, depending on the show, said founder Max Cutler.

“As we grow and as the business becomes more complicated, you need more specialists and more people,” Cutler said. “Video is definitely a leading growth area for us.”

Jen Passovoy joined Pave Studios in January as a producer, after working for 10 years at Paramount on competition series such as “RuPaul’s Drag Race” and “Ink Master.”

“Coming from a traditional TV background, I was drawn to how nimble and audience-focused the company is,” Passovoy said in an email. “There’s less red tape and more room to actually create. You get the energy of a startup with the same high-quality content you’d expect from a major studio.”

Passovoy, 34, said the job market for traditional studio and TV network workers is really tough right now.

“I know more people out of work right now than working, which says a lot,” she said. “The traditional TV model just doesn’t exist in the same way anymore. Budgets are shrinking and the jobs that used to be steady aren’t there. There have been so many layoffs across the industry, and it’s forced a lot of incredibly talented people to rethink how and where they create.”

Skills that people develop in traditional studio and TV roles can translate to digital-first roles, including video editors for influencers and digital media companies, industry observers said.

The creator economy also has more specialized roles, such as thumbnail designers — people who create the images used to tease videos on sites including YouTube. Those jobs can pay six figures annually, as they can be instrumental for getting audiences to click on those videos.

Roster, a hiring platform that lists job postings in the creator space, said the number of employers signing up to hire on the site has increased by nearly 80% from January to June 2025. Based on a sampling of 1,430 creator job posts in 2025, Roster said the most popular open position was video editor (representing 42.5%), followed by thumbnail designer (16.1%) and producer (10.6%).

There are downsides. Not all jobs are full-time. Many creators opt to hire freelancers.

“Their production needs need to expand and shrink like an accordion,” said Sherry Wong, CEO of Roster. “That’s why we see a lot of creators, even if they’re really big established creators, they are hiring freelancers, contractors, and being able to keep it as lean as possible.”

With so many people looking for work, there‘s intense competition for those jobs, and the ways to apply can be creative and involved.

Miami-based creator Jenny Hoyos found freelancers through a hiring challenge she hosted on Roster. Applicants were given 10 minutes of raw video footage and instructed to edit it down to a video short, roughly 30 to 60 seconds long.

Hoyos, 20, requested that applicants create a final product that was engaging, cohesive and matched her specific style. She received more than 100 submissions.

While there were strong contenders from California, the winners ended up being from Brazil and India. They became her two go-to freelancers, who she said are essentially working an amount equivalent to full-time editors.

This method of seeking talent was Hoyos’ way of making sure the people she brought on to her team were willing to go the extra mile, she said. Those hoping to break into the digital media world don’t necessarily have to have grown up with YouTube and social media like she did, but they do have to “commit to being addicted to watching” content, she said.

Not everyone who works for YouTube creators gets paid.

Screenwriter Natalie Badillo isn’t earning a salary while she tries to build up an audience on YouTube. Badillo, who sold a self-titled project to HBO Max a few years ago, said she was looking for a way to “not wait 8 billion years for a TV show to get picked up,” and creating a YouTube channel, “Great Job Nat,” was a way to get her material out into the world.

“Why wait for somebody to throw you a party when you can just throw your own party?” she said.

Badillo draws on her connections with folks from the traditional film and TV world to produce the YouTube videos. While the channel is getting up and running, collaborators work for low pay or simply for the fun of it and to gain experience. Still, her ambitions are big. “I want to be the Jon Stewart of the West,” she said.

The pay disparities can be an issue for people from traditional media industries looking for jobs. While some programs featuring influencers and vertical excerpts of TV shows and movies are covered by union agreements, other projects don’t have those protections.

“With temporary hiring, it’s like everything else in Hollywood — you either need to have another job that balances things out or you need to get to a critical mass of enough work on enough different projects,” said Kevin Klowden, executive director at Milken Institute Finance. “The number of sustainable Hollywood jobs has shrunk.”

But as the two worlds collide, traditional media companies are already paying attention to the popularity of creator shows and are trying to find ways to partner with influencers. Amazon earlier this year announced more seasons of MrBeast’s reality competition series “Beast Games,” and digital media companies are adding people with traditional media backgrounds to their staffs.

“It’s still a lot more tiptoeing,” Hjelmeseth said. “Everybody’s kind of like looking at each other from across the room, like, ‘Should we dance?’”

SAN FRANCISCO — In recent years, San Francisco’s image as a welcoming place for businesses has taken a hit.

Major tech companies such as Dropbox and Salesforce reduced footprints in the city by subleasing office space, while retailers including Nordstrom and Anthropologie pulled out of downtown. Social media firm X, formerly Twitter, vacated its Mid-Market headquarters for Texas, after owner Elon Musk complained about “dodging gangs of violent drug addicts just to get in and out of the building.”

While the city remains on the defensive, one bright spot has been a boom in artificial intelligence startups.

San Francisco’s 35.4% vacancy rate in the first quarter — among the highest in the nation — is expected to drop one to three percentage points in the third quarter thanks to AI companies expanding or opening new offices in the city, according to real estate brokerage firm JLL. The last time San Francisco’s vacancy rate dropped was in the fourth quarter, when it declined 0.2% — the first time since the COVID-19 pandemic, according to JLL.

“People wanted to count us out, and I think that was a bad bet,” said Mayor Daniel Lurie. “We’re seeing all of this because the ecosystem is better here in San Francisco than anywhere else in the world, and it’s really an exciting time.”

Five years ago, AI leases in San Francisco’s commercial real estate market were relatively sparse, with just two leases in 2020, according to JLL. But that’s since soared to 167 leases in the first quarter of 2025. The office footprint for AI companies has also surged, making up 4.8 million square feet in 2024, up from 2.6 million in 2022, JLL said.

“You need the talent base, you need the entrepreneur ecosystem, and you need the VC ecosystem,” said Alexander Quinn, senior director of economic research for JLL’s Northwest region. “So all those three things exist within the greater Bay Area, and that enables us to be the clear leader.”

AI firms are attracted to San Francisco because of the concentration of talent in the city, analysts said. The city is home to AI companies including ChatGPT maker OpenAI and Anthropic, known for the chatbot Claude, which in turn attract businesses that want to collaborate. The Bay Area is also home to universities that attract entrepreneurs and researchers, including UC Berkeley, UC San Francisco and Stanford University.

Venture capital companies are pouring money into AI, fueling office and staff growth. OpenAI landed last quarter the world’s largest venture capital deal, raising $40 billion, according to research firm CB Insights.

OpenAI leases about 1 million square feet of space across five different locations in the city and employs roughly 2,000 people in San Francisco. The company earlier this year opened its new headquarters in Mission Bay, leasing the space from Uber.

OpenAI began as a nonprofit research lab in 2015 and the people involved found their way to San Francisco for the same reason why earlier generations of technologists and people pushing the frontier in the United States are drawn to the city, said Chris Lehane, OpenAI’s vice president of global affairs in an interview.

“It is a place where, when you put out an idea, no matter how crazy it may seem at the time, or how unorthodox it may seem … San Francisco is the city where people don’t say, ‘That’s crazy,’” Lehane said. “They say, ‘That’s a really interesting idea. Let’s see if we can do it.’”

The interior of OpenAI’s new San Francisco headquarters in the Mission Bay neighborhood. (OpenAI)

Databricks, valued at $62 billion, is also expanding in San Francisco. Databricks in March announced it will move to a larger space in the Financial District next year, boosting its office footprint to 150,000 square feet and more than doubling its San Francisco staff in the next two years. It pledged to hold its annual Data + AI Summit in the city for five more years.

The company holds 57,934 square feet at its current San Francisco office in the Embarcadero, according to CoStar, which tracks real estate trends.

“San Francisco is a real talent magnet for AI talent,” said Databricks’ co-founder and vice president of engineering Patrick Wendell. “It’s a beautiful city for people to live and work in and so we really are just following where the employees are.”

Several years ago, Wendell said his company was considering whether to expand in San Francisco. At the time, it was unclear whether people would return to offices after the pandemic, and some businesses raised concerns about safety and cleanliness of San Francisco’s streets. Wendell said his company decided to invest more in the city after getting reassurances from city leaders.

“People are seeing an administration that is focused on public safety, clean streets and creating the conditions that also says that we’re open for business,” said Lurie, who defeated incumbent mayor London Breed last November by campaigning on public safety. “We’ve said from day one, we have to create the conditions for our arts and culture, for our small businesses and for our innovators and our entrepreneurs to thrive here.”

Laurel Arvanitidis, director of business development for San Francisco’s Office of Economic and Workforce Development, said that the city’s policy and tax reforms have helped attract and retain businesses in recent years, including an office tax credit that gives up to a $1-million credit for businesses that are new or relocating to San Francisco.

On Thursday, Lurie announced on social media that cryptocurrency exchange Coinbase is opening an office in San Francisco after leaving the city four years ago.

“We are excited to reopen an office in SF,” Coinbase Chief Executive Brian Armstrong wrote in response to the mayor’s social media post. “Still lots of work to do to improve the city (it was so badly run for many years) but your excellent work has not gone unnoticed, and we greatly appreciate it.”

Santa Clara-based Nvidia is also looking for San Francisco office space, according to a person familiar with the matter who declined to be named. The news was first reported by the San Francisco Chronicle. Nvidia, which also has California offices in San Dimas and Sunnyvale, declined to comment.

“It’s because of AI that San Francisco is back,” Nvidia Chief Executive Jensen Huang said last month on the Hill & Valley Forum podcast. “Just about everybody evacuated San Francisco. Now it’s thriving again.”

But San Francisco still has challenges ahead, as companies continue to push workers to return to the office. While the street environment has improved, it will be critical for the city to keep up the progress.

Lurie said his administration inherited the largest budget deficit in the city’s history and they have to get that under control. His administration’s task is to make sure streets and public spaces are clean, safe and inviting, he said.

“We have work to do, there’s no question, but we are a city on the rise, that’s for sure,” Lurie said.

Times staff writer Roger Vincent contributed to this report.