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Billionaire hedge fund founder turned environmental warrior Tom Steyer, a leading Democratic candidate for California governor, is facing mounting questions about how he earned his wealth — notably investments in private prisons that are now being used to house undocumented immigrants facing deportation.

Some of the most vicious political attacks come from his Democratic rivals and Sacramento special interest groups as the June 2 primary election fast approaches, but Steyer has been dogged for years about his past, controversial business ventures and how they help fund his unbridled campaign spending.

Steyer, 68, faced that ire during a town hall event in San Diego last week.

“Tom, you’re not going to come to San Diego and ignore this detention center,” Holly Taylor, a 37-year-old Democrat screamed at Steyer, holding signs with QR codes to help detainees at an Otay Mesa private prison that Steyer’s hedge fund backed. “It’s a concentration camp. They’re drinking water out of a toilet.”

Taylor, a crime scene cleaner from Pacific Beach, is among scores of people who gather weekly at the facility to raise money for detained immigrants to provide them some comfort amid the Trump administration’s Immigration and Customs Enforcement raids.

In 1986, Steyer, co-founded Farallon Capital, which had shares valued at $89.1 million in the Corrections Corp. of America in 2005, according to the Securities and Exchange Commission. That company, now known as CoreCivic, operates private prisons around the nation that are housing people picked up by federal immigration agents, including the one in Otay Mesa.

It is not the first time Steyer has faced criticism about the connection with private detention facilities. At the California Democratic Party convention in February, protesters dressed in orange prison jumpsuits sought to draw attention to the controversy.

His Democratic rivals have also seized upon the issue to question the billionaire’s progressive credentials.

“Before he was a progressive, he made millions off of companies that operate ICE detention centers, that operate private prisons that incarcerated young children,” state Supt. of Public Instruction Tony Thurmond said during a recent interview with a political influencer known as Mrs. Frazzled.

“His entire campaign is built on the backs of kids in cages,” Rep. Eric Swalwell, (D-Dublin) wrote Tuesday in a post on X.

People protest outside of a lunch held by California gubernatorial candidate Tom Steyer at the 2026 California Democratic Party State Convention in San Francisco on Feb. 21.

(Jeff Chiu / Associated Press)

Several years earlier, Yale University’s graduate teachers union called upon the school — Steyer’s alma mater — to divest from Farallon because of concerns about how the private prison company treated detainees, notably minorities.

Steyer has repeatedly expressed remorse about his former firm’s ties with the detention company. In 2012, he sold his stake in Farallon, which was named in reference to islands off the coast of San Francisco and was once one of the largest hedge funds in the world.

“I deeply regret that Farallon made that investment, and I personally ordered the investment in CCA to be sold because it did not accord with my values then or now,” Steyer told The Times in 2019 after he launched a short-lived presidential campaign.

Asked to comment about the latest iteration of the controversy, Steyer’s campaign pointed to comments he made in March at a town hall in San Francisco about how among the hundreds of thousands of companies his hedge fund invested in, the private prison company changed the course of his life.

“It was a mistake, and I sold it over 20 years ago, thinking, not that it won’t be profitable, it’s just a mistake. I don’t want to be in that business. But let me say this, it wasn’t just a mistake,” Steyer said. “It was also a big wake-up call that I was in the wrong place, that I was in a business that was taking me to places I absolutely didn’t want to go. And there’s a reason I walked away from that business and walked away from a ton of money, because I felt like that is not the life I want.”

He added that he and his wife, Kat Taylor, have spent the past two decades pushing for rehabilitative justice — treatment instead of mass incarceration except for violent felons.

“Am I a perfect person? No, have I made mistakes? Yes,” Steyer said. “But for those of you who like to read the Bible, there is a moment on the road to Damascus when someone makes a change, and I have made a big change, and I did it a long time ago, and I’ve been pushing very, very hard the other way.”

Farallon also invested in fossil fuel projects, including an Australian coal mine that denuded thousands of acres of koala habitat and generated an enormous amount of carbon emissions.

Steyer, who has a net worth of $2.4 billion according to Forbes, has painted himself as a reformed billionaire who walked away from Farallon because of angst about how he earned his fortune. He has spent hundreds of millions of dollars supporting Democratic causes, notably efforts to fight climate change.

“The truth is that is not where I think there is value, and that is not what I’m seeking in my life,” he said at a Sacramento town hall in March when retired state employee Gina Coates asked how, as a woman of color, she could believe his promises given his privilege as a wealthy white man.

“In terms of trusting me, let me say this, I left my business 14 years ago, and anybody who cared about money would not have done it,” Steyer said.

Steyer later said at the town hall that he left Farallon because he realized that he didn’t want to remain on that path.

“I want to have a meaningful life,” he said. “I want to stand with the people of this state and have actual prosperity. Twelve trillionaires and 40 million people who can’t make rent is not success.”

But Steyer and his wife continue to receive significant income from the hedge fund, including millions of dollars in investments, holdings and various complicated transactions in 2024, according to a statement of economic interest and tax returns he was required to file with the California Secretary of State’s office because of his gubernatorial run.

A Steyer campaign spokesman said Steyer created guardrails to ensure that he does not profit off companies he morally disagrees with.

“Tom has put in place an investment policy to ensure that he does not directly invest in fossil fuels, payday lending, or private prisons,” spokesman Anthony York said. “To the extent he inadvertently incurs exposure to those industries through third-party managers or liquid legacy investments, Tom will donate all profits to charity.”

After leaving Farallon, Steyer became one of the nation’s top Democratic donors. And he has used his wealth to fund his political ambitions. Steyer contributed nearly $342 million of his own money to his short-lived 2020 presidential campaign, according to the Federal Election Commission.

In the 2026 governor’s race, Steyer has donated nearly $112 million to his campaign as of Thursday, according to the California secretary of state’s office. He has been an ubiquitous presence on the airwaves, including local news programs and campaign ads that aired during the “Puppy Bowl” on the Animal Planet channel on Super Bowl Sunday. In the past month, Steyer has aired more than 5,000 ads, according to iSpot, which tracks television commercials.

California, home to 23.1 million registered voters, is home to some of the nation’s most expensive media markets. And candidates, particularly those who are not well known, need to spend heavily on television advertising if they hope to have a successful campaign.

But money is no guarantee of success. Billionaire Meg Whitman, the former eBay chief and formerly a longtime Republican donor, spent $144 million of her money on her 2010 gubernatorial bid. That set a record for a candidate’s contribution in a state race at the time, but Whitman lost to Jerry Brown by nearly 13 percentage points.

In 1998, Democratic multimillionaire Al Checchi who had been the co-chair of Northwest Airlines spent $40 million of his wealth on an unsuccessful run for governor, also a record at the time.

Steyer is one of the top three Democrats in the sprawling field to replace termed-out Gov. Gavin Newsom. And his liberal positions are drawing the ire of powerful forces in Sacramento. On Tuesday , the state’s Realtors donated $5 million to an independent expenditure committee opposing Steyer’s bid.

Taylor, who confronted Steyer at the San Diego town hall, said she had not planned to be so vocal. But as the event unfolded, she decided she had to speak, not only to Steyer but to the attendees. She and her compatriots gather every Sunday outside the Otay Mesa facility to raise money to help detainees buy food in the prison commissary and call their families.

“My main issue is that he has gotten financial gain off of these people suffering,” she said.

Global streaming revenue surged to $150 billion last year, driven largely by an increase in prices by Netflix and other streamers, according to a new report.

In 2025, global streaming subscription revenue grew by 14%, reaching a total of over $157 billion, the report from Ampere Analysis found. In the last five years, revenue has tripled from the $50 billion seen in 2020.

Streamers continue to dominate the digital distribution market with rising monthly subscription fees , more consumers choosing subscriptions with ads, and platforms expanding their global reach.

“As the streaming market matures, the emphasis is no longer on pure subscriber growth but on extracting greater value from existing audiences,” said Lauren Liversedge, a senior analyst at Ampere Analysis. She noted that the growth is happening “particularly in the most competitive markets.”

Over the next five years, Ampere Analysis estimates subscription revenue will grow by another 29%, potentially reaching over $200 billion worldwide by 2030.

The U.S. is the largest driver of this revenue growth, as the country accounts for 50% of 2025’s global streaming subscription revenue, per Ampere Analysis. Netflix accounted for the largest revenue share in the U.S. at 14%. Last week, the company also announced a price hike, where its premium tier costs $27 a month. This marks the second time in a little over a year that the streaming service raised its fees.

“Our approach remains the same: We continue offering a range of prices and plans to meet a variety of needs, and as we deliver more value to our members we are updating our prices to enable us to reinvest in quality entertainment and improve their experience by updating our prices,” said a Netflix spokesperson in a statement.

It’s not the only streaming service to increase its prices, as Disney+, HBO Max and Apple TV made similar moves last year.

Recent data from Deloitte highlights some of the price sensitivity U.S. streaming audiences are experiencing. More than two-thirds of streaming subscribers are now opting for ads, marking a 20% increase from 2024.

That cost-conscious sentimentexpands beyond North America, reaching Western Europe, according to Ampere Analysis. The total revenue from ad tiers has risen rapidly across these markets over the past five years, up from less than 5% in 2020 to 28% in 2025.

But even as consumers demonstrate their willingness to pay less and watch ads, streaming platforms still benefit, making money from both subscription fees and advertising. When accounting for that ad revenue, streaming services generated closer to $177 billion in global revenue last year. Advertising is expected to become an even more important revenue stream for these companies, as ads alone could add $42 billion in annual revenue by 2030, per Ampere Analysis.

ABOARD THE CRESCENT — There’s something melodic about watching the sun rise over a rural stillness broken only by the rhythms of steel wheels on tracks. Or so we tell ourselves.

In this case, being aboard a train at all owed more to politics than poetry.

Congress and President Trump were mired in their latest budget stalemate, one rooted in his immigration crackdown and the tactics of federal forces he has sent to U.S. cities. But this impasse has upended a foundational constant of American life today: easy air travel.

In Atlanta, my hometown airport, cheerfully marketed as the world’s busiest, had descended into organized chaos. Unpaid federal employees called out from work, leaving a diminished security staff to screen travelers frustrated by hours-long waits in line. I wanted to get to Washington for the NCAA basketball tournament. So I eliminated the risk of a missed flight and booked the train overnight and into game day across a 650-mile route.

In this fraught moment in U.S. politics, I slowed down and thought about things we take for granted. Who ever ponders the conveniences of that 20th century innovation, the airplane, that makes 21st century hustle possible? We book and board. An unconscious, first-world flex of modernity. It’s even rarer to grapple with the inconvenience.

My decision had taken me further back, to the 19th century and another defining innovation: the long-distance train.

A 14½-hour weekend train ride is time aplenty to appreciate how completely politics, economics, social strife and fights over identity and belonging have always affected the order of our lives, including how, when and where we move around in these United States. But Amtrak’s Crescent also allowed me to see the expanse of our collective experience.

I traversed the urban, suburban and rural breadth of East Coast America. I learned how other travelers came aboard. And in that, I found the portrait of people, past and present, who refuse to be as paralyzed as some of their elected leaders.

Convenience on the railways

There is little glamour late night in a crowded Amtrak station. Children are up past bedtime and tended by frazzled parents. Older adults struggle with luggage and stairs.

Airports are not red-carpet affairs either, of course. But there is a certain cache to Delta’s Atlanta-Washington flights. They typically take about two hours gate to gate. They often are slotted at a midpoint gate of the concourse nearest the main terminal. That is almost certainly a nod to members of Congress who use it, but who have lost some airline perks during this extended partial shutdown — which as of Sunday is the longest government shutdown in U.S. history.

In normal circumstances I can get from my front porch to Capitol Hill or downtown in as little as 4½ hours. Security lines these days could at least double my overall air travel time.

The train is still longer, and time is money, we are taught. But certainty has value, too, even if it means an 11:29 p.m. departure. And at the Amtrak station, there were no standstill lines, no Transportation Security Administration agents, no ICE agents as stand-ins.

Passengers who arrived mere minutes before departure made it on board and found seats quickly — assigned in boarding order, not predetermined zones that yield jammed aisles. There’s no in-seat service or satellite TV. But even coach seats, the lowest Amtrak tier, are as spacious as airline first-class — and there is Wi-Fi, so it’s not the 19th century or even 20th century after all.

On board, I heard one crew member joke, “I’m no TSA agent.”

The pathways of history

As a boy in rural Alabama, I counted train cars and wondered where they were headed. I’ve since read diary entries and letters from my grandmother and her sisters recounting World War II-era weekend trips to Atlanta.

The South’s largest city has a historical hook too. Originally named “Terminus,” Atlanta developed in the antebellum era as a critical intersection of north-south and east-west rail routes. That is what drew Gen. William Tecumseh Sherman for one of the Civil War’s seminal campaigns that helped defeat the Confederacy.

A century after the Civil War, Delta chose Atlanta for its headquarters rather than Birmingham, Ala., which was the larger city as of the 1960 census. The company’s decision was tied up in tax breaks for the airline, named for its crop duster origins in the Mississippi Delta region. According to some interpretations, Delta’s decision was made easier because of the more overt racism of Alabama’s and Birmingham’s leaders as they defended Jim Crow — a code that, among other acts, allowed states to segregate the passenger trains that predated Amtrak.

On this night, I heard many languages and accents, notable given the role that immigrant labor played in building the U.S. rail system and especially striking now with immigration — legal and illegal — at the forefront in Washington, my destination. I saw faces that reflected U.S. pluralism, a different mix from what my grandmother and aunts would have seen a lifetime ago.

The array of voices celebrated the freedom and ease of rail travel. So did Agatha Grimes and her friends after they boarded in Greensboro, N.C., as part of a long weekend trip to celebrate her 62nd birthday.

“I got stuck in the Atlanta airport last week,” Grimes said, as her group laughed together in the dining car. “It’s just nuts.”

Beretta Nunnally, a self-described “train veteran” who organized their trip, said, “There’s no worry about parking. No checking bags. You come to the station, you get where you‘re going, and you come home.”

An era for planes, trains and automobiles

Still, that is not as easy in the United States as it once was.

Just as politics, economics and subsidies helped expand U.S. railroads, those factors diminished the network as auto manufacturers, oil companies, road builders and, finally, airline manufacturers and airlines commanded favor from politicians and attention from consumers.

Riding hours across rural areas, I noticed the junkyards where kudzu and chain-link fencing framed rows of rusted automobiles. I saw the farmland and equipment that helps feed cities and the rest of the nation. I awoke to see the night lights of office towers in Charlotte, N.C., and its NFL stadium. I saw vibrant county seats — and I thought of countless other towns like them that are not thriving as they sit disconnected from passenger rail and far from the Eisenhower-era interstate system that we crossed multiple times on our way.

In each setting, voters — conservatives, liberals, the extremes and betweens — have chosen their representatives, senators and a president who now set the nation’s course.

When I arrived in Washington, I paused to enjoy Union Station’s grand hall and its Beaux Arts appeal, and I lamented how much splendor has been lost because so many striking U.S. terminals have been razed. I stepped outside and looked up at the Capitol dome.

While I had slept, the Senate managed a bipartisan deal to fund all of the Department of Homeland Security except immigration enforcement. As I continued northward, House Republican leaders rejected it. The stalemate continued.

The president, however, took executive action to pay TSA workers, and their paychecks may resume within days, though long airport lines may continue awhile longer.

I was a weary traveler but renewed citizen. I had a game to get to. And the train rolled on.

Barrow writes for the Associated Press.

Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.

The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”

Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.

When Desai plans the company’s season lineup, he always surveys the year ahead — literally.

“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.

Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.

As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.

This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.

“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.

“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”

The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.

Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”

“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.

Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”

“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.

“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.

Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.

“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.

The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.

Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.

With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”

After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”

The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.

“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”

Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.

See the full season, here.

CHESSY, France — A 118-foot mountain of ice rose over the suburban Paris countryside this weekend as Disney opened its Arendelle kingdom to the world — Elsa’s palace glowing at the summit, a “Frozen” Nordic fishing village below, and the company’s new chief executive standing before a crowd of celebrities.

World of Frozen, an immersive land themed to the blockbuster animated franchise, opened Sunday as a centerpiece of a $2.2-billion transformation at Disneyland Paris.

The transformation renames one of Disneyland Paris’ two parks from Walt Disney Studios Park to Disney Adventure World. The inauguration drew Penélope Cruz, Naomi Campbell and Teyana Taylor.

It is the largest expansion in the 34-year history of Disneyland Paris, and one node in a roughly $60-billion global build-out of Disney’s parks, resorts and cruise lines.

A new CEO’s first stage

It is also the first major international stage for Josh D’Amaro, who took over as Disney’s CEO on March 18 — 11 days before the French gates opened — after nearly three decades in the company’s theme parks division.

The parks-and-experiences business reportedly generated 57% of the company’s $17.5 billion in segment operating income last year, the force that observers say propelled D’Amaro from parks chief to the corner office.

“The Walt Disney Co. was built on one man’s dream, and for more than 100 years we’ve shared that dream with the world,” D’Amaro told the inauguration crowd.

“Storytelling is fundamental to everything that we do, whether that’s on screen or stage, in our theme parks, on our cruise ships, or even at home.”

He called the opening “a transformational moment” and paid tribute to the creative team behind the attraction, including “Frozen” writer-director Jennifer Lee — who are all now at work on “Frozen 3.”

An Associated Press journalist accompanied D’Amaro on the “Frozen” ride Saturday night.

The carriage splashed through water to childlike cheers from riders and laughter from the new CEO as they glided past Elsa singing in the dark. Some stepped off lightly wet.

The evening’s emotional peak came when Lou, an 11-year-old whose wish was granted through Make-A-Wish France, took the stage to sing a few notes of “Do You Want to Build a Snowman?”

A next-generation robotic Olaf walked out to join her. It was the 25,000th wish fulfilled for a sick child at Disneyland Paris since 1992.

A French reversal

On Friday, D’Amaro had stood alongside Emmanuel Macron at the resort.

The French president used the visit to claim the park as a national economic asset, calling Disneyland Paris “the leading tourist destination in Europe” and describing it as “a genuine ecosystem of success.”

Macron said the latest expansion would create 1,000 additional direct jobs.

“Since the beginning, that’s 13 billion euros invested on this territory,” Macron said, a figure equivalent to about $15 billion.

Disneyland Paris says it has recorded more than 445 million visits since 1992, accounting for 6.1% of France’s national tourism revenue.

Macron’s presence underscored a remarkable reversal.

When the park opened as Euro Disney in 1992, French intellectuals derided it as a “cultural Chernobyl.” The president at the time, Francois Mitterrand, dryly derided the new attraction as “not exactly my cup of tea.”

Now a French president was standing in front of cameras calling it an engine of national prosperity.

European roots

“‘Frozen,’ of course, has its roots in European storytelling,” said Michel den Dulk of Walt Disney Imagineering.

“It’s very loosely based on Hans Christian Andersen. So to have a northern European, charming wooden little village here in Disneyland Paris — it just made sense.”

The new Tangled family ride, too, draws from European folklore — the Brothers Grimm’s Rapunzel.

The land re-creates Arendelle around a lagoon, its timber buildings painted in muted Scandinavian pastels, facades adorned with rosemaling, a traditional Norwegian decorative art.

At the center is Frozen Ever After, a boat ride featuring state-of-the-art animatronics and immersive projection effects.

Guests can meet Anna and Elsa inside Arendelle Castle, have a conversation with a responsive baby troll named Mossy who talks back, and watch a lagoon celebration called the Snow Flower Festival — featuring an original song.

Visitors praised the scale of the mountain and the detail of the village, even after delays and minor glitches.

“Despite the wait, it was well worth it. The attention to detail is incredible, and the perspective of the ice mountain is breathtaking,” said Daniel Weber, 41, an architect from Munich, Germany, after the ride Sunday.

“You forget you’re outside Paris. For a few minutes, it really feels like Arendelle,” said Léa Moreau, 27, a graphic designer from Lille, France.

Beyond World of Frozen, the rebranded park brings a vast new lake called Adventure Bay, a Tangled family ride, 15 new dining locations — including the posh Regal View Restaurant — and a nighttime spectacular called Disney Cascade of Lights featuring more than 380 drones.

A Lion King land, already under construction, will follow.

More than 90% of the second park’s offerings will have been redesigned since it opened in 2002, and Disney says the footprint will roughly double once the full transformation is complete.

Disney’s streaming has swung from deep losses to profitability, but the parks remain the company’s most dependable earnings engine — and D’Amaro is the man who ran them.

“We continue to dream bigger and bring stories to life in brand new ways,” D’Amaro told the crowd.

Pyrotechnics lighted up Arendelle Village.

The ice palace on the mountain turned blue.

And 34 years after Euro Disney became a punchline, a brand-new kingdom opened in the fields east of Paris — for the first time in forever.

Adamson writes for the Associated Press.

It was Dodger Stadium on Wednesday, when the grass outside the baseline and the bright red sign high above center field read “UNIQLO FIELD.” It will be Dodger Stadium on Thursday, when the defending World Series champions open their new season, and forevermore.

The official name of our summer home is now Uniqlo Field at Dodger Stadium. The team announcers will say that, and so will some of the signs. The fans won’t, and the founder of the company that just spent nine figures on the name you won’t use said he completely understands.

“That’s a very natural reaction,” Uniqlo founder Tadashi Yanai told me through an interpreter. “We respect that.”

Yanai said his company’s deal with the Dodgers covers five years. He would say only that the total value was “more” than $125 million. That provides the Dodgers with an annual naming rights payment in line with the ones at Crypto.com Arena, Intuit Dome and Sofi Stadium, without the Dodgers having to sell naming rights to the actual venue.

Are the Dodgers baseball’s version of a gold mine? Yes. Do they spend big and win big? Also yes. Do you mind if Uniqlo essentially covers Freddie Freeman’s salary this season?

“We need a lot of revenue to put out the product that we do,” Dodgers president Stan Kasten said. “That’s not a secret. And we’re proud of everyone who helps us do it: all of our fans, all of our media partners, and all of our sponsor partners. They are all important. It is how this all comes together.”

While Uniqlo would be delighted if you used its name, whatever local fans choose to call the stadium is not critical to the success of the partnership.

For a Japanese company in pursuit of brand awareness and expansion in the United States and elsewhere, there might be nothing better than getting your name in front of millions of fans around the world watching Shohei Ohtani play on television.

Ohtani made an estimated $125 million in endorsements and sponsorships last year, Sportico reported, a larger annual haul “than any other athlete in the history of sports.”

“The Dodgers are such a popular team,” Yanai said. “I usually ask my wife, after I come back from the office, whether Shohei hit a home run. I think all the Japanese people do that.”

Uniqlo Field signs were unveiled Wednesday at Dodger Stadium in the wake of the team’s naming rights deal.

(Beth Harris / Associated Press)

According to Forbes, Yanai is the richest man in Japan, where baseball teams carry corporate names. Why not buy a team and call it, say, the Uniqlo Bears?

“I always keep saying that could be very interesting,” he said, “but my wife turned it down. She keeps telling me, ‘Tadashi, you are not cut out to manage sports teams.’”

Instead, he is managing Uniqlo, an apparel company that pitches itself as blending comfort with quality. “We do not make disposable clothing,” Yanai said in the company’s last annual report.

Uniqlo has 794 stores in Japan but only 77 in the United States, including 14 in the Southland. Koji Yanai, a senior executive officer and Tadashi’s son, said the company aspires to grow annual U.S. revenues from $6 billion to $30 billion.

He shared what might be a more challenging aspiration.

“The Uniqlo Field at Dodger Stadium name may be very new for everyone,” he said, “but I hope in the near future the fans will like it and will love it.”

United Airlines Field at the Coliseum? Yeah, no.

Jeff Marks, the chief executive of Los Angeles-based Innovative Partnerships Group, once brokered a naming rights deal in which the Cal football team would play on Kabam Field at California Memorial Stadium. He tried to find a receptive audience for the name.

“We educated a lot of freshmen, sophomores, and newcomers,” Marks said. “Are you going to go after alumni who have been calling it Memorial Stadium? No. So you didn’t focus on that. You focused on people that could be more impressionable, and it worked.”

With Dodger Stadium, we’ll see. For the 2026 season, it is now time for Dodgers baseball, but not before one reporter at a press conference Wednesday asked company officials whether Uniqlo would provide the Dodgers players with free clothing.

Kasten could not pass up the chance to interject.

“We pay them enough,” he said with a grin, “to shop at Uniqlo stores.”

WASHINGTON — The Supreme Court made it harder for music and movie makers to sue for online piracy, ruling Wednesday that internet providers are usually not liable for copyright infringement even if they know their users are downloading copyrighted works.

In a 9-0 decision, the justices threw out Sony’s lawsuit and a $1-billion verdict against Cox Cable for copyright infringement.

Lower courts upheld a jury’s verdict against Cox’s internet service for contributing to music piracy, which the company did little to stop.

Sony’s lawyers pointed to hundreds of thousands of instances of Cox customers sharing copyrighted works. Put on notice, Cox did little stop it, they said.

But the high court said that is not enough to establish liability for copyright infringement.

“Under our precedents, a company is not liable as a copyright infringer for merely providing a service to the general public with knowledge that it will be used by some to infringe copyrights,” Justice Clarence Thomas wrote for the court.

Two decades ago, the court sided with the music and motion picture producers and ruled against Grokster and Napster on the grounds their software was intended to share copyrighted music and movies.

But on Wednesday, the court said “contributory” copyright infringement did not extend to internet service providers based on the actions of some of their users

“Cox provided Internet service to its subscribers, but it did not intend for that service to be used to commit copyright infringement,” Thomas said. “Cox neither induced its users’ infringement nor provided a service tailored to infringement.”

In its defense, Cox argued that internet service providers could be bankrupted by huge lawsuits for copyright infringement, which they said they did not cause and could not prevent.

Democratic lawmakers are demanding scrutiny into Paramount Skydance’s financial backers amid rising concerns about potential foreign influence of U.S. media properties.

In a letter this week to Federal Communications Commission Chairman Brendan Carr, seven U.S. senators criticized Carr’s suggestion that Paramount’s $111-billion bid for Warner Bros. Discovery, backed by billionaire Larry Ellison and his family, was on a fast track to receive FCC approval with scant oversight.

Such complicated mergers typically receive an intense government review. The proposed merger would combine two legendary film studios, dozens of cable channels, HBO, CBS and two major news organizations, CNN and CBS News.

Ellison and his son, David, who chairs Paramount, are friendly with President Trump, who has long agitated for changes at CNN, which is slated to be absorbed by Paramount.

The company has said it expects to complete the deal by the end of September.

The Democrats expressed concerns that the fix may be in. Trump’s Justice Department has been reviewing whether the merger would violate U.S. antitrust laws, but a key deadline passed last month without comment from the department’s antitrust regulators.

Also at issue is the Middle Eastern money the Ellison family has been expecting to pull off Paramount’s leveraged buyout of its larger entertainment company rival. The acquisition would leave the combined company with nearly $80 billion in debt.

Late last year, Paramount disclosed that it had lined up $24 billion from wealth funds representing the royal families of Saudi Arabia, Qatar and Abu Dhabi, who would then become equity partners in the combined company.

Paramount has described the funds as largely passive investors, saying the royal families would not have input into corporate decision-making. They also would not control seats on the Paramount-Warner board.

Congressional Democrats previously have warned about potential national security concerns. The senators, led by Cory Booker (D-N.J.) and Chuck Schumer (D-N.Y.), remain concerned, particularly because the transaction will help shape the future of Hollywood production and the direction of key news outlets, including CNN, which maintains a strong presence around the world.

Members of the party have called on Carr to conduct “a full and independent” analysis of the foreign ownership interests before signing off on the merger. The FCC could play an important role, they said, because the tie-up includes Paramount-owned CBS, which holds FCC broadcast station licenses.

Paramount declined to comment. FCC officials did not respond to a request for comment.

Booker and Schumer pointed to Carr’s comments at an industry conference in Spain earlier this month. During an appearance at the Mobile World Congress, Carr suggested the Paramount-Warner deal could be swiftly approved because the foreign investment would warrant only a “very quick, almost pro forma review,” Carr reportedly said.

The FCC has a duty to examine foreign ownership, the lawmakers said, referencing the U.S. Communications Act, which forbids owners from outside the U.S. from holding more than 25% of the equity or voting interests in an entity that maintains an FCC license.

The lawmakers mentioned the FCC’s move earlier this year to tighten its foreign ownership framework to bolster transparency.

Paramount has not yet disclosed its final list of equity partners.

The company previously disclosed its proposed partners in Securities & Exchange Commission filings. However, last month, the composition of the Paramount-Warner deal changed when Larry Ellison agreed to fully guarantee the $45.7-billion in equity needed to finance the $31-a-share buyout of Warner investors.

Before Ellison stepped up, Warner board members had expressed concerns about Paramount’s financing. The tech billionaire’s increased involvement helped carry the Paramount deal over the finish line. Netflix bowed out Feb. 26, ceding the prize to Paramount.

Still, Paramount is expected to line up billions of dollars from outside investors.

It would be significant if Saudi Arabia’s Public Investment Fund, the Qatar Investment Authority and Abu Dhabi’s L’imad Holding Co., contributed $24 billion to the deal, the Democrats wrote.

“This is not incidental capital, it represents roughly one-fifth of the total transaction value,” Booker and the others wrote. “And it is not clear that this will be the only foreign investment.”

Initially, Paramount included Chinese technology company Tencent Holdings as a minority investor, but Paramount later removed Tencent from the investor pool due to concerns about its problematic status — it has been blacklisted by the U.S. Department of Defense.

Bloomberg News reported earlier this month that Tencent might return to the fold.

“This constellation of foreign investment from China and from Gulf States, with complex and sometimes competing relationships with the United States, demands rigorous, not perfunctory review,” Booker and the others wrote.

The letter also was signed by Sens. Dick Durbin (D-Ill.), Elizabeth Warren (D-Mass.), Richard Blumenthal (D-Conn.), Sheldon Whitehouse (D-R.I.) and Mazie K. Hirono (D-Hawaii).

They keyed in on the role of Saudi Arabia’s sovereign wealth fund, saying it was controlled by Crown Prince Mohammed bin Salman “whom the U.S. intelligence community concluded ordered the murder of Washington Post journalist Jamal Khashoggi in 2018.”

The proposed $24-billion investment would give “these governments a significant financial stake in the future content, licensing, and strategic decisions of a combined entity that includes some of the most-watched news and entertainment networks in America.”

It is also unclear whether the current tensions in the Middle East over the Iran war will have an impact on Paramount’s investor syndicate.

Trump’s son-in-law Jared Kushner, a proposed Paramount investor, also withdrew late last year.

Paramount shares held steady at $9.17. The company’s stock is down 31% since Feb. 27, when the company prevailed in the Warner auction.

Epic Games, the developer of the popular video game “Fortnite,” is laying off more than 1,000 employees and cutting $500 million in costs.

Chief Executive Tim Sweeney announced the cuts Tuesday morning in a message to employees. He said it has nothing to do with AI and instead pointed to what he said was a lack of “Fortnite” engagement last year.

“Despite Fortnite remaining one of the most successful games in the world, we’ve had challenges delivering consistent Fortnite magic with every season,” said Sweeney in a statement.

The company’s flagship game was first released in 2017. Since then, it’s been a key part of internet culture — where character-specific dances became widespread trends and major musicians, like Travis Scott and Ariana Grande, have hosted concerts in the virtual realm.

But Epic has been slow to optimize the computer game for mobile play. A “Fortnite” app was first introduced in 2018, but soon removed due to a legal battle against Apple and Google over app store practices. Sweeney said the company is still in the “early stages of returning to mobile and optimizing Fortnite for the world’s billions of smartphones.”

Many of Epic’s woes also come from industry-wide challenges, like “slower growth, weaker spending, and tougher cost economics,” Sweeney wrote. And Epic isn’t the only one suffering. In recent years, gaming companies like Electronic Arts and Microsoft’s Xbox division have all cut down their workforces.

Earlier this year, the State of the Game Industry Report from the Game Developers Conference found roughly one-third of U.S. video game industry workers were laid off in the past two years.

Epic Games was founded in 1991 and is headquartered in Cary, North Carolina. It has dozens of offices around the world, including in Los Angeles. Beyond “Fortnite,” the company is known as a leader in 3D engine technology and interactive entertainment.

Over the years, Epic Games has steadily built itself into a major Hollywood player. Its 3D creation tool, the Unreal Engine, has been used to produce visual effects and virtual worlds for shows like Walt Disney Co. and Lucasfilm’s “The Mandalorian” and HBO’s “Westworld.”

In 2024, Disney inked a deal with Epic Games to create a games and entertainment universe with the company’s brands, including Star Wars, Marvel and Pixar. Disney invested $1.5 billion in Epic Games for a minority stake in the company. Newly minted Disney Chief Executive Josh D’Amaro managed the collaboration with Epic Games in his previous role as parks chief to create a Disney world within the popular “Fortnite” game.

Looking ahead, Sweeney plans to focus the company on building “awesome Fortnite experiences” with fresh content and continue to accelerate its developer tools like the Unreal Engine.

The announcement of the end of CBS News Radio last Friday was met with elegiac tributes to the service that built the foundation of William Paley’s company nearly 100 years ago and brought the heroic work of journalists such as Edward R. Murrow to millions of listeners.

But for the 700 affiliates carrying CBS News Radio, the concerns are more practical as they are faced with finding new national programming that will replace it. CBS Radio News will go silent on May 22.

The shutdown of the historic radio division was part of a division-wide staff cut that will affect 6% of the CBS News workforce. Affiliate stations learned of the decision only minutes before it was released to the press.

The local all-news radio stations carrying the service had to post messages on social media to assure listeners that they were not disappearing — only the national newscasts that were provided by CBS.

KNX, the all-news station in Los Angeles that has carried CBS programming since 1936, posted a lengthy segment on the impending closure and explained how “KNX News is not going anywhere.”

KNX was owned by CBS until 2017. The New York-based Audacy, under its previous name Entercom, acquired the CBS radio stations in 2017. KNX and the other Audacy news stations such as WBBM in Chicago, KCBS in San Francisco and WWJ in Detroit remained CBS affiliates, carrying the hourly CBS newscasts.

The Audacy all-news outlets, which reach around 9 million listeners a month, provided about one-third of U.S. coverage for CBS News Radio, the most of any station group carrying the service.

Audacy said it will find a replacement for CBS News Radio to provide national and international coverage, noting that the mission of its all-news stations will not be affected.

“The vast majority of our news and talk programming remains original and locally-produced, and we are beginning conversations with other national news providers to ensure our listeners continue to have access to world-class programming they value and trust.” said Chris Oliviero, chief business officer for Audacy.

Educating the listening public and advertisers that the stations will be fundamentally the same once CBS is gone will require some effort. KNX and the other Audacy all-news stations have a long association with CBS, which launched their formats starting in the late 1960s.

Along with the hourly newscasts, the stations carried “The Osgood Files,” a massively popular commentary segment hosted by the late former “CBS Sunday Morning” host Charles Osgood, for 46 years until 2017. The jingles and sounders used to identify CBS News network programming heard on the stations for decades have also been part of the listening experience.

Among the possible replacements for CBS News Radio is ABC News Audio, which is the largest network radio news service in the U.S. with 1,500 affiliates. The Audacy stations currently use ABC News content outside of its hourly newscasts.

KFI-AM currently carries the ABC News Audio newscasts in Los Angeles. Exclusivity of the ABC News Audio affiliations are determined on a market-by-market basis, according to a representative at the network.

Fox News Media, the home of the conservative-leaning cable channel, also offers a radio service with hourly newscasts and dedicated reporters, which airs on several hundred stations (the company does not supply a specific number).

While Fox News Radio delivers straight reporting, the service is likely to find a home on some of the conservative talk stations that are currently CBS News affiliates.

Rather than chasing sequels and reboots, Netflix is betting its 2026 film strategy on a massive investment in original storytelling and a renewed focus on the theatrical comedy.

The streaming giant’s need for original content is one of the main reasons Netflix fought fiercely to acquire Warner Bros. But even after losing the bid to Paramount earlier this month, the priority remains.

“We’re zigging where legacy studios are zagging,” Dan Lin, Netflix’s film chairman, said Wednesday at Netflix’s slate event in Hollywood.

Last year, 18 of the top 20 theatrical films were based on already established intellectual property, like with sequels and remakes. The only two original ideas to break through were Ryan Coogler’s “Sinners” and Zach Cregger’s “Weapons.” Both of these films were received well by audiences and earned golden statues at this year’s Oscars.

Lin said that at Netflix, 2025’s slate was the “exact opposite,” where half of the films it released last year were based on original storytelling.

“We have a very healthy content budget. So if there’s a great movie out there, we’ll go out and either build it or acquire it,” Lin said.

Bela Bajaria, the company’s chief content officer, said the company isn’t too concerned with the theatrical element that other studios can offer when hunting for these original stories, as Netflix is a streaming-first company.

“We’ve always had competition. This isn’t really any different,” said Bajaria. “It’s to understand what the competition is, not head in the sand at all. [We have] to understand what the market is and continue to look ahead.”

It’s not just original ideas that Netflix is scouting; the streamer’s also looking to fill gaps in genres. In recent years, comedies have fallen out of favor with major studios — leaving room for streamers like Netflix to expand. This year, Netflix is looking to break through with upcoming comedy productions like Kevin Hart’s bachelor party-driven “72 Hours,” John Cena and Eric André’s buddy comedy “Little Brother” and Eva Longoria’s “Fifth Wheel,” which Lin describes as “our version of ‘Bridesmaids.’”

“We’re taking the chance, and we’re making the movies,” Lin said. “It’s what we’re delivering, I hope, [it’s] what audiences want and what they’re craving. There are a lot of genres that you just can’t find in theaters anymore. So, we’re making those kinds of movies.”

In addition to emphasizing comedies, there’s a lot of opportunity to develop young adult films, Lin said. Netflix has upcoming titles such as “Voicemails for Isabelle,” starring Zoey Deutch and Nick Robinson, and “Roommates,” with Sadie Sandler, to draw in younger movie watchers.

One genre in which Netflix doesn’t see much success is live musical adaptations, so it’s “not an area that I’m leaning into,” Lin said. He first joined the company in 2024 and has since green-lighted 88 films.

Netflix subscribers watch about seven movies a month, according to the streamer’s data. So, with the push for original stories, the streamer is hoping to meet its consumers’ demands.

The current strategy is to release up to four “event films” a year. For 2026, Netflix is looking at Greta Gerwig’s “Narnia” adaptation and David Fincher’s follow-up to “Once Upon a Time … in Hollywood” as its big hitters.

“It’s all very under wraps right now, but it’s something that I’m just so thrilled about because it was the book of my childhood. It was the book series that I loved, and I lived through, and I spent so much time imagining myself inside of Narnia,” Gerwig said in a video message during the Netflix event. “It’s been a joy and an honor to be the person who gets to imagine this universe.”

Gerwig’s “Narnia” is set to hit Imax this Thanksgiving and start streaming on Netflix come Christmas.

In a stunning move, CBS News is shutting down its radio division, getting out of the medium where its storied history began nearly 100 years ago.

CBS News Radio will stop offering its service to its 700 affiliate stations on May 22.

“While this was a necessary decision, it was not an easy one,” the company said in a memo obtained by The Times. “A shift in radio station programming strategies, coupled with challenging economic realities, has made it impossible to continue the service.”

CBS sold its own radio stations in 2017, but continued to offer hourly network newscasts to affiliate stations, including “World News Roundup,” which has been on the air since 1938. Legendary CBS News journalist Edward R. Murrow delivered his first report on the program.

The news of the shutdown comes as dozens of CBS News employees are learning Friday if they have a future at the struggling news division.

A morning email from CBS News President Tom Cibrowski and editor-in-chief Bari Weiss that was obtained by The Times said staff affected by a new round of job reductions will be notified by the end of the day. About 6% of the 1,000 CBS News employees will be affected.

The cuts had been hinted at earlier this year by Weiss, when she said her business goal for the division is to expand its reach on digital platforms. Weiss and Cibrowski raised the same issue in their note informing employees of the cuts.

“It’s no secret that the news business is changing radically, and that we need to change along with it,” they wrote. “New audiences are burgeoning in new places and we are pressing forward with ambitious plans to grow and invest so that we can be there for them.”

CBS News has been dealing with a decline in revenue for its TV programs, as viewers have gravitated toward streaming platforms and social media.

The network’s daily programs “CBS Evening News with Tony Dokoupil” and “CBS Mornings,” both run well behind their competition in the ratings. It does have two strong weekend franchises in “60 Minutes” and “CBS Sunday Morning.”

CBS News is expected to be under the same corporate ownership as CNN once parent company Paramount closes its $111 billion deal to acquire Warner Bros. Discovery. The two divisions are likely to share news gathering costs, which could lead to the closure of bureaus and a reduction of personnel.

CBS News lost about 100 employees in October as part of a massive round of cuts enacted at Paramount after the company was acquired by Skydance Media.

Weiss had joined CBS News earlier that month and was not directly involved in the staff reductions. She is said to be more personally involved in the cuts occurring Friday.

Despite the show’s approach to make their actors unrecognisable you might remember some from big series

A Prime Video series that was dubbed ‘best show ever’ is finally returning with a whole new cast and approach, although there are still some faces that you might recognise.

Jury Duty is returning with a second season and a new set up, with the first episodes available to stream from March 20. Part social experiment, part reality series and part sitcom, the show is unlike most of what you’ve seen before.

According to its synopsis, Jury Duty Presents: Company Retreat is a comedy series that captures a corporate offsite event at a family-owned hot sauce company from the perspective of Anthony, a recently hired temporary worker.

Unbeknownst to Anthony, the entire experience is staged. Every colleague around him is performing a role and each moment whether in conference rooms or during downtime has been meticulously orchestrated. As the founder prepares to step down, the getaway transforms into a clash between big corproate ambitions and small business values, with control of the company hanging in the balance.

While the premise of the show means that all the actors involved have to be unrecognisable to the one non-actor, there are actually a few faces you may have seen before. But who are they and what have they starred in that you may remember them from? Here’s all you need to know.

Jerry Hauck plays Doug, the CEO of Rockin Grandma’s Hot Sauce. He’s described as “a lovable papa bear with Big Dad Energy who cares deeply about the company he’s built and the people that work for it.” Hauck has had memorable small roles on huge shows including ER, Seinfeld, It’s Always Sunny in Philadelphia and Paradise.

Alex Bonifer stars as Doug’s son and heir apparent to the business, Dougie Jr. He is “well-meaning but directionless” who is suddenly handed huge responsibilities. Eagle-eyed viewers will recognise Bonifer from Kevin Can F*** Himself where he played the role of Neil.

Amy, of customer relations is played by Emily Pendergast who has a lot of experience in comedy TV. She starred in multiple episodes of Veep and Netflix sitcom Leanne. Meanwhile the eventually nicknamed Other Anthony, who is he company’s Assistant Sourcing Manager, is played by Rob Lathan who previously appeared in Inside Amy Schumer and has served as a writer on other sketch shows.

Comedian Rachel Kaly plays remote worker and web designer Claire. While her character might be obsessed with the series Bones, she herself has appeared on animated comedy Digman! and High Maintenance.

Straight talking Helen, from accounting who has been at the business from the very beginning alongside Doug, is played by Stephanie Hodge. She is one of the most experienced cast members with past credits including NCIS, Young Sheldon and Scandal. She also had starring roles in the 90s on Nurses and Unhappily Ever After.

Jackie, who works in distribution and logistics when not taking charge of her kids at home, is played by LaNisa Renee Frederick. She’s previously appeared in smaller roles on Brooklyn Nine Nine, The Goldbergs and Mom.

Jim Woods, who was a writer on The Last O.G. starring Tracy Morgan, and starred on Reno 911!. takes on the role of warehouse manager Jimmy. He may have once been the non P.C. employee but he’s working maybe a bit too hard to be a better version of himself.

Erica Hernandez plays Kate from sales and marketing, who often gives the impression she should have a leadership role herself. Hernandez previously starred in the drama series True Lies, based on the 1994 Arnold Schwarzenegger film as well as New Amsterdam.

The other half of Team Skate (Steve & Kate), Steve is a “confident salesman that plays the calmer yin to Kate’s high-strung yang.” He is played by Warren Burke who has appeared in 13 episodes of Family Reunion and eight episodes of Bigger.

Snack obsessed receptionist PJ, is played by Marc-Sully Saint-Fleur who you may have seen before in Steve Carrell starring Netflix comedy Space Force or his brief appearances in Curb Your Enthusiasm and The Good Place. There’s also HR manager Kevin who is the one who seemingly hires Anthony to be his assistant.

He is played by Ryan Perez. Perez is actually a seasoned comedy actor, writer and director. He has written for Saturday Night Live and The Tonight Show with Jimmy Fallon while he has also directed Funny or Die shorts with Will Ferrell and Kevin Hart.

Ranch manager Marjorie who is looking after the company workers while on retreat is played by Blair Beeken. She most recently appeared in Apple’s hit sci-fi series Pluribus.

Jury Duty Presents Company Retreat is streaming on Prime Video.

For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website

SACRAMENTO — During the Los Angeles writers’ strike in 2023, Democratic Rep. Eric Swalwell wanted to reach out to his donors in Hollywood and ask what he could do to help them. But he didn’t have an easy way to find the screenwriters who backed his many campaigns.

So Swalwell and his congressional chief of staff launched an AI technology company that sifts and analyzes campaign fundraising data.

The company has since been used by dozens of political campaigns, including by Sen. Adam Schiff (D-Calif.) and Rep. Jimmy Gomez (D-Los Angeles). Even Swalwell’s current campaign for California governor hired the artificial intelligence company, called Findraiser.

But some details of Swalwell’s private venture remain unclear, including the company’s investors.

Craig Holman, a governmental ethics expert with the nonprofit consumer advocacy organization Public Citizen, said it’s common and legal for candidates to use their own businesses to promote their campaigns or the campaigns of others, as long as all business interactions are charged at market value.

He said Swalwell can talk about his business privately but cannot do so in relation to his role in Congress, to avoid running afoul of ethics rules barring using one’s position for personal monetary gain.

Holman called it “odd and politically unwise” that Swalwell’s business will not publicly disclose all of its investors.

Swalwell, who has represented Northern California in Congress since 2013, is among the top Democrats in the governor’s race, according to a recent poll, but thus far none of the candidates has a breakaway lead.

Findraiser is close to profitability, his onetime chief of staff, current campaign manager and Findraiser CEO Yardena Wolf said in a podcast interview that aired in October.

The company received more than $67,400 from congressional campaigns in the 2025-26 cycle, according to filings with the federal government.

Members of Congress are not barred from owning outside companies or accepting a small outside salary, with exceptions. Swalwell makes no income from the company, according to filings he has made with the state of California, though he could benefit if the company was ever sold.

“Findraiser is a platform like hundreds of other tools in the market that helps Democratic campaigns communicate more efficiently,” a Swalwell spokesperson said. “Congressman Swalwell and the Findraiser team consulted the House Committee on Ethics on the conception and implementation of the tool every step of the way.”

Still, it highlights how mixing public service and private business can raise ethics questions.

Wolf told The Times that none of Findraiser’s investors have business before Congress, but she declined to reveal the names of the backers.

The fair market value of Findraiser is between $100,001 and $1 million, according to campaign finance documents filed with the state this month.

Swalwell stated on the documents that he is a part owner. Besides the Congress member and Wolf, the other member of the company listed with the state is Paul Mandell, who runs an event business.

The company’s website boasts that it provides a “straightforward AI-powered chatbot that supercharges your fundraising database searches. This first-of-its-kind tool sits on top of your political fundraising database, allowing you to ask simple, intuitive questions and receive the results you need instantly.”

The website also contains testimonials, including from former Democratic National Committee Chair Jaime Harrison, who says Findraiser provides the AI technology that makes it “easier than ever for campaigns to connect with the right donors and raise what they need to win.”

The amount of money campaigns are paying to use Findraiser is nominal, federal campaign finance records show. During the 2025-26 cycle, Swalwell’s campaign for Congress reported paying Findraiser $6,630. His campaign for governor paid the company $975.

Wolf, in an interview with The Times, declined to provide details about the company’s staff or how much it charges customers.

In her interview with the political podcast “The Great Battlefield,” she recounted that the writers’ strike was the impetus for Findraiser and said Swalwell came up with the name.

She conceded that it is “pretty unusual” for a member of Congress to start a company with his chief of staff. She also said there was “a lot of ethics back and forth — of lawyers and all of that, to make sure that we were aboveboard and that everything is kosher.”

Among other things, Findraiser has helped Swalwell’s campaigns pull in more money, she said. For example, the campaign could identify donors who gave small amounts to Swalwell but larger checks to other politicians, Wolf said.

“We’ve been able to set up meetings with people like that, and they’ve increased their contributions.”

Aside from Wolf, one other staff member who works for both Swalwell’s campaign and his government office is also being paid via a contract to do digital work for Findraiser, Wolf confirmed.

Michael Beckel, director of money in politics reform at Issue One, a bipartisan advocacy group, said that although there is no prohibition on a member of Congress hiring his own company, voters may perceive an issue.

“Voters may see self-dealing as evidence that a candidate is prioritizing personal enrichment over public service, which damages confidence in elections and governmental institutions,” he said.

“If donors give money knowing it will personally benefit the candidate, that undermines the integrity of the political system.”

Swalwell’s campaign declined to respond to Beckel’s statements.

Wolf in her podcast interview last year said the business was “going really well.”

“We have PACs that use it. We have first-time candidates, as well as 20-year incumbents who are using it. We have congressional races and Senate races,” Wolf said.

Around 2024, the company began offering beta testing, she said.

“Obviously, both Eric’s and my network are people who are in the political space and just in our day to day, as we were talking to people, we had people say, ‘Well, I want to use it,’” Wolf said. “And so we had a group of people who ended up beta testing.”

A spokesperson for Swalwell’s campaign said that “Findraiser spread through word of mouth among campaigns across the country. Any decision by a campaign or candidate to utilize the tool is based on their choice and their organization’s strategic prioritization.”

The Times contacted 16 congressional campaigns that reported using Findraiser in recent federal filings. None would tell The Times how they came to hire the company.

Both Schiff and Gomez have endorsed Swalwell in his campaign for governor.

Schiff’s paid about $2,000 for two months of Findraiser services last year. However, Wolf, in her podcast interview, said Findraiser works with Schiff “a lot.”

Ian Mariani, a spokesperson for Schiff’s campaign, said the company “is one of many campaign vendors used by our team, and it helped us engage with several people.”

Walt Disney Co. installed Josh D’Amaro as chief executive Wednesday, beginning a new chapter for the storied Burbank entertainment giant.

Bob Iger passed the reins during Disney’s virtual annual meeting of shareholders, completing the company’s high-stakes and tightly choreographed changing of the guard. After spending two decades molding Disney into a media colossus, Iger segued into a senior advisory role, which will run through December when he officially retires.

The leadership shift comes amid an upheaval in Hollywood as traditional companies wage a desperate battle for survival.

D’Amaro, in his first address to shareholders, pointed to Disney’s signature storytelling as its competitive edge.

“While others in our industry are consolidating just to compete, or struggling to be relevant in a fragmented and disrupted world, Disney is in a category of one,” D’Amaro said during a video segment at the meeting. “This next chapter will be driven by staying focused on world-class creativity, enhanced by technology, bringing unforgettable stories to audiences wherever they are.”

D’Amaro, 55, becomes the ninth leader in Disney’s 102-year history. He was selected last month by Disney board members after a two-year internal bake-off among high-ranking division leaders. Board members were impressed with his business acumen, charisma and his deep love for Disney and its fabled history.

D’Amaro inherits a company that is beloved by millions. It generates $94 billion a year in revenue and employs 230,000 people.

He faces enormous challenges as he steers the ship through a turbulent media environment and tense geopolitics. The war in Iran prompted a sharp increase in fuel costs, which could become a drag on Disney’s critically important tourism business. Executives already have signaled “headwinds” in international visitation at its U.S. theme parks this year.

Lingering Middle East tensions also could weigh on Disney’s plans for a new Persian Gulf waterfront theme park and resort near Abu Dhabi.

D’Amaro, who served as parks and experiences chief until Wednesday, got his corporate start at Disneyland 28 years ago.

“Like so many of you, my connection to Disney goes back to my childhood, long before I began my career here,” D’Amaro told shareholders. “I grew up in a Disney family. We watched ‘The Wonderful World of Disney’ on Sunday nights. I was 10 years old when my family visited Disneyland for the first time. … Disney has always been a place of imagination, innovation and infinite potential.”

Disney previously announced a $60-billion, 10-year expansion program, which D’Amaro has led. But executives must strike a balance by keeping attractions true to their nostalgic core. In Anaheim, the expansion could result in at least $1.9 billion of development.

Disney also must continue to grow its animation business and manage revenue declines from its traditional linear television channels, including ESPN and ABC. It needs to turbocharge its streaming services with compelling movies and TV shows to remain competitive with Netflix and other leaders in the field.

Disney teased upcoming fan favorites, including the May release of Lucasfilm’s “Star Wars: The Mandalorian & Grogu,” a “Bluey” feature film (the kids show featuring an animated puppy, a blue heeler) and a sequel to a “Lilo & Stitch” film for 2028.

Streaming is key to Disney’s future, D’Amaro said.

“Disney+ will continue to evolve beyond a traditional streaming service to become the digital centerpiece of our company,” D’Amaro said, calling the service “a portal that connects our stories, experiences, games, films, and more in entirely new ways.”

The company plans to unify Disney+ and Hulu later this year.

Disney also must continue to incorporate technology while safeguarding its characters and franchises.

“We will continue to develop and embrace new technologies to empower our storytellers — but never at the expense of our characters and worlds, our creative partners, or the trust people place in us,” D’Amaro said. “Because Disney at its core is a company that celebrates human creativity.”

Wednesday also marked a reorganization of the company, configured by Iger, D’Amaro and Disney’s board.

Board members recognized that D’Amaro, who has spent most of his career in the parks division, lacks deep connections among Hollywood’s writers and producers. They elevated longtime television executive Dana Walden, who had been vying for the top job, to the newly formed role of chief creative officer and the company’s first woman president.

ESPN will continue to be managed by Jimmy Pitaro and Disney Entertainment, Studios chairman Alan Bergman will remain in his influential role overseeing film studios including production, marketing and distribution, and sharing oversight for streaming programming with Walden.

D’Amaro’s total compensation package is valued at about $40 million a year, including a $2-million annual base salary, $26.2 million in annual long-term stock incentives, a cash bonus and a one-time promotion award of $9.7 million.

“Josh is a wonderful choice to lead the Walt Disney Co.,” Iger said in a pre-recorded video. “He has passion for our businesses and brands, respect for our people, and he appreciates what makes this company so unique.”

Iger is wrapping up an unprecedented 52-year career at ABC and Disney.

He first stepped into the CEO role in 2005; his first 15 years were almost magical.

Iger led acquisitions of Pixar Animation, Marvel Entertainment and Lucasfilm, the studio behind “Star Wars,” that turned Disney into a blockbuster machine. Sports king ESPN spawned staggering profits, and Disney’s theme parks set industry standards.

Disney’s former Chief Executive Bob Iger will stay on through the end of the year as a senior advisor.

(Jay L. Clendenin / Los Angeles Times)

His decision to buy much of Rupert Murdoch’s 21st Century Fox, a $71-billion deal that closed in 2019, boosted Disney’s television production, refreshed its TV executive bench, and provided a controlling stake in general entertainment streaming service Hulu. The acquisition also gave Disney access to fan-favorite franchises, including “Deadpool,” “The Simpsons,” and James Cameron’s “Avatar.”

But the purchase left Disney saddled with debt just as the COVID-19 pandemic prompted production shutdowns and closures at theme parks and sports venues. It would take several years for Disney to recover.

Iger initially passed the CEO baton to Bob Chapek in February 2020. Iger, then chairman, retired the following year but came back in November 2022 to a mess. At the time, the company was losing billions of dollars on its shift to streaming but that unit is now profitable.

Iger spent the next three years focusing on four business pillars, including improving the quality and profitability of its film studios.

During the last two years, Disney has produced five franchise films that racked up more than $1 billion in worldwide ticket sales, including “Inside Out 2,” “Zootopia 2,” and “Avatar: Fire and Ash.”

Disney and Pixar’s latest animated film “Hoppers” has hauled in $46 million at the domestic box office in its opening weekend, marking the highest theatrical debut for an original animated film since Disney’s 2017 success “Coco.”

The company is banking this year on several other films with blockbuster potential, including Disney and Pixar’s “Toy Story 5,” “Star Wars: The Mandalorian & Grogu” and Marvel Studios’ “Avengers: Doomsday.”

“I would want to be known as someone who was given the keys to this kingdom and brought it to a place that even Walt would be proud of — more storytelling, more innovation, more risk‑taking, and more creation of happiness,” Iger said during a “The Rest is History” podcast last year.

During the meeting, Iger appeared in a prerecorded video that celebrated his numerous career highlights. Shown were clips from his cub years when Iger was a newscaster with bushy black hair. His journey was depicted, including his orchestration of multi-billion-dollar acquisitions that strengthened Disney with more characters and franchises.

Iger, 75 and now gray, ended by thanking shareholders “for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving,” he said. “It has meant more to me than I can say.”

Animated pixie dust twinkled on the screen, courtesy of the fairy, Tinker Bell.

“Bob, on behalf of our employees, cast members, shareholders, and fans around the world, thank you so much for your tremendous leadership, your steadfast support, and your countless contributions to The Walt Disney Co.,” D’Amaro said, as the hand-off was complete.

“You’ve set an incredible example for all of us. … You will be missed,” D’Amaro said.

There was little fanfare during the business portion of the investor meeting.

The company’s slate of board directors were elected with 93% of the vote. Shareholders also approved executive compensation packages with about 85% of votes.

Shareholder-led proposals to compel reports on charities eligible for Disney’s gift-matching program, a review of the company’s accessibility practices in its theme parks for disabled guests, and a push for cumulative voting at future meetings all failed to muster support.

Disney shares closed at $99.41, down roughly 1% on the day.

Disney has a new captain, and his eyes are on the stars.

Taking over the reins from Bob Iger on Wednesday, new chief executive Josh D’Amaro signaled a bold shift for the entertainment giant: a future where emotional storytelling remains the “North Star,” but cutting-edge technology provides the fuel.

From ESPN to the Magic Kingdom, D’Amaro said in his first letter to employees as the top boss that his mission is to turn a century of nostalgia into a more personal, high-tech reality for fans worldwide.

“Used thoughtfully, it can empower our storytellers, strengthen our capabilities, and help us create more immersive, interactive and personal ways for people to experience Disney,” he wrote in the Wednesday morning note.

D’Amaro also said he wants the sprawling company, which includes film and TV studios, a tourism division, streaming services and live sports programming, to operate as “one Disney,” saying the global businesses all play a role in deepening consumers’ relationship with the Mouse House.

That connection people have with Disney’s brand is key to the company’s future. Consumers have more film, TV and experiences to choose from than ever, meaning Disney needs to distinguish itself among competitors.

To do that, D’Amaro plans to focus on the emotions consumers feel when they encounter Disney. As an example, he reminisced about his own first visit to Disneyland more than 40 years ago.

He recalled the joy on his father’s face as the two rode Peter Pan’s Flight together. And when they soared over the miniature version of London on the ride, he remembered his father leaning in and saying, “See, I told you. It feels like we’re flying!”

“That feeling of flying I had on Peter Pan all those years ago is still real to me,” he wrote in the Wednesday morning note. “And today, I am honored to move forward with all of you — with ambition, optimism, and absolute confidence in what we can build together.”

That new era also included a goodbye to Bob Iger, who handed over the reins Wednesday and now moves into a senior advisory role for the rest of the year before his planned retirement.

The company paid tribute to Iger in a video during Disney’s annual shareholders meeting Wednesday morning.

With clips from his earliest public appearances as Disney’s CEO, a highlight reel of the acquisitions the company made under his tenure and even a nod to his previous career behind the anchor desk, the video highlighted Iger’s legacy at the company and the role he played in bulking up Disney’s franchises, global theme parks, sports and streaming platforms.

When asked in the video about where he’ll go from here, Iger laughed and replied, “To Disneyland.”

In a pre-recorded speech, Iger said his time at Disney has spanned much of his life and that he never expected to become CEO of the company — much less twice.

“Over the years, we experienced extraordinary change and faced real challenges that were particularly profound in the last three years,” Iger said. “It was daunting at times, but through it all, what sustained me was the passion I saw every day from great storytellers, innovators, leaders and people around the world.”

In his parting remarks during that speech, he expressed confidence in the new leadership team of D’Amaro and Dana Walden, who is now president and chief creative officer of the company.

“I will be cheering on Josh, Dana and all of you as I sail off into the sunset,” he said. “So thank you for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving. It has meant more to me than I can say.”

Edison International boosted the pay of its top executives last year despite their responsibility for the safety of the company’s power lines before the devastating Eaton fire, which destroyed a wide swath of Altadena and killed 19 people.

Although the company cut cash bonuses for its senior executives, citing the wildfires, their overall compensation went up substantially as the utility’s profit soared in 2025.

Pedro Pizarro, chief executive of the parent company of Southern California Edison, received $16.6 million in cash, stock and other compensation last year, up 20% from 2024, according to a new company filing.

Steven Powell, president of Southern California Edison, received compensation totaling $6.5 million last year, up from $3.9 million in 2024 — a jump of more than 65%.

The utility’s transmission equipment is suspected of igniting two wildfires on Jan. 7, 2025, including the Eaton fire, which left thousands of families homeless.

The Times earlier detailed how Edison fell behind in performing maintenance on its aging transmission lines — work that it had told state utility regulators was needed. County prosecutors are investigating whether Edison should be criminally charged for its actions before the fire.

The government investigation into the cause of the fire has not been released and Edison has denied that it acted negligently. Pizarro has said a leading theory is that a century-old transmission line, which the company had not used for 50 years, may have briefly reenergized, igniting the fire.

A state law championed by Gov. Gavin Newsom in 2019 protects utilities from paying for the damage due to fires sparked by their equipment. When it passed, Newsom touted the law’s requirement that utilities must tie executive compensation to their safety record, saying it would keep them accountable.

The law said that a utility “may” consider tying 100% of executive bonuses to safety performance and “denying all incentive compensation in the event the electrical corporation causes a catastrophic wildfire that results in one or more fatalities.”

Edison said in the new filing that the company’s board members who determine executive compensation decided to decrease the cash bonuses of Pizarro, Powell and Jill Anderson, the utility’s chief operating officer, because of the 2025 wildfires.

Pizarro’s cash bonus was cut by more than $1 million while Powell’s was trimmed by $442,000, according to the filing. Anderson lost out on $244,000.

The company, based in Rosemead, said its decision to cut the three executives’ cash bonuses “was not a reflection of the performance of the company or these executives.”

Despite those cuts, the executives’ total pay of salary, bonuses, stock and other compensation rose, according to the filing. That’s because Edison ties most executive compensation not to safety, but to the company’s financial performance.

And last year, Edison’s profit jumped more than 200% — from $1.3 billion in 2024 to $4.5 billion — despite the Eaton disaster.

The profit increase resulted from the protections from wildfire damage provided to Edison by the 2019 law, as well as a 13% hike in customer electricity rates in October.

The utility attributed the higher electric bills to several increases that it successfully lobbied the California Public Utilities Commission to approve. All five members of the commission were appointed by Newsom.

Scott Johnson, an Edison spokesman, said Tuesday that Pizarro and other company executives holding stock took a financial hit after the fires when the price plummeted.

Before the January fires, Edison International’s stock price was about $80. It fell to $50 the next month. It has recovered much of its value, closing on Tuesday at $72.92.

Edison is facing hundreds of lawsuits by victims of the fire. The suits claim it acted negligently, including by failing to remove the old, dormant transmission line in Eaton Canyon.

The lawsuits also blame Edison for not preventatively shutting down its transmission lines Jan. 7, 2025, despite the dangerous Santa Ana winds.

Pizarro has said the winds didn’t meet the company’s threshold in place at the time for turning off those high-voltage wires.

“Our deepest sympathies remain with all those affected, and this loss reinforces our commitment to public safety and wildfire risk mitigation,” Pizarro and Peter Taylor, chairman of the parent company’s board, wrote in a letter to shareholders that was released with the details on executive compensation.

The two executives added that the company’s “long-term objective remains unchanged: to significantly reduce wildfire risk while improving safety, reliability and affordability of electric service.”

Edison is now offering to compensate Eaton fire victims, including those who lost their homes, family members, businesses and apartments. The offer requires the victims to give up their right to sue the utility. Many survivors say the utility’s offer falls short of what they lost.

Pizarro and Taylor wrote that as of March 4, more than 2,500 claims had been submitted through the program. So far, Edison has extended offers to roughly 600 victims submitting claims and made payments totaling $31 million to 212 of those people, they wrote.

The utility also has begun settling claims of property insurers that covered Altadena homes that were destroyed or damaged, paying out hundreds of millions of dollars. The settlements will help cover the insurance companies’ losses.

Edison has told its shareholders that it expects most or all of those payments to victims and insurers to be covered by a $21-billion state wildfire fund that Newsom and lawmakers created as part of Assembly Bill 1054, which became law in 2019.

Critics say the law went too far, allowing a utility to allegedly spark a deadly wildfire without financial consequences to the company or its executives.

“The predictable outcome of continuing to protect shareholders and executives from the consequences of their own negligence is not theoretical. It is observable. More catastrophic fires,” Joy Chen, executive director of the Eaton Fire Survivors Network, wrote in an email to state wildfire fund administrators this year.

Johnson responded, saying,”Our motivation to prevent fires and any incidents is to be good neighbors and provide affordable and resilient energy. There is nothing more important than safety.”

Taylor was on the board committee that approved the compensation package for Pizarro and other top executives. For his work chairing the board, Taylor received cash and stock compensation of more than $500,000.

Johnson said Taylor’s compensation was based on “typical board chair pay” at other utilities.

The new filing said Pizarro’s total compensation of $16.6 million was 75 times the median Edison employee’s total compensation of $220,000.

The present value of Pizarro’s pension is more than $19 million, the report said.

The company is facing a challenge from one of its shareholders — John Chevedden of Redondo Beach, according to the filing.

Chevedden is asking the company’s shareholders to vote to approve his proposal that would require Pizarro and other Edison executives to hold at least 25% of the stock they had received as compensation until they reach retirement age.

He said that requiring utility executives to hold a significant portion of their stock until retirement would focus their efforts on the company’s long-term success.

Chevedden pointed to “unfavorable news reports,” including the U.S. Department of Justice’s lawsuits against Edison for the Eaton fire and 2022 Fairview blaze, which killed two people in Riverside County.

Edison’s board urged shareholders to vote against Chevedden’s proposal before the company’s annual meeting April 23.

The board said the company already had guidelines that “closely align the interests of officers with the long-term interests of our shareholders.”

Live Nation, the ticketing giant that reached a tentative settlement with the Department of Justice last week, remains under fire.

A coalition of more than 30 states that had joined the original lawsuit filed in 2024 is refusing to accept the $200-million settlement, causing the trial to resume this week in Manhattan’s Federal Court.

The settlement with the Justice Department requires Beverly Hills-based Live Nation to open Ticketmaster to rival ticket sellers, force the company to open select venues to competing promoters and cap service fees at 15%. California is one of the key states still involved in the trial.

But those steps fall short, critics say.

“It’s clear that Live Nation has manipulated the market and made itself untouchable by competitors, hurting artists, hurting fans, hurting venues, all the while, raking in the cash,” said California Atty. Gen. Rob Bonta at the Capitol Forum conference last week. “Not because it’s a better service or product, because it acted illegally and created a monopoly.”

U.S. senators have also chimed in. Minnesota’s Amy Klobuchar recently introduced the Antitrust Accountability and Transparency Act to strengthen the review of antitrust settlements. Klobuchar said in a release that it’s “clear the American people got the raw end of the deal.”

And Connecticut’s Richard Blumenthal released a report that provides new details into the inner workings of Ticketmaster and urges attorneys general across the nation to reject the settlement.

Blumenthal said that the Trump administration’s settlement with Live Nation will keep consumers vulnerable to Ticketmaster’s “anticompetitive practices” and ultimately push “concert tickets farther out of reach for fans.”

The senator’s report, entitled “So Casually Cruel: How Ticketmaster’s Monopoly Supercharges Prices and Fees,” examined over 100,000 documents and Ticketmaster’s revenue data. The report argues that the company leveraged its market control to make tickets available on the resale market before they were available to the general public in an effort to hike prices and boost profits.

“The ticketing market is broken,” Blumenthal said in a statement.

In its own statement, Ticketmaster said Blumenthal’s report “misrepresents how the live events industry works” and that the problem lies in the secondary ticketing industry.

“This is why we’ve long called for industry resale reform, including price caps, while also developing tools to empower artists and protect fans,” Ticketmaster said in a statement.

Recently, Ticketmaster has backed ticketing bills like AB-1349 and advocated to Congress for an industry-wide resale cap.

Sens. Blumenthal and Klobuchar are among many industry experts who say the settlement doesn’t adequately address anticompetitive practices and falls short of protecting consumers from high ticket prices.

Under Klobuchar’s new bill, courts could have 90 days to review public comments and government responses.

“When the government prosecutes antitrust violations, the goal should be to uphold the law, lower prices, and protect consumers and small businesses,” Klobuchar said in the statement.

Lindsay Owens, the executive director of the economic policy nonprofit Groundwork Collaborative, said the settlement will end up being “incredibly costly for concertgoers, performers, and independent venues.”

“California and 35 other states are standing up for Americans who are sick and tired of being ripped off and having to scrimp and save to enjoy a night out,” Owens said in a statement.

This ongoing trial is one of several major legal battles the ticketing giant is facing. The company is also being sued by the Federal Trade Commission and is dealing with a handful of class-action lawsuits from groups of concertgoers.

Times staff writer Meg James contributed to this report.

Walt Disney Co.’s incoming president and chief creative officer, Dana Walden, has unveiled her leadership team, which includes several familiar faces from the company’s film, television and marketing units.

Walden will become Disney’s first woman president on Wednesday. She will report to Josh D’Amaro, who will succeed Bob Iger as Disney’s chief executive, following the company’s annual meeting with shareholders and its high-profile leadership handoff.

Walden’s senior team includes her longtime creative partner, Alan Bergman. As chairman of Disney Entertainment and Studios, Bergman will continue to oversee Disney’s film studios, including production, marketing and distribution.

Bergman also will retain oversight of Disney’s streaming programming in concert with Walden.

Disney executives Joe Earley and Adam Smith were named co-presidents of Disney’s entertainment direct to consumer offerings — Disney+ and Hulu. Both executives will be responsible for strategy and financial performance and report to Walden and Bergman.

Earley and Walden worked together when they were Fox executives; Earley will also serve as head of content strategy.

Smith continues in his role as Disney Entertainment chief product and technology officer. He also will continue to collaborate with ESPN Chairman Jimmy Pitaro on matters related to ESPN and ESPN+.

Debra OConnell will step into a newly-formed role as chairman of Disney Entertainment Television.

She will have a broad TV portfolio that includes ABC Entertainment, Disney-branded cable channels, Hulu Originals as well as programming from National Geographic, 20th Television and 20th Television Animation.

OConnell will continue to oversee ABC News and the ABC-owned television stations, including KABC-TV Channel 7 in Los Angeles.

Disney’s incoming president Dana Walden has established her senior leadership team.

(Richard Shotwell/Richard Shotwell/Invision/AP)

Sean Shoptaw, who serves as executive vice president for games and digital entertainment, and his organization, will shift from Disney Experiences and into Walden’s division.

Shoptaw oversees Disney’s games business and its collaboration with Epic Games to develop a Disney universe connected to Fortnite.

John Landgraf remains chairman of FX and will continue to report directly to Walden.

Asad Ayaz, who is chief marketing and brand officer, has an influential remit across Disney’s various business segments. He will report to D’Amaro and Walden.

“The strength of Disney has always been the emotional connection between our stories and the people who love them,” Walden said in a statement. “As fans engage with Disney across more formats and platforms than ever before, we are bringing together the full power of our creative businesses to build an even more connected experience for audiences.”

NBCUniversal is cutting “Access Hollywood” and several other of its daytime talk shows, effectively ending its first-run syndication business as daytime television atrophies.

The company confirmed that “Access Hollywood,” and its counterpart “Access Live,” will be coming to an end in September. The shows, produced in Los Angeles, are currently hosted by Mario Lopez, Kit Hoover, Scott Evans and Zuri Hall.

Talk shows “Karamo” and “The Steve Wilkos Show,” produced out of NBC’s facility in Stamford, Conn., are also shutting down. The programs have already completed their production for the season and will run through the summer.

NBC previously announced that “The Kelly Clarkson Show” is also ending later this year after seven seasons.

“The Steve Wilkos Show” ran for 19 seasons. The host is a former bouncer for “The Jerry Springer Show.”

Francis Berwick, chairman of Bravo and Peacock unscripted, said in a statement that the company will continue to distribute library episodes of its talk programs and network shows such as “Law & Order.” But NBCU’s days of launching series for daytime and the hour before prime time are over.

“NBCUniversal is making changes to our first-run syndication division to better align with the programming preferences of local stations,” Berwick said. “The company will remain active in the distribution of our existing program library and other off-network titles, while winding down production of our first-run shows.”

“Access Hollywood” was first launched by NBC in 1996 as a competitor to CBS Media Ventures’ “Entertainment Tonight.”

First-run syndication allows producers to sell TV shows to stations on a market-by-market basis, instead of distributing them through a single network. This model was a major success for talk show staples such as Oprah Winfrey and Ellen DeGeneres.

But streaming has pulled viewers away from traditional television, as viewers can watch their favorite shows and movies anytime on demand. The audience levels needed to generate enough ad revenue to support first-run programming in daytime no longer exists.

Many TV stations are filling their hours with more local news as daytime talk goes away.

It has been nearly three years since Hollywood writers went on a historic strike that lasted 148 days and ushered in an extraordinary period of labor unrest that virtually shut down the film and TV business.

Now, writers are poised to commence another round of bargaining with the major studios on a new three-year film and TV contract. Few observers think the union is girding for another showdown, especially at a time when many of its members are struggling to find work amid media consolidation and belt-tightening.

But in advance of negotiations that begin on Monday , union leaders are eager to dispel any perception that they might have scaled back their demands.

“Our members have shown many times that they’re willing to fight for what we need as a collective group,” WGA West President Michele Mulroney said in an interview. “And there’s no exception here.”

With its current contract expiring on May 1, the WGA hopes to improve its members’ healthcare plans, increase streaming residuals and expand AI protections.

Michele Mulroney speaks as the Screen Actors Guild (SAG-AFTRA) and Writers Guild of America (WGA) join GLAAD in releasing the 11TH Annual GLAAD Studio Responsibility Index at The Village at Ed Gould Plaza Los Angeles LGBT Center in Los Angeles, California, on September 14, 2023.

(Michael Tran/AFP via Getty Images)

Ellen Stutzman, the union’s executive director, said despite popular belief, the studios have weathered the transition from cable television to streaming “very well,” citing their efforts to maximize revenue with streaming bundling, rising subscription fees and advertising revenue.

“Writers are watching as Netflix and Paramount are fighting it out to acquire Warner Bros… Paramount is spending $81 billion,” said Stutzman. “There’s money for a fair deal for writers.”

The union leaders agree that this year’s negotiations are all focused on the sustainability of a writer’s career.

A spokesperson from the Alliance of Motion Picture and Television Producers, which represents the major studios in negotiations, said in a statement that they look forward “to engaging in a constructive and collaborative bargaining process with the WGA. Through continued good-faith dialogue, we are confident we can reach balanced solutions that support talented writers while sustaining the long-term success and stability of our industry and its workforce.”

A top priority for the WGA is to increase the caps that companies contribute to the union’s healthcare plan. Union officials say the current cap has remain unchanged for two decades as healthcare contributions have steadily declined due to fewer writers working.

AI is also top of mind for the WGA.

In 2023, the guild secured various AI protections by establishing that AI isn’t a writer and nothing it produces is considered literary material.

But as major studios start to make deals with AI companies, like Disney’s $1 billion investment into OpenAI’s Sora platform, many writers are concerned about how their work could be used.

“AI is using [studios’] IP, which is stuff that we wrote to license these models,” said John August, the co-host of the “Scriptnotes” podcast and WGA’s negotiating committee co-chair. “With the Sora deal, it seems clear that the companies intend to monetize this IP for use with AI.”

August says the union will be skeptical toward arguments that it’s still too early to seek more safeguards around such a nascent industry, citing the union’s past history with the rise of DVDs and the internet and how profoundly those technologies changed the compensation for writers.

“If you’re taking the work that we created to generate AI outputs, we are owed money. They’re using our work to do something down the road,” added August.

WGA’s negotiating committee also is looking to boost streaming residuals, expand the minimum number of people allowed in a writers’ room and add protections for scribes working on pilots.

“We very much hope that lessons were learned in 2023 and that the AMPTP will come to the table ready to take our proposal seriously and to make a fair deal, and to do that quickly,” Mulroney said. “It provides stability for the companies and for our membership. It’s better for everybody.”

WGA is entering contract negotiations nearly a month after the actors’ union, SAG-AFTRA, began its bargaining sessions. Last week,
the AMPTP said it was extending negotiations another seven days.

Disneyland Resort President Thomas Mazloum has been named chairman of Walt Disney Co.’s experiences division, the company said Tuesday.

Mazloum succeeds soon-to-be Disney Chief Executive Josh D’Amaro as the head of the Mouse House’s vital parks portfolio, which has become the economic engine for the Burbank media and entertainment giant. His purview includes Disney’s theme parks, famed Imagineering division, merchandise, cruise line, as well as the Aulani Resort and Spa in Hawaii.

Jill Estorino will become the head of Disneyland Resort in Anaheim. She previously served as president and managing director of Disney Parks International and oversaw the company’s theme parks and resorts in Europe and Asia.

Estorino and Mazloum will assume their new roles on March 18, the same day as D’Amaro and incoming Disney President and Chief Creative Officer Dana Walden.

“Thomas Mazloum is an exceptional leader with a genuine appreciation for our cast members and a proven track record of delivering growth,” D’Amaro said in a statement. “His focus on service excellence, broad international leadership and strong connection to the creativity that brings our stories to life make him the right leader to guide Disney Experiences into its next chapter.”

Mazloum had been about a year into his tenure at Disneyland. Prior to that, he was head of Disney Signature Experiences, which includes the cruise line. He was trained in hospitality in Europe.

In his time at Disneyland, Mazloum oversaw the park’s 70th anniversary celebration and recently pledged to eliminate time limitations for park-hopping, which are designed to manage foot traffic at Disneyland and California Adventure.

Mazloum will now oversee a 10-year, $60-billion investment plan for Disney’s overall experiences business, which includes new themed lands in Disneyland Resort and Walt Disney World. At Disneyland, that expansion could result in at least $1.9 billion of development.

The size of that investment indicates how important the parks are to Disney’s bottom line. Last year, the experiences business brought in nearly 57% of the company’s operating income. Maintaining that momentum, as well as fending off competitors such as Universal Studios, is key to Disney’s continued growth.

In his new role, Mazloum will have to keep an eye on “international visitation headwinds” at its U.S.-based parks, which the company has said will likely factor into its earnings for the fiscal second quarter. At Disneyland Resort, that dip was mitigated by the park’s high percentage of California-based visitors.

Times staff writer Todd Martens contributed to this report.