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Netflix’s Ted Sarandos grilled in Senate hearing

Netflix Inc. Co-Chief Executive Ted Sarandos pledged to maintain a 45-day theatrical window for Warner Bros. films during a Senate subcommittee hearing Tuesday.

Sarandos also tried to dampen concerns about potential job losses and U.S. production declines related to the companies’ proposed multibillion-dollar deal.

During a two-hour hearing before the Senate Subcommittee on Antitrust, Competition Policy and Consumer Rights, Sarandos told lawmakers the proposed merger would not run afoul of antitrust concerns and would, instead, “strengthen the American entertainment industry.”

About 80% of HBO Max subscribers also have Netflix subscriptions, which he said showed the two services were “complementary.” Netflix also plans to increase its film and television production spending to $26 billion this year, with a majority of that happening in the U.S., he said.

“We are doubling down, even as much of the industry has pulled back,” Sarandos said, according to a written transcript of his opening remarks. “With this deal, we’re going to increase, not reduce, production investments going forward, supported by a stronger combined business and balance sheet.”

Sarandos was joined at the hearing by Warner Bros. Discovery Chief Revenue and Strategy Officer Bruce Campbell.

When asked by Sen. Adam Schiff (D-Calif.) whether senators should expect a “round of layoffs” or consumer price increases as a result of the deal, Campbell said no. He pointed to Netflix’s lack of comparable film and TV studios, or the distribution infrastructure that Warner Bros. has.

“We believe, based on our discussions with them in the negotiation process, that they’re not only going to keep those operations intact, in fact, they’re going to invest in those operations and invest in continued production, including on our lots in Burbank and elsewhere,” Campbell said.

Paramount Chief Executive David Ellison was also invited to appear as a witness, but declined because he did not believe it would be useful or helpful since the company’s bid for Warner had been rejected, Sen. Cory Booker (D-N.J.) said during the hearing. Ellison did, however, meet with him and other senators privately to answer questions, Booker said.

Sarandos also tried to assuage concerns about the deal’s potential effect on theatrical distribution.

“I know I’ve earned some skepticism over there over the years on this because I was talking a lot about Netflix’s business model, which was different from that,” he said. “We didn’t own a theatrical distributor before. We do now, and a great one.”

When asked if the 45-day window would be “self-enforced,” Sarandos agreed, saying that was an industry standard. He did, however, note the general caveat that “routinely, movies that underperform, the window moves a little bit” but is still referred to as a 45-day window.

And in a sign of the growing role politics has played in the perception of the deal, Sarandos tried to sidestep questions from Republican senators about perceived “woke” content on the streaming platform, as well as inquiries from Booker about President Trump’s involvement in the merger. Trump previously said he “would be involved” in his administration’s decision to approve any deal.

The hearing comes just two months after Netflix prevailed in a hotly contested bidding war for Warner Bros. The $72-billion deal would dramatically reshape the Hollywood landscape and give the streamer control over Warner Bros.’ storied Burbank film and TV studios, its lot, HBO and HBO Max.

Netflix also agreed to take on more than $10 billion in Warner Bros. debt, pushing the enterprise value of the transaction to $82.7 billion.

But Paramount has continued to pursue the company, fighting to acquire all of Warner Bros. Discovery, including its cable networks.

The company, led by Ellison, has made a direct appeal to Warner shareholders to tender their shares in support of a Paramount deal. A deadline for that offer was recently extended to Feb. 20.

Paramount has also filed proxy materials to ask Warner shareholders to reject the Netflix deal at an upcoming shareholders meeting.

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Don Lemon speaks about his arrest on ‘Jimmy Kimmel Live!’

Making his first major post-arrest television interview Monday on “Jimmy Kimmel Live!,” Don Lemon detailed the moments surrounding his incarceration and his experience as a journalist becoming the center of a news story.

“There’s a lot that I cannot say,” Lemon told Kimmel. “But what I will say is that I’m not a protester. I went there to be a journalist. I went there to chronicle and document and record what was happening … I do think that there is a difference between a protester and a journalist.”

The appearance arrived less than a week after the former CNN anchor — now an independent journalist who hosts a YouTube show — was arrested by federal agents in Los Angeles following his coverage of an anti-ICE protest at a Minnesota church earlier this month. Lemon, 59, was released without bond Friday and is expected to plead not guilty, according to his attorneys.

On Monday’s show, Kimmel began the conversation by asking Lemon how he was feeling: “I don’t know — that’s an honest answer,” Lemon said. “I’m OK. I’m not going to let them steal my joy, but this is very serious. These are federal criminal charges.”

Lemon was arrested — along with three others in attendance at the protest — at the direction of Atty. Gen. Pam Bondi, who said on X that it was in connection to what she described as a “coordinated attack” on the church, located in St. Paul. Lemon is charged with conspiracy to deprive the church congregants of their rights and interfering by force with someone’s First Amendment rights. Lemon has denied participating in the protest at the church — assembled to decry that an Immigration and Customs Enforcement field officer apparently serves as a pastor there — saying he was present in a journalistic capacity.

Playfully acknowledging that he hasn’t been a favorite of President Trump’s since his time on CNN, Lemon said he hadn’t been concerned about his possible arrest — even with a re-post by Trump calling for it — until it gained steam by members of Trump’s cabinet, including Bondi and Todd Blanche, the U.S. deputy attorney general. Lemon said that after retaining a lawyer and volunteering to turn himself in to handle the matter without fanfare, he “never heard back from them.”

“That is customary in a situation like this, that someone would be allowed to turn themselves in,” Lemon said. “People who are who are accused of much worse things than I am accused of doing, they are allowed the courtesy. I mean, Donald Trump was allowed the courtesy to turn himself in …”

Lemon went on to detail the moments leading up to his arrest Thursday, which came after a night of covering a Grammys event for the Black Music Collective and attending a post-party celebration.

“I got back to the hotel, I walked in with my swag bag from the thing … and I pressed the elevator button and all of a sudden I feel myself being jostled, people trying to grab me and put me in handcuffs,” he recounted. “And I said, ‘What are you doing here?’ And they said, ‘We came to arrest you.’ I said, ‘Who are you?’ Then finally they identified themselves. And I said, ‘If you are who you are, then where’s the warrant?’ And they didn’t have a warrant, so they had to wait for the someone from outside, an FBI guy, to come in to show me a warrant on a cell phone … They took me outside FBI guys were out there. It had to be maybe a dozen people, which is a waste, Jimmy, of resources … They want to embarrass you. They want to intimidate you. They want to instill fear.”

He said he hadn’t realized how much attention his arrest had generated until he saw CNN broadcasting the story on a TV monitor where he was being held.

“I could see ‘Former CNN anchor Don Lemon arrested in Los Angeles,’” he said. “I said to the guy, ‘Is that happening a lot?’ He goes, ‘You’ve been on all morning, yeah. And he says, ‘This is a big deal.’”

During the conversation, Kimmel criticized what he felt was a lack of attention to the recent search by FBI agents of the home of a Washington Post reporter who covers the federal government. Lemon, who parted ways with CNN in 2023, attributed it to a fear among the leaders of corporate press enterprises.

“Corporate media has been neutered right now. They are afraid, and that’s the reason I’m so happy with what I do, because I’m closer to the ground,” he said. “This is not time for folly. It’s not time for false equivalence, and putting people on television and on news programs, giving them a platform, who come on just to lie. …. Some things are objectively bad and I think its important in this time to point that out.”

Lemon hitting the late-night circuit intensifies its spotlight as a free-speech battleground. The Trump era has prompted more pointed and passionate takes from most of the major hosts that, in turn, have captured the attention and ire of the president, who has provoked threats against them and their broadcasters.

Last year, CBS announced it was canceling “The Late Show” after a three-decade run — a decision the company attributed to financial reasons and not, as many have speculated, because of host Stephen Colbert’s criticism of a settlement between the Trump administration and Paramount, the parent company of CBS, over a 2024 “60 Minutes” interview with then-Vice President Kamala Harris.

More recently, Kimmel faced a brief suspension last fall over comments regarding the killing of right-wing activist and influencer Charlie Kirk (ABC ultimately reinstated Kimmel following public backlash.) In fact, Lemon referenced that situation prior to his arrest, when a judge dismissed prosectors’ initial charging effort: “This is not a victory lap for me because it’s not over. They’re gonna try again,” Lemon told his followers on his YouTube show after the judge’s ruling. “Go ahead, make me into the new Jimmy Kimmel, if you want.”

Last Friday, addressing a crowd outside the courthouse upon his release, Lemon said, “There is no more important time than right now, this very moment, for a free and independent media that shines a light on the truth and holds those in power accountable. I will not stop now, I will not stop ever.”

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Theme park revenue soared, but the YouTube dispute took a toll on Disney’s Q1 earnings

A record fiscal quarter for Walt Disney Co.’s theme parks division was dampened slightly by a streaming aquisition and a protracted fight with YouTube, the Burbank media and entertainment giant reported Monday.

Disney recorded overall revenue of about $26 billion in the three-month period that ended Dec. 27, up 5% compared to the previous year. Disney’s income before income taxes totaled nearly $3.7 billion, a 1% jump from the same time period last year. Earnings per share were $1.34 for the quarter, down from $1.40.

Disney Chief Executive Bob Iger said in a statement that he was “pleased” with the company’s start to the fiscal year and nodded at the transition ahead to a new CEO.

“As we continue to manage our company for the future, I am incredibly proud of all that we’ve accomplished over the past three years,” he said.

It was a big quarter for Disney’s experiences division, which includes its theme parks, cruise line and Aulani resort and spa in Hawaii.

The sector reported $10 billion in revenue, aided by a 1% bump in attendance at its domestic theme parks and higher guest spending. The launch of the new Disney Destiny cruise ship in November also helped boost operating income to $3.3 billion, a 6% boost compared to the previous year.

Disney’s box office success with billion-dollar hits like “Zootopia 2” and “Avatar: Fire and Ash” helped propel revenue for its entertainment division by 7% to $11.6 billion. But costs related to its acquisition of a majority stake in FuboTV, as well as higher marketing costs in theatrical distribution and streaming services affected the sector’s operating income, which declined 35% to $1.1 billion.

The dip in operating income from the entertainment sector took a toll on the company’s total segment operating income, which was down 9% to $4.6 billion. That was also partly due to Disney’s contract dispute last fall with YouTube TV, which lasted for nearly 15 days and resulted in a blackout of Disney channels.

The temporary suspension of Disney channels on YouTube TV took a $110 million toll on operating income within Disney’s sports division, which was down 23% to $191 million. Sports revenue for the quarter totaled $4.9 billion, up 1% compared to the previous year.

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Why California’s fight over ticket fraud has become a proxy war against Ticketmaster and Live Nation

A year ago, Colorado firefighters Rick Balentine and Tim Cottrell were driving trucks carrying donations from Aspen to Los Angeles for victims of the Eaton and Palisades fires.

As they headed west, they planned to stop in Las Vegas and, while there, made a spontaneous decision to see the Eagles’ residency at the Sphere. Balentine and Cottrell bought resale tickets on StubHub for around $400 each. Cottrell used his credit card and received a confirmation email. But once they arrived to the venue, they weren’t allowed in. The seller failed to send the tickets.

All Cottrell could find was an email that said his tickets had been canceled, moments before the concert was to start. Other than getting their money back, there was no further explanation.

“We knew they were aftermarket tickets,” Balentine said, “but never in a million years did I think that tickets could get canceled.”

“I was very disappointed. There needs to be more protection out there, both for consumers and for artists, so people aren’t getting ripped off all the time.”

The rising demand for tickets has spurred a growing marketplace for all kinds of high-profile live events, including music tours and sports series like the upcoming World Cup. Whenever fans are unable to secure tickets on the primary market, through sellers like Ticketmaster or AXS, many will turn to the secondary market for resale tickets. Those tickets are typically sold through platforms like StubHub, SeatGeek and Vivid Seats. Customers who bought their passes directly from Ticketmaster can also resell them on that platform.

The majority of secondary-market transactions can be easy, leaving both the reseller and the customer satisfied. But with the rise of speculative or fake tickets, like the ones Balentine and Cottrell bought, securing valid tickets from the resale market has become more challenging.

What are speculative tickets?

Speculative tickets are offered by resellers who list concert passes they don’t yet have in their possession, with the intention that they will ultimately acquire the tickets and deliver them to the buyer. According to 2025 data from Live Nation, one in three Americans has fallen victim to a ticketing scam. But under California’s bill, AB 1349, selling speculative tickets could be banned on all resale platforms in the state. On Monday, the bill passed in an assembly vote and is headed to the state Senate for review.

Thousands of fans enjoy Shakira's performance at SoFi Stadium

Thousands of fans enjoy Shakira’s performance at SoFi Stadium in August.

(Jason Armond/Los Angeles Times)

Speculative tickets usually pop up as soon as a major artist announces a tour. Most recently, K-pop boy band BTS announced a world tour that includes four stops at SoFi Stadium. Before the general sale began Jan. 24, some sellers on Vivid Seats had already started listing tickets for over $6,000. Listings like these usually create a greater sense of scarcity, which can drive up ticket prices even more.

If enacted, the proposed legislation in California would require sellers to have event tickets in their possession before offering them for sale. The listing must include the location of the seat and specific refund rights. It prohibits a person from using software that automatically purchases more tickets than the specified limit, and it would raise the maximum civil penalty for each violation from $2,500 to $10,000.

The live music industry is a vital part of the state’s economy, contributing over $51 billion to California’s GDP and supporting over 460,000 jobs, according to the database 50 States of Music.

Ticketing fraud tends to affect more than just the consumer. Whenever an unknowing fan shows up to a venue with a fake ticket, it often falls on the venue and its staff to deal with the situation. Stephen Parker, the executive director of the National Independent Venue Association, said that if speculative tickets are banned in California, venues could save up to $50,000 in staffing expenses.

A general view of a portion of the stadium interior

Los Angeles’ SoFi Stadium, where many concerts and ticketed live events are held.

(Icon Sportswire/Icon Sportswire via Getty Images)

“They have to deal with fans who are crying, who are angry, who are upset because they thought they were going to go see their favorite artists that night, and they paid [over the] ticket’s face value only to not get a ticket that works or to not get a ticket at all,” said Parker.

Fighting ticket fraud and reining in a ticketing giant

There are currently dozens of legislative bills throughout the U.S. focused on event ticketing issues. Some states like Maryland, Minnesota and Maine have already passed restrictions on speculative tickets.

The action comes after both the Department of Justice and the Federal Trade Commission sued Ticketmaster and its parent company, Live Nation Entertainment, in 2024 and 2025. The DOJ’s lawsuit suggests breaking up the company, which it accuses of engaging in monopolistic practices. The complaint also alleges the company forces venues into exclusive ticketing contracts and influences artists to use only its services.

Founded in 1976, Ticketmaster has been the industry’s largest ticket distributor since 1995, with around 80% of live concerts sold through the site. The company merged with Live Nation in 2010.

Ticketmaster has also acquired a growing share of the resale market, under the platform Ticketmaster Resale. The site allows consumers to list, sell or find tickets to live events. The business functions similarly to other resale sites, but Ticketmaster does not allow speculative ticket sales on its platform.

The Federal Trade Commission is currently suing the company on accusations that it engaged in illegal ticket vendor practices for its resale business, like misleading artists and consumers with so-called “bait-and-switch pricing,” where advertised prices are lower than the actual total. Following the FTC’s complaint, the ticket seller made changes to its policies.

Additionally, Ticketmaster is no longer allowing users to have multiple accounts, which made it easier to purchase more tickets than the specified limit, and it is shutting down Trade Desk, the controversial software that helps resellers track and price tickets across several marketplaces.

Hundreds enjoy a performance by Banda Los Lagos during Jalisco Fest at the 2025 Santa Fe Springs Swap Meet.

Hundreds enjoy a performance by Banda Los Lagos during Jalisco Fest at the 2025 Santa Fe Springs Swap Meet.

(Genaro Molina/Los Angeles Times)

“The FTC case against us is very frustrating because we think they’re sort of blaming the victim here. We’re the ones that are dealing with millions and millions of bots attacking us every day,” said Dan Wall, Live Nation’s vice president of corporate and regulatory affairs. “We’re trying to convince the federal government and state governments to get on the same page of recognizing where the problem is, which is overwhelmingly in the resale industry, and trying to do something about it.”

“We’re a much more artist and consumer-focused company, and so we don’t engage in the different kinds of business practices that are sketchy and unfair to the fans. We try to be a much more honest, legitimate outlet for getting resale tickets,” said Wall.

Critics find that the surge of anti-speculative ticketing bills around the country is a way for Ticketmaster to divert attention from its own legal troubles and shift attention onto the resale market. Live Nation is a key supporter of the California bill. Diana Moss, the director of competition policy at the Progressive Policy Institute, called AB 1349 “overkill” when it comes to the provisions and restrictions it places on the secondary market.

Fans cheer Sexyy Red at the Rolling Loud concert at Hollywood Park in March.

Fans cheer Sexyy Red at the Rolling Loud concert at Hollywood Park in March.

(Michael Owen Baker/For The Times)

“A lot of these bills in the states are a vehicle to disable the resale markets and hinder how they operate. Resale markets are important to consumers,” said Moss. “If you disable the resale market, then fans have no place to go — but back to Ticketmaster. That’s the whole game, disable the resale markets with legislation and regulation, and then everybody has to go back and deal with Ticketmaster and pay their monopoly ticket fees.”

Provisions in AB 1349 deem a ticket a license. The question of whether a ticket is a right or a license is an ongoing controversy in the ticketing world. Opponents of the bill are fearful that this change would give more power to Live Nation, as they could impose restrictions on how the ticket can be used, such as whether you’re allowed to sell your ticket on other platforms or if you can transfer it at all. Meghan Callahan, from the Empower Fans Coalition, a group that opposes the bill, equates this licensing change to taking a lease out on the ticket.

“Ticketmaster’s goal is to create less competition. This bill imposes restrictions on everybody else but themselves,” said Callahan. “They are trying to use consumer-friendly concepts and sneak in these other provisions to embolden their monopoly.”

Wall at Ticketmaster said that nothing on the consumers’ end would change if this bill were to pass, adding that tickets are already licenses “from the venue for you to come on the property during the time of the show and sit in that seat.”

“Honesty doesn’t favor one person or another. That’s what this [bill] is about,” said Wall.

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Spotify paid out a record $11 billion into the music industry in 2025

Last year, Spotify paid out more than $11 billion to the music industry, bringing the company’s total payouts since launch to nearly $70 billion.

The milestone year reflected the “largest annual payment to music from any retailer in history,” the company announced on Wednesday in a post. In 2025, Spotify’s payout amount grew by over 10%, making the Sweden-based streamer one of the industry’s main revenue drivers.

“Big, industry-wide numbers can feel abstract, but that growth is showing up in tangible ways,” wrote Charlie Hellman, the company’s new head of music. “Despite rampant misinformation about how streaming is working today, the reality is that this is an era full of more success stories and promise than at any point in history.”

When music streaming was first introduced, there was some controversy about how much artists earn from streams. According to Spotify, independent artists and labels accounted for half of all royalties. Additionally, the company said there are currently more artists earning over $100,000 a year from Spotify alone than were getting stocked on shelves at the height of the compact disc era.

Founded in 2006, the company, with a large presence in L.A.’s Arts District, has become the world’s most popular audio streaming subscription service. The platform offers access to over 100 million tracks, podcasts and audiobooks in over 180 markets.

At the top of the year, founder Daniel Ek moved from his CEO position to become executive chairman. Spotify named two co-CEOs, Gustav Söderström and Alex Norström, in his place.

This month, Spotify raised prices for its premium subscribers in the U.S., bringing the costto $12.99 per month. Hellman disclosed that as Spotify’s audience continues to grow, the higher prices are designed to help with the company’s ongoing expansion. According to the post, Spotify makes up roughly 30% of recorded music revenue and pays out two-thirds of all music revenue to the industry. The other third gets invested back into the company to maintain an “unrivaled listening experience.”

Recently, the streamer has been focused on growing its podcasting division by opening a new recording studio in Hollywood, premiering several shows in partnership with Netflix and expanding its creator monetization program.

Separately, Spotify said it is hoping to counter new developments in AI by reinforcing a human connection between artists and fans. This includes an emphasis on more artist-powered videos, continuing to promote artists’ live shows on the platform and expanding the role of the company’s music curators. The streamer also has plans to crack down on AI-driven artists on the platform.

“AI is being exploited by bad actors to flood streaming services with low-quality slop to game the system and attempt to divert royalties away from authentic artists,” said Hellman. “We’re going to introduce changes to the systems for artist verification, song credits, and protecting artist identity. It’s critical to ensuring listeners and rightsholders can trust who made the music they’re hearing.”

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Not ‘just Ken’: Mattel shares Barbie’s longtime boyfriend’s full name

At the 2024 Oscars, Ryan Gosling, reprising his role as Ken in Greta Gerwig’s 2023 movie “Barbie,” donned a bedazzled pink suit and belted the ballad “I’m Just Ken.”

“I’m just Ken, anywhere else I’d be a 10,” the actor sang. “Is it my destiny to live and die a life of blond fragility?”

Barbie’s needy male counterpart, it turns out, is not “just Ken.” His full name is Kenneth Sean Carson, according to Mattel, which says the doll saw a uptick in popularity in the years following the hit movie’s release.

Ahead of Ken’s 65th birthday, the El Segundo-based toy giant shared a laundry list of niche biographical details about the doll, including his official “birthday” — March 11, 1961, making him a Pisces — as well as his relationship history with Barbie.

The company said in a statement Monday that Ken has “experienced a resurgence in recent years.”

A Mattel spokesperson cited the “Barbie” movie as a driving factor, as it showed a “different side” of Ken. In a meta move, the company later in 2023 released Ken dolls modeled after Ryan Gosling’s portrayal of Ken.

The “Kenbassador” line launched last year was a “great success,” the spokesperson said. The first product in that toy series was a $75 doll modeled after basketball player LeBron James released in April.

Mattel says it does not break out sales of Ken dolls, but in 2017, when Mattel unveiled Ken dolls with different body types, including one that invited “dad-bod” comparisons, the company told the Wall Street Journal that, on average, girls have one Ken doll for every seven Barbies they own.

Ruth Handler, the creator of Barbie, named the original doll after her daughter, Barbara. The glamorous doll, unique in that it depicted a grown woman rather than a baby, was an instant hit when it debuted at the New York Toy Fair in 1959. Barbie has significantly evolved in the decades since. Recent additions include Barbies with Type 1 diabetes and another with autism.

The Ken doll, created in 1961, was named after Handler’s son, Kenneth. He featured molded hair, wore red swim trunks and carried a yellow towel.

Kenneth Handler told The Times in a 1989 story that there were few similarities between him and the doll named after him. He died in 1994.

“Ken doll is Malibu,” he said. “He goes to the beach and surfs. He is all these perfect American things.”

But when Kenneth Handler was at Hamilton High School in Beverlywood, he “played the piano and went to movies with subtitles.” He continued, “I was a nerd — a real nerd. All the girls thought I was a jerk.”

Like Barbie, Ken dabbled in many different careers over the decades. There have been doctor, pilot, tennis player, firefighter, lifeguard, barista and even Olympic skier Kens, among many others. In 2006, he received a “mid-life makeover” from celebrity stylist Phillip Bloch.

According to the company, Ken and Barbie “met” on the set of their first television commercial in 1961 and soon began dating. After more than four decades, the doll couple broke up in 2004, but reunited in 2011.

Mattel was founded by Ruth Handler; her husband, Elliot Handler; and Harold “Matt” Matson in 1945 in a Los Angeles garage. The toy maker became a publicly traded company in 1960.

Mattel, which also owns Fisher-Price and Hot Wheels, wrote in its October Securities and Exchange Commission filing that “industry-wide shifts in retailer ordering patterns” pushed its third quarter net sales down 6%.

In 2024, Barbie gross billings — which measure the total value of products Mattel ships to retailers before sales adjustments — were down 12% from 2023, which had seen a boost from the movie, according to the company’s annual SEC filing.

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Paramount outlines plans for Warner Bros. cuts

Many in Hollywood fear Warner Bros. Discovery’s sale will trigger steep job losses — at a time when the industry already has been ravaged by dramatic downsizing and the flight of productions from Los Angeles.

David Ellison‘s Paramount Skydance is seeking to allay some of those concerns by detailing its plans to save $6 billion, including job cuts, should Paramount succeed in its bid to buy the larger Warner Bros. Discovery.

Leaders of the combined company would search for savings by focusing on “duplicative operations across all aspects of the business — specifically back office, finance, corporate, legal, technology, infrastructure and real estate,” Paramount said in documents filed with the Securities & Exchange Commission.

Paramount is locked in an uphill battle to buy the storied studio behind Batman, Harry Potter, Scooby-Doo and “The Big Bang Theory.” The firm’s proposed $108.4-billion deal would include swallowing HBO, HBO Max, CNN, TBS, Food Network and other Warner cable channels.

Warner’s board prefers Netflix’s proposed $82.7-billion deal, and has repeatedly rebuffed the Ellison family’s proposals. That prompted Paramount to turn hostile last month and make its case directly to Warner investors on its website and in regulatory filings.

Shareholders may ultimately decide the winner.

Paramount previously disclosed that it would target $6 billion in synergies. And it has stressed the proposed merger would make Hollywood stronger — not weaker. The firm, however, recently acknowledged that it would shave about 10% from program spending should it succeed in combining Paramount and Warner Bros.

Paramount said the cuts would come from areas other than film and television studio operations.

A film enthusiast and longtime producer, David Ellison has long expressed a desire to grow the combined Paramount Pictures and Warner Bros. slate to more than 30 movies a year. His goal is to keep Paramount Pictures and Warner Bros. stand-alone studios.

This year, Warner Bros. plans to release 17 films. Paramount has said it wants to nearly double its output to 15 movies, which would bring the two-studio total to 32.

“We are very focused on maintaining the creative engines of the combined company,” Paramount said in its marketing materials for investors, which were submitted to the SEC on Monday.

“Our priority is to build a vibrant, healthy business and industry — one that supports Hollywood and creative, benefits consumers, encourages competition, and strengthens the overall job market,” Paramount said.

If the deal goes through, Paramount said that it would become Hollywood’s biggest spender — shelling out about $30 billion a year on programming.

In comparison, Walt Disney Co. has said it plans to spend $24 billion in the current fiscal year.

Paramount also added a dig at Warner management, saying: “We expect to make smarter decisions about licensing across linear networks and streaming.”

Some analysts have wondered whether Paramount would sell one of its most valuable assets — the historic Melrose Avenue movie lot — to raise money to pay down debt that a Warner acquisition would bring.

Paramount is the only major studio to be physically located in Hollywood and its studio lot is one of the company’s crown jewels. That’s where “Sunset Boulevard,” several “Star Trek” movies and parts of “Chinatown” were filmed.

A Paramount spokesperson declined to comment.

Sources close to the company said Paramount would scrutinize the numerous real estate leases in an effort to bring together far-flung teams into a more centralized space.

For example, CBS has much of its administrative offices on Gower in Hollywood, blocks away from the Paramount lot. And HBO maintains its operations in Culver City — miles from Warner’s Burbank lot.

Paramount pushed its deadline to Feb. 20 for Warner investors to tender their shares at $30 a piece.

The tender offer was set to expire last week, but Paramount extended the window after failing to solicit sufficient interest among Warner shareholders.

Some analysts believe Paramount may have to raise its bid to closer to $34 a share to turn heads. Paramount last raised its bid Dec. 4 — hours before the auction closed and Netflix was declared the winner.

Paramount also has filed proxy materials to ask Warner shareholders to reject the Netflix deal at an upcoming stockholder meeting.

Earlier this month, Netflix amended its bid, converting its $27.75-a-share offer to all-cash to defuse some of Paramount’s arguments that it had a stronger bid.

Should Paramount win Warner Bros., it would need to line up $94.65 billion in debt and equity.

Billionaire Larry Ellison has pledged to backstop $40.4 billion for the equity required. Paramount’s proposed financing relies on $24 billion from royal families in Saudi Arabia, Qatar and Abu Dhabi.

The deal would saddle Paramount with more than $60 billion of debt — which Warner board members have argued may be untenable.

“The extraordinary amount of debt financing as well as other terms of the PSKY offer heighten the risk of failure to close,” Warner board members said in a filing earlier this month.

Paramount would also have to absorb Warner’s debt load, which currently tops $30 billion.

Netflix is seeking to buy the Warner Bros. television and movie studios, HBO and HBO Max. It is not interested in Warner’s cable channels, including CNN. Warner wants to spin off its basic cable channels to facilitate the Netflix deal.

Analysts say both deals could face regulatory hurdles.

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Train company launches adult-only carriages

CONTROVERSIAL new plans are being introduced in a European country which bans kids from certain train carriages.

Rail operator SNCF has unveiled a new ‘Optimum’ carriage on its high-speed Inoui trains where during the week, there’s a ban on children.

One French rail company has banned children in its ‘Optimum’ classCredit: Alamy
The carriage also has reclining seats, Wi-Fi and chargersCredit: SNCF

It’s described it as a “high-quality travel experience” and is generally for commuters who want quiet before heading into the office.

Optimum class is a dedicated first class carriage, with reclining seats, individual power outlets, reading lights, free Wi-Fi and winged headrests.

Online details add that “to ensure maximum comfort in the dedicated space, children are not permitted”.

The carriage will always be at the end of the train which will stop passengers from walking through the Optimum dedicated area so it will remain quiet.

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The ticket also includes use of TGV INOUI lounges in stations which have high performing Wi-Fi, drinks, an entertainment portal as well as newspapers and magazines.

The Optimum carriage is only available on SNCF’s main Inoui brand of express trains, which run across France and into Germany and Luxembourg.

And the ticket is also only an option from Monday to Friday – during the weekends every carriage is open to passengers of all ages.

And tickets don’t come cheap, A one-way journey from Paris to Lyon taking just over two hours is regularly priced at €56 (£48.63).

But with Optimum tickets it’s €180 (£156.31).

Not everyone is onboard with the decision though.

On the French news outlet, BFM, the French high commissioner for children, Sarah El Hairy, described the child-free ban as “shocking”.

The podcast Les Adultes de demain also said that “a red line has been crossed” and the the company shouldn’t be excluding children.

In its response to criticism, SNCF pointed out that the Optimum carriage forms less than 8 per cent of the total capacity of a TGV InOui train.

The ticket also includes access to TGV INOUI lounges before departureCredit: SNCF

While this may be a first for rail, it isn’t for the skies as some airlines have introduced dedicated child-free zones in recent years.

Corendon Airlines has ‘Only Adult’ zones for travellers over the age of 16 on flights between Amsterdam and Curaçao.

Scoot Airlines has its own ‘Scoot-in-Silence’ section which is is a child-free zone for those 12 and under in the forward economy cabin of Scoot’s Boeing 787 Dreamliner.

And AirAsia X has a “Quiet Zone” on certain long-haul flights which is a, child-free area for passengers aged 12 – usually this area is in the first seven rows of economy class.

IndiGo is another airline that has under-12-free zones.

For more, here’s a new high-speed train that will connect two European capitals in just three hours.

Plus, take a look inside UK’s new £2bn high speed trains with underseat luggage storage and the ‘most comfortable seats ever’.

Rail company SNCF has banned children on certain carriages on its high-speed Inoui trainsCredit: Alamy

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Minnesota’s Fortune 500 companies speak out on ICE, not loudly enough

Here are a couple of points about the business community of Minnesota you may not have known.

First, it’s home to a surprisingly large cadre of 17 major corporations, members of Fortune’s roster of the 500 largest U.S. companies.

Some of America’s best-known consumer companies, including UnitedHealth Group, Target, Best Buy, 3M and General Mills have chosen the windy, cold and snowy — but heretofore tranquil — state for their headquarters.

To get all 60 of the major CEOs to sign onto a statement was a remarkable feat.

— Bill George, former Minnesota corporate executive

Second, this collection of elite businesses largely has been silent about the federal government’s assault on the people of Minneapolis, which has been going on since the beginning of December. The silence ended Sunday, when 60 Minnesota businesses issued a joint statement through the state Chamber of Commerce calling for “an immediate deescalation of tensions.”

That so many businesses came together for the statement was an achievement, given the customary reluctance of corporate leaders to address incendiary political issues. But in terms of its actual content, the statement was pretty thin gruel, bristling with public relations-style circumlocution and vagueness.

Get the latest from Michael Hiltzik

If anything, the Minnesota statement underscores the quandary facing American corporations in the Age of Trump, when the president viciously and publicly attacks anyone he deems to be a personal adversary. For a business, that can translate into a threat to the top and bottom lines.

Business leaders faced with a choice between going along with Trump, or poking him with a stick, almost invariably have chosen the first path.

That Minnesota’s businesses even went as far as they did does suggests the tide may have turned on challenges to Trump’s policies. Even so, we’re still standing only on the edge of the water.

The refusal of the American business community to take a strong stand against Trump’s policies has been a long-lasting scandal.

“This shows the greatest cowardice in the history of the Business Roundtable,” says Jeffrey Sonnenfeld, the Yale School of Management’s expert in corporate leadership, referring to the organization of corporate chief executives that should carry the flag of backlash against Trump’s actions.

I asked the Roundtable to comment on the chaos in Minneapolis. It replied with a statement from CEO Joshua Bolten, a former White House aide to George W. Bush, endorsing the Minnesota Chamber’s call for “cooperation between state, local, and federal authorities to immediately de-escalate the situation in Minneapolis.”

Is that sufficient?

What’s needed is for leaders to name names and demand concrete steps, at least as long as our political leaders remain missing in action. In Minnesota — indeed, wherever Trump policies trample norms and values — the situation has become a moral crisis for all American society, including the commercial.

That said, it isn’t surprising that Minnesota’s big corporations, like almost all American corporations, have been gun-shy about confronting a political issue like this head-on. They can properly feel that they’ve been burned before.

Target, the second-largest public corporation headquartered in the state (after UnitedHealth), experienced a front-page blowback from political controversies twice in recent years.

In 2023, as I reported then, the company capitulated when a braying mob of anti-LGBTQ+ reactionaries targeted it for displaying Pride-themed merchandise in its stores during June’s Pride Month observances.

Target, which had proudly displayed such merchandise in previous years, told personnel in many stores to shrink or even eliminate their Pride-themed merchandise displays or move them to less conspicuous sections of the stores. Some LGBTQ+ designers discovered that their products had been taken off the shelves.

Last year, only days after Trump launched his second term with a flurry of antidiversity executive orders, Target announced it was “concluding our three-year diversity, equity and inclusion goals.” The company also withdrew from “all external diversity-focused surveys,” including a widely followed Corporate Equality index sponsored by the Human Rights Campaign, which tracks corporate policies on LGBTQ+ rights and inclusion.

The backtracking backfired. Target’s sales cratered, in part because consumers were angry about its DEI reversals. During a conference call with Wall Street analysts following its first-quarter earnings report, CEO Brian Cornell attributed the company’s ugly performance to factors including “the reaction to the updates we shared … in January,” an allusion to its ending of DEI initiatives.

The escalating crisis in Minneapolis seems to have been the trigger for the state’s business leaders to issue their joint statement. “To get all 60 of the major CEOs to sign onto a statement was a remarkable feat,” says Bill George, a former CEO of Minneapolis-based medical device maker Medtronic and a former Target board member.

“Maybe some people wanted it to be stronger,” George told me, “but I believe a statement signed by every Minnesota CEO of size represents a turning point in the whole discussion between the federal government and the state government.” He hoped that it would be enough to prompt Trump to simply “declare victory” in Minnesota and “move on to other challenges.”

Still, the text of the Minnesota chamber’s communique illustrates that corporate America still is reluctant to confront Trump directly.

The statement refers, vaguely, to “the recent challenges facing our state,” which “created widespread disruption and tragic loss of life.”

In other words, the statement alludes to something having happened, but doesn’t identify who did it or even what it was. A “tragic loss of life,” after all, can befall people slipping on the ice and cracking their head, as well as someone being shot 10 times in an unprovoked attack.

The statement asserts that “for the past several weeks, representatives of Minnesota’s business community have been working every day behind the scenes with federal, state and local officials to advance real solutions. These efforts have included close communication with the Governor, the White House, the Vice President and local mayors. There are ways for us to come together to foster progress.”

It calls for “an immediate deescalation [sic] of tensions and for state, local and federal officials to work together to find real solutions.”

Lacking are specifics. What “real solutions” are on the table in these “close communications” with public officials? Who is in on these behind-the-scenes conversations? What actions would bring about “an immediate deescalation of tensions”?

I asked the Chamber of Commerce to answer those questions, but a spokesman told me the statement would have to stand by itself.

The statement doesn’t even mention Renee Good and Alex Pretti, whose killing finally provoked the Chamber’s members to speak out. Nor does it address the unmistakable discrepancies between how the Trump administration described the killings and their victims, and what millions of people can see in videos.

What’s infuriating is that for many Americans — including, notably, Minnesota Gov. Tim Walz and Minneapolis Mayor Jacob Frey — the solution to this crisis is crystal clear: Get ICE and the Border Patrol out of Minneapolis neighborhoods. That even occurred to the editorial board of the Wall Street Journal, which on Sunday advised Trump to “pause ICE enforcement in the Twin Cities to ease tensions and consider a less provocative strategy.”

One might have thought that Minnesota companies would be among the leaders pushing back against Trump policies, especially those unfolding in their front yards.

“Minnesota in general has been the hotbed of traditional progressive politics,” Sonnenfeld says. “The Minnesota business community was always the paragon of social investment — very philanthropic and socially responsible — and had soaring performance to show for it. Minneapolis was always the model showing that doing good is not antithetical to doing well.”

Minnesota business leaders clearly were becoming concerned that Trump’s anti-immigrant surge threatened their ability to do well.

“This situation is very harmful to their businesses,” George says. “It’s extremely important that their employees feel that they are safe and secure in their place of work, and that their corporate leaders have their back.”

Some Minnesota companies feared Trump’s immigration crackdown could make it harder to recruit executives.

“If this drags on, it will have a devastating effect on Minnesota companies’ ability to attract people from around the world,” George told me. “They depend upon bringing executives in from New York and L.A., but also from China, Japan and Europe. This situation is really a deterrent to that.”

Whether Minnesota’s corporate pushback will move the needle on Trump’s policy isn’t clear, though there are faint signs that he recognizes he isn’t winning fans on the issue.

On Monday he assigned his border czar, Tom Homan, to take charge of the Minnesota surge — not that Homan has the reputation of a peacemaker on immigration issues.

According to Border Patrol official Gregory Bovino, up to now the face of the surge, the agents involved in Saturday’s killing, including the two known to have fired gunshots at Pretti, are still on the job, though he said they were transferred out of Minneapolis “for their safety.” (There were reports Monday that Bovino is being sent out of Minnesota and back to his prior post in California.)

Nor are there signs that the surge is over. ICE and the Border Patrol are still on the streets of Minneapolis, so further mayhem is possible.

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Sundance 2026: ‘The Invite’ and ‘Gail Daughtry’ lure with sex and laughs

Welcome to a special Sundance Daily edition of the Wide Shot, a newsletter about the business of entertainment. Sign up here to get it in your inbox.

Good evening — it’s Monday, Jan. 26, and you’re reading the last of our Sundance dispatches. Today we’ve seen a high of 36 degrees on a notably sunny day. We waited and waited for deal news, but it hasn’t quite arrived yet.

We’re hearing about distributors circling both Olivia Wilde’s “The Invite” and the provocative “Josephine,” the latter of which is coalescing into a critical favorite at the fest.

We’ve been speaking the last few days with a parade of fascinating stars and directors: Ethan Hawke, Salman Rushdie, the legendary Billie Jean King, Brittney Griner, many more. Check out our videos right here as we make them live.

Mark Olsen spoke with director NB Mager about her debut feature “Run Amok,” which premiered at the festival today. Here are some recommendations for you.

What we’re watching today

“Gail Daughtry and the Celebrity Sex Pass”

Several people stare curiously into the sky.

Miles Gutierrez-Riley, John Slattery, Ken Marino, Zoey Deutch and Ben Wang in the movie “Gail Daughtry and the Celebrity Sex Pass.”

(Sundance Institute)

Twenty-five years ago, the Sundance premiere of David Wain’s “Wet Hot American Summer” reignited the ’80s-style sex romp. Now he’s returned to Park City to see if he can rescue the comedy again.

“Gail Daughtry and the Celebrity Sex Pass” stars Zoey Deutch as a Kansas hairdresser whose fiancé cheats on her with his “hall pass”: a get-out-of-the-doghouse-free exemption for canoodling with his movie-star crush. (I’ll let you discover that cameo yourself.)

To even the score, Gail travels to Los Angeles to sleep with her own idol, Jon Hamm, and is soon skipping down Hollywood Boulevard with a ragtag group of new friends, including “Mad Men’s” John Slattery as himself. There’s a sensitive indie way to tell this story — and then there’s Wain’s giddy lampoon of “The Wizard of Oz.”

Too many modern comedies are jokeless anxiety attacks. I just wanna laugh. I need to laugh. If you need to laugh, this is your hall pass to get slap-happy. — Amy Nicholson

“Chasing Summer”

A woman smiles drinking a beverage with a straw.

Iliza Shlesinger stars in the movie “Chasing Summer.”

(Eric Branco / Summer 2001 LLC / Sundance Institute)

Comedian Iliza Shlesinger writes and stars in “Chasing Summer,” directed by Josephine Decker. Having recently lost her job and her boyfriend at the same time, Jamie (Shlesinger) returns to her parents’ house in the small Texas town where she grew up.

As she falls back into some of the same social dynamics from when she was a teenager, possibly rekindling an old flame (Tom Welling), Jamie also enjoys an affair with a much-younger man (Garrett Wareing).

Though Schlesinger’s bawdy humor and Decker’s explorations of female interiority in films such as “Shirley” and “Madeline’s Madeline” (both played at Sundance) might make for an unexpected collaboration, it’s a surprisingly good match. Funny and insightful, the movie shows that sometimes you can in fact go home again. — Mark Olsen

The sexy ‘Sundance tribute’ in ‘Gail Daughtry’

Having the world premiere of “Gail Daughtry and the Celebrity Sex Pass” at Sundance was a full-circle moment of sorts for director and co-writer David Wain. His first introduction to the festival was Steven Soderbergh’s hall of famer “sex, lies and videotape,” and Wain noted after the well-received premiere of his new film that he “overtly stole” two sex scenes from that indie classic as “a tribute to Sundance.”

Of course, “Gail Daughtry” is about as opposite as you can get from Soderbergh. It’s an absurdist, cameo-filled comedy proudly shot on location in L.A. that co-writer Ken Marino described before the screening as a “silly, fun romp.”

Even before its theatrical release, it already has the hallmarks of a cult classic à la another Wain and Co. film, “Wet Hot American Summer,” and features many faces from that movie as well as the State, the comedy troupe that cast member Kerri Kenney-Silver explained started in a supply closet at New York University because they couldn’t get any other rehearsal space.

“Making movies with your friends is a privilege,” cast member Joe Lo Truglio said. And with their ever-expanding circle of friends, we’re the ones who benefit. — Vanessa Franko

Some deal news

Neon has acquired the worldwide rights to horror film “4 X 4: The Event” from filmmaker Alex Ullom, the indie studio said Sunday afternoon.

The deal is the first to be made in Park City so far, though the film was not shown at Sundance and will begin production later this year. The value of the deal was not disclosed.

The film follows eight contestants who join an illegal “sensory assault” livestream in which they can only harm each other with items they can buy online, Neon said in a statement.

The studio previously bought global rights to Ullom’s first horror film, “It Ends,” after it premiered at SXSW last year. — Samantha Masunaga

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