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As Netflix grapples with fallout from historic layoffs and upheaval in its senior executive ranks, the streaming giant is facing mounting scrutiny from investors about its growth strategy, diversification plans and response to rising competition from the likes of YouTube.

But the biggest challenge confronting the Los Gatos, Calif., company may be something more fundamental: a clash between the firm’s roots as a technology-driven upstart and its ambition to be a force in Hollywood.

Increasingly, tensions have flared between the L.A.-based executives dedicated to movies and TV shows and its engineers and technologists in Silicon Valley. Internal disputes have erupted over how best to expand the business and promote content on the platform to boost audience engagement, according to former Netflix employees and industry insiders who spoke to The Times.

The friction has deepened since co-founder Reed Hastings stepped away from management, handing the reins in January 2023 to Ted Sarandos and Greg Peters, who share the job of chief executive.

The dual-boss structure has at times hobbled the company and contributed to muddled messages and some costly misfires, such as its foray in the games business, said the sources, who were not authorized to speak publicly due to the sensitivity of the topic.

“With two CEOs, it’s hard to have a singular vision,” said a former Netflix executive who was not authorized to speak publicly.

Netflix declined to comment for this article.

But a person close to the company disputed the claim that there was a culture divide in Netflix.

“The idea that this is a power struggle between Hollywood and Silicon Valley misses how Netflix actually operates,” said the person, who was not authorized to speak publicly. “Ted and Greg bring different perspectives to the table, and that’s the point. They debate, make decisions together and recognize that neither great content nor great technology succeeds here without the other.”

Netflix, which laid off 6% of staff this month, has faced rising pressure after losing its status as a Wall Street darling and a Hollywood star.

(Allen J. Schaben/Los Angeles Times)

Only about 1% of the largest 3,000 publicly traded companies in the U.S. have co-CEOs, according to research firm Equilar. But there are high-profile examples of the arrangement, including software company Oracle, Comcast Corp., Spotify and private equity behemoth KKR.

The Larry Ellison family, which this month merged Paramount Skydance and Warner Bros. Discovery in a $111-billion transaction, installed scion David Ellison as CEO and the former leader of Mattel Corp., Ynon Kreiz, as co-CEO. Hollywood has had prosperous pairings, including longtime Warner Bros. studio chiefs Bob Daly and Terry Semel. Disney achieved tremendous success in the early 1990s when the late Frank Wells worked alongside former CEO Michael Eisner.

“The division of labor is just extremely powerful,” said Henning Piezunka, a management professor at the University of Pennsylvania’s Wharton School. “If there is a disagreement between the CEOs, you still have two very smart people that are battling it out, and I kind of prefer that over one single person making the decision.”

But Netflix’s top leaders now face mounting pressure as the company has lost its status as a Wall Street darling and a Hollywood star.

Netflix’s proposed $82.7-billion bid to buy Warner Bros. late last year failed dramatically, causing its stock price to plummet.

Investors have grown impatient; they want to see better growth metrics, which has become increasingly difficult as the service, which has more than 325 million subscribers, has neared saturation in the U.S.

This month, Netflix laid off 6% of its staff, including several key movie and TV executives. It bounced its chief content officer, Bela Bajaria, replacing her with former Fox and Disney executive Peter Rice, who starts on Monday. Several programming executives were also let go, including film chief Dan Lin and his top deputy, Doug Belgrad, and the director of original TV series, Carolina Garcia.

“They have got to have a plan to reignite revenue growth, and it can’t just be about making better TV content,” said Laura Martin, media analyst with Needham & Co. “Everybody’s trying to make hit content.”

Former Netflix Chief Executive Reed Hastings, left, and Ted Sarandos attend at 2011 launch party in Mexico City.

(Elizabeth Fuentes/Getty Images)

A dynamic leader

Former CEO Hastings, who co-founded the company in Scotts Valley just outside of Santa Cruz in 1997, was a dynamic leader. The mathematics and computer science graduate, who spent two years in the Peace Corps, launched Netflix by mailing DVDs in red envelopes to customers bothered by Blockbuster Video chain’s practices and late fees. In 2007, Netflix began offering streaming.

Hastings oversaw the creation of a pioneering technology that could offer helpful recommendations to users on what to watch next.

That recommendation algorithm has long been viewed as Netflix’s secret sauce. It quickly became the envy of rival entertainment firms that were late to recognize how disruptive the streaming business would become.

With Hastings, a Silicon Valley entrepreneur at the helm, power at the company was cleanly split between the tech teams who worked at its Bay Area headquarters and the executives who worked with talent and content on Sunset Boulevard in Hollywood.

Hastings established Netflix’s unique left-brain/right-brain culture, where people pitching projects were encouraged to openly debate and disagree.

To prepare for an eventual leadership transition, the company set up a dual CEO structure in 2020 by promoting Sarandos, its longtime content chief, to co-CEO.

Hastings, a 66-year-old billionaire, stepped down in 2023 as co-CEO, leaving his lieutenants in charge.

Hastings did not respond to a request for a comment.

Sarandos, 62, was known for making splashy bets on programming that paid off, including agreeing to pay $100 million for the first two seasons of a political drama, “House of Cards,” starring Kevin Spacey and Robin Wright that turned into one of Netflix’s first big TV hits.

Peters, 55, who was previously chief operating officer, has a tech background that complemented Sarandos’ entertainment industry insights. He holds a bachelor degree in physics and astronomy from Yale University and was taught code by his mother, a computer programmer.

Under Sarandos’ leadership, Netflix grew its presence in Hollywood and created content teams internationally. With Hastings no longer in the day-to-day mix, the power tilted toward Hollywood and Sarandos, who oversees the bulk of the company’s $20-billion programming budget.

“Over time, the center of gravity moved to L.A.,” one industry executive said.

The company expanded its business, including offering customers a cheaper subscription plan with ads. It also pushed into live sports, which Bajaria championed, and games.

The Dallas Cowboys’ Gene Jones, left, and Jerry Jones chat with Netflix executive Ted Sarandos during a 2025 premiere at the Egyptian Arena Theatre in Hollywood.

(Amy Sussman / Getty Images)

Escalating tensions

But as Netflix expanded and diversified, internal divisions intensified over operations and strategy.

In one instance, tech employees were surprised when Sarandos’ team signed a deal to release 2024 NFL Christmas Day games on Netflix without consulting tech and product executives, whose staffers would be responsible for providing the tech support for such a key event, two people familiar with the matter said. Those concerns were magnified after Netflix experienced widespread technical difficulties during the streaming of the Mike Tyson-Jake Paul fight that November, though the NFL broadcast was largely free of glitches.

Disputes also emerged over how best to promote and market shows and movies on the platform. Under Hastings, the trailers and thumbnails of programs were overseen by the product team, who analyze consumer behavior. But Sarandos has given the company’s marketing team more control over the promotional assets of programs, leading to disagreements with the product team over how to best to represent programs and engage viewers, two people familiar with the matter said.

Another source of internal friction has centered on Netflix’s aggressive venture into games that Peters championed, as part of a strategy to diversify its business and retain subscribers.

The streamer acquired several game studios beginning in 2021, investing billions into the space, sources said.

But the effort has badly misfired. In August, Netflix announced it was closing Hollywood-based gaming studio Night School and shuttering Finland-based gaming studio Moonloot. It previously shuttered Allen, Texas-based Boss Fight Entertainment.

The focus on games also sparked disagreements between Peters and Sarandos, who believed the tech and product teams were giving too much attention to games, creating confusion among teams over how they should operate, said a source with knowledge of the matter.

The leaders also disagreed in other areas as well, including over a 2025 deal with French broadcaster TF1 to bring its free channels into Netflix in France as a way to draw more viewers to both services.

Peters pushed for the deal, which Sarandos initially opposed, and the debate delayed an effort that could have helped the business sooner, according to three people familiar with the deal who were not authorized to comment. The TF1 partnership was a success that Netflix wants to replicate with other partners.

Sarandos and Peters also raised eyebrows when they appeared to send conflicting signals on the company’s interest in buying Warner Bros. During an Oct. 8, 2025, conference appearance, Peters said Netflix had a deep heritage of being a builder rather than a buyer.

“One should have a reasonable amount of skepticism around big media mergers,” Peters said. “They don’t have an amazing track record over the history of time.”

Netflix executives Greg Peters, left, and Ted Sarandos, right, visit a studio lot with Warner Bros. Discover chief David Zaslav.

(Joe Pugliese and John Nowak / For Warner Bros. Discovery)

A week later, Sarandos called Warner Bros. Discovery CEO David Zaslav to express interest in acquiring Warner’s streaming and studios business, according to regulatory filings. Netflix in December unveiled its $82.7-billion proposal, which Peters also supported, according to knowledgeable sources.

But, after spending months touting the benefits that Warner assets would bring, Netflix abruptly pulled out of the auction in late February when Paramount’s Ellison upped his company’s offer. Warner executives expected Netflix to go the distance, but they soon recognized deep anxiety within Netflix’s board, according to an executive who was not authorized to speak publicly.

Netflix’s stock hasn’t recovered. Its shares traded for $109 before the Warner bid. On Friday, the stock closed at $65.85.

Netflix is profitable, with net income increasing 44% to $3.7 billion in the third quarter and revenue up 12% to $12.87 billion from the third quarter a year ago, but the company remains under scrutiny by Wall Street.

Sarandos in an earnings call last week there is “no need for a fundamental shift in the strategy” but said the company needs to develop more hit shows in the U.S. that can “travel around the world.”

Netflix projected its revenue would come in the lower range of its estimate for the year, citing a lower ad revenue forecast.

“Their advertising growth has been very slow … and the video game business has been disappointing,” Martin, the analyst, said. “The problem is that the market is maturing and they need a Plan B, and they don’t really have a Plan B right now.”

In February, after getting served with subpoenas in a federal criminal investigation, the billionaire sports mogul Mark Walter’s insurance companies abruptly stopped lending to him.

But within weeks, new loans started rolling in from a different source: a financial firm whose owners include his business protege, basketball legend Earvin “Magic” Johnson.

Amistad Financial Group, a holding company that counts Johnson as a board member and minority shareholder, loaned about $1.26 billion to Walter’s companies between March and June of this year, according to a Bloomberg News review of business records and a person with knowledge of the activity who asked not to be identified discussing sensitive matters. Another $1.06 billion went to intermediaries that routinely serve as conduits for loans to Walter.

The combined $2.31 billion of lending, which hasn’t been reported previously, highlights the way Walter relies on debt to fund his business empire, and Amistad’s role. Even before this year, the firm’s insurance units had provided billions of dollars of loans to Walter affiliates, filings show. It also acted as an intermediary to help him tap loans from his own insurers, Bloomberg reported previously – transactions that are now part of the federal investigation.

Walter himself owns a single-digit voting stake in Amistad but doesn’t control it, participate in its management or sit on its board, according to a person familiar with its operations.

Representatives for Walter’s TWG Global holding company and for Johnson did not respond to messages seeking comment.

A former point guard who led the Los Angeles Lakers to five National Basketball Association championships, Johnson has described Walter as a business mentor. They have done deals with each other for more than a decade, including Johnson’s participation in the Walter-led purchase of the Los Angeles Dodgers baseball team. Johnson doesn’t serve on Amistad’s three-person executive committee, and it’s unclear whether he was involved in or aware of the lending decisions. Some of Amistad’s insurance units are led by Eric Holoman, Johnson’s former business manager.

The federal investigation, being pursued in parallel by the U.S. Department of Justice and the Securities and Exchange Commission, focuses on Walter’s insurance companies’ failure to disclose that more than $20 billion of loans on their books went to his other businesses.

The recent lending came from two Amistad subsidiaries, Equitrust Life Insurance Co. and Heritage Life Insurance Co. It’s unclear whether Amistad executives were aware of the investigation when the loans were made. Walter’s insurers disclosed the subpoena in a regulatory filing on June 26, but the filing did not get much attention until Bloomberg News reported on it in July. Information about lending activity after June 30 won’t be disclosed until next month.

Walter is now scrambling to reduce debts to his own insurance companies, Delaware Life Insurance Co. and Clear Spring Life and Annuity Co., in part to assuage concerns from ratings agencies about the scale of affiliated lending. He has agreed to sell the Lakers at a $12.5 billion valuation to free up cash and proposed a $6.5 billion debt swap with Delaware Life. This week, the insurer said it had regulatory approval to proceed with part of that, swapping $3.8 billion.

Because he doesn’t legally control Amistad, Walter is under no such pressure to reduce his reliance on its money.

His ties to Amistad are deep. Its official corporate address is the Chicago office suite that houses Walter’s family office. Walter’s financial firm, Guggenheim Partners, serves as an investment manager for both Equitrust and Heritage Life.

Walter’s brother-in-law serves as president of Heritage Life. Walter used to control Equitrust when it was owned by Guggenheim. He sold it to Johnson in 2015, and Johnson sold it to Amistad last year.

Recipients of the new Amistad loans include a company through which Walter holds his stake in used-car seller Carvana Co., and another containing his interest in the Billie Jean King Cup, the women’s tennis competition that he has backed since 2023. The destination for most of the money wasn’t clear from regulatory filings.

New LLCs

The federal investigations revolve around how Walter’s insurers came to lend so much money to his other businesses without disclosing the arrangement to their regulator, the Delaware Department of Insurance, as required. As of the end of last year, the amount of money they had invested in affiliates was $24 billion, or about 45% of the companies’ total invested assets.

Much of the money was routed to loans for newly created limited liability companies with no public profile. These LLCs were created by Amistad and other intermediaries, which in turn sent the money back to Walter.

In January and early February of this year, that lending arrangement continued, with Delaware Life loaning $730 million to newly formed LLCs that then sent the money to Walter’s other businesses, regulatory filings show. That stopped after the U.S. Attorney’s Office in Manhattan sent the grand jury subpoenas.

But in March, Amistad’s Equitrust sent $500 million to 10 LLCs. These borrowers had been formed days earlier by Federico Hermida, a Miami-based executive at ABS Capital Co., a longtime business partner of Walter’s that has often served as an intermediary in deals between Walter and his insurers. In June, Amistad’s Heritage Life sent $303 million to a subset of the Hermida borrowers. A representative of ABS declined to comment.

Heritage Life also sent about $253 million to LLCs set up by two other intermediaries that Walter has used for loans in the past: the real estate firm Bradford Allen and Hudson Trading, both based in Chicago. Representatives of Bradford Allen didn’t respond to requests for comment, and Hudson Trading declined to comment.

The remaining $1.3 billion of loans were made to companies that are known to be part of Walter’s business empire, or that were formed by a Walter employee, or were confirmed by the person with knowledge of the matter.

Most of the loans carried interest rates of 8 percent or more, and were due to mature in September or earlier. The insurers won’t have to disclose whether those loans were repaid, extended or replaced with new debt until they file their next quarterly financial reports next month.

Despite the borrowing from Amistad, Walter had not significantly reduced his debt to his own insurance companies by June 30, the date of the most recent regulatory filings. After climbing from $24 billion to $25 billion through March, the amount of affiliated investments dropped to about $24 billion as of June.

Mider and Li write for Bloomberg.

Elizabeth Holmes is the convicted fraudster at the center of Nathan Fielder and Lance Oppenheim’s hit documentary “You Can See Everything,” but for many viewers, it’s her longtime partner, Billy Evans, who has emerged as the film’s marquee villain.

Evans, 34, comes from a wealthy San Diego hotel family and stood by Holmes as her blood-testing startup Theranos collapsed and she was convicted in 2022 of defrauding investors. The couple has two children, 5-year-old son William and 3-year-old daughter Invicta. With Holmes serving an 11-year federal prison sentence in Texas, Evans is raising their children while pursuing a new biotech venture of his own.

In the film — warning: spoilers ahead — Evans comes across as controlling and increasingly volatile, taking over from Holmes as she whisks eggs, interrupting an interview to demand that the cameras be turned off and at one point casually brushing his teeth while standing stark naked in the shower, with Fielder awkwardly looking on. He speaks of Holmes dedicating her life to building “monuments of love” to him, and in one heated confrontation threatens to ruin the lives of people he believes have wronged her. “I’ve got vengeance in my heart,” he declares.

So who is Evans, how did he end up with one of Silicon Valley’s most infamous figures and what is he up to now?

What do we know about Evans’ upbringing?

Evans grew up in a wealthy, prominent San Diego family. His grandparents, William and Anne Evans, founded Evans Hotels in 1953, opening what became the Bahia Resort Hotel on Mission Bay. The family business later expanded to include the Catamaran Resort Hotel and Spa and the Lodge at Torrey Pines in La Jolla.

Evans attended Francis Parker School, an exclusive private school in San Diego, before graduating from MIT with a degree in economics in 2015. Despite his family’s wealth, Evans is neither an employee nor a shareholder of Evans Hotels, according to a statement the company issued Oct. 1.

His family reportedly had reservations about his relationship with Holmes at first. But his father, also named William, became a supporter — and even went undercover of sorts at her 2021 fraud trial. According to NPR, the elder Evans showed up for jury selection under the name “Hanson,” introducing himself to reporters as a concerned citizen who fixed up old cars for a living. His expensive loafers and a Starbucks cup bearing a different name eventually raised suspicions.

How did Evans meet Holmes?

The two met Oct. 7, 2017, at a Fleet Week party hosted by a venture capitalist in San Francisco, according to Evans. Theranos was already engulfed in scandal, though Holmes had yet to be criminally charged.

In the documentary, Evans recalls that he initially didn’t recognize Holmes because she was wearing a floppy hat, dark sunglasses and a Band-Aid on her face from a scratch by her husky. He says he fell in love with her almost immediately. When Fielder points out that he could barely see her face, Evans replies, “I guess that wasn’t what mattered to me.”

Nathan Fielder observes Elizabeth Holmes with her family in “You Can See Everything.”

(A24)

Holmes says the attraction was mutual. The two became friends and started dating about six months later, just weeks before she was indicted on federal fraud charges.

Fielder asks Evans whether he worried early on that Holmes might be conning him. “100%,” Evans replies, before asking what she would have had to gain from him. “Well, isn’t your family rich?” Fielder asks.

Pressed about the family’s money, Evans grows visibly uncomfortable and cuts the conversation short, saying he needs to get to a cousin’s event.

How is Evans managing life with Holmes in prison?

Since Holmes entered federal prison in May 2023, Evans has been raising their two children in Austin, Texas, bringing them to visit her at the federal prison camp in Bryan. Holmes is expected to transfer to a halfway house outside Austin in August.

In an appearance last week on the tech podcast “All-In,” Evans described the difficulty of the experience. “It’s hard because I’m building a business and I’m trying to free my wife from federal prison and I’m raising two kids,” he said.

Though Evans routinely refers to Holmes as his wife, Holmes said in a 2025 interview from prison with People that they had not legally married: “Maybe we’ll get married someday, but our bond is more than a piece of paper.” The two got engaged in 2018, reportedly at a Taylor Swift concert.

Is Evans trying to revive Theranos?

After graduating from MIT, Evans reportedly attempted to launch a medical concierge service before working at companies including LinkedIn and Luminar Technologies, which developed lidar systems for autonomous vehicles.

In 2022, he founded Haemanthus, a biotech startup developing technology to analyze biological samples using lasers. The company hopes to make diagnostic testing cheaper and more accessible — a mission that may sound awfully familiar to anyone who followed the rise and fall of Theranos.

Haemanthus has reportedly raised millions of dollars but has yet to release a commercial product. Eric Potma, a UC Irvine chemistry professor who consults for the company, told Wired this week that its technology is worth exploring despite significant technical challenges. “The engineers at Haemanthus are legit,” he said.

Holmes’ name does not appear in Haemanthus’ incorporation documents, according to Wired. But in the documentary, the couple is shown discussing plans for a new diagnostic venture, with Evans speaking openly about his desire to revive her original ambitions.

“The idea is to put the band back together and do it all again,” Evans tells Fielder.

How has Evans responded to ‘You Can See Everything’?

Evans and Holmes agreed to participate in the documentary in hopes of changing the public perception of her. Early in the film, Evans explains that they wanted to give the filmmakers extraordinary access to their daily lives, embracing what he calls “radical transparency.”

But Evans’ commitment to transparency had its limits. In the film, he repeatedly tries to shut down uncomfortable conversations and, in a meeting reenacted for the cameras, demands a share of the documentary’s profits — an arrangement Fielder fears could compromise the project’s integrity. Evans ultimately agreed to forgo payment.

At the documentary’s surprise premiere at the Telluride Film Festival in September, Fielder acknowledged that his relationship with Evans had deteriorated as the project unfolded.

“We felt Billy was trying to exert a lot of control over the process, and it sort of caused our communication to break down a little bit,” Fielder said during a Q&A after the screening. “The challenging thing is he’s sort of a conduit to her.”

Speaking on the “All-In” podcast before seeing the finished movie, Evans acknowledged that participating might turn out to be a mistake. “I haven’t seen it yet,” he said. “I might think this is like the dumbest thing I’ve ever done.”

Evans attended a private screening of the documentary on Oct. 16, followed by an off-the-record conversation with Bryan Johnson, the tech entrepreneur known for his elaborate efforts to reverse aging.

In a post on X the following day, Johnson called the film “a masterpiece” and described Evans as “magnanimous in conversation.” Though Johnson said he gave Evans every opportunity to defend himself and “strike back because Fielder roughed him up,” Evans declined.

Evans replied publicly, thanking Johnson for treating their conversation with care. “When the world is against you and the pain is so real,” Evans wrote, “it means so much to have people like you show such kindness.”

It’s been nearly 40 years since the dread-filled tones of the “Unsolved Mysteries” theme song first hit network TV airwaves.

In that time, the celebrated documentary series has been through nearly every iteration of the TV business — and is about to embark on a new one.

Next week, “Unsolved Mysteries” will launch a video podcast in partnership with the audio and entertainment firm Audacy. The weekly podcast, which will be available on YouTube and on all podcast platforms, will release new episodes starting Oct. 29 that explore cases such as mysterious deaths and unexplained disappearances.

The podcast will be hosted by actor and TV host Jordan Murphy and will include interviews with the people involved in the case, “Unsolved Mysteries” co-creator Terry Dunn Meurer told me in a recent interview.

“We’re still trying to expand the brand and pivot,” she said. “It just feels like that’s where the industry is heading. The YouTube audience is the biggest audience out there, and we are looking for the biggest audience because we’re trying to help solve these cases. So the more viewers we can get with these episodes, the better.”

“Unsolved Mysteries” isn’t the only Hollywood player to bet on video podcasts. Spotify has bet big on video podcasts, and Netflix has added them to its platform, both of which are attempts to compete with YouTube, diversify their offerings and keep consumers tuned in.

For “Unsolved Mysteries,” the move is just the latest way the show has tried to evolve with the TV industry’s ups and downs.

The show debuted in 1987 as a series of specials NBC used to fill holes in its lineup, Dunn Meurer said. That kind of pinch-hitting meant there was no marketing or publicity to get audiences excited about the show, but viewers started tuning in anyway.

Eventually, the specials became a weekly show that aired on NBC for nine seasons before moving to CBS. “Unsolved Mysteries” also had a syndication run on cable channels Lifetime and Spike TV.

Throughout its TV lifetime, the show would highlight stories of mysterious disappearances, escaped fugitives, lost connections and even the occasional paranormal story. “Unsolved Mysteries” made appeals to viewers, urging them that someone out there “knows the truth” and encouraged them to write in with tips or new suggestions for investigation, which has resulted in tens of thousands of submissions over the years.

More recently, “Unsolved Mysteries” was revived on Netflix for three seasons, with a format focused on a single story. The series also previously had an audio-only podcast.

In addition to the video podcast, “Unsolved Mysteries” also recently produced a full-length documentary on new evidence surrounding the so-called Tylenol Killer, a 1982 case in which seven people died after unknowingly taking cyanide-filled pill capsules.

Though the method of delivery has changed, Dunn Meurer said the show’s mission remains the same. Over the years, the series has helped to directly solve more than 260 cases, she said, though many are so-called lost love cases of missed connections, as well as fugitive whereabouts and some murders.

“There’s so many mysteries out there that need attention, cases that have gone cold,” she said. “For me personally, it’s hard to not keep putting those stories out there and helping these families and law enforcement that need the help to solve these cases.”

‘Musk’ advertising controversy

In notable media news, the TikTok ad account for Bleecker Street’s documentary “Musk” was “permanently suspended” Friday, the day the film opened nationwide, a spokesperson for the indie studio confirmed.

But on Sunday, a spokesperson for TikTok said the account was restored “after an error.”

The documentary, directed by Alex Gibney, follows billionaire Elon Musk and the effect he has had on politics and his support for the GOP and President Trump.

The ban raised suspicions in Hollywood as TikTok is now partially owned by Oracle, which was co-founded by billionaire Larry Ellison. Ellison, who still serves as executive chairman of the tech company, is briefly mentioned in the documentary when he offers to help Musk finance his acquisition of Twitter, according to the Hollywood Reporter.

The documentary will make its streaming debut on HBO Max, which is owned by Ellison’s son, David.

In its second weekend in theaters, “Musk” grossed about $306,700 across 472 screens in the U.S. and Canada, for a $650 per-screen average. The film has notched a 97% critics rating on aggregator Rotten Tomatoes.

Stuff We Wrote

Film shoots

Number of the week

A24’s “You Can See Everything” brought in $15 million at the domestic box office over the weekend, a huge feat for the nearly three-hour documentary that delves into the life of disgraced Theranos founder Elizabeth Holmes shortly before she reported to federal prison for defrauding investors.

The documentary, directed by deadpan comic Nathan Fielder and “Primetime” filmmaker Lance Oppenheim, got a ton of buzz after its surprise debut at the Telluride Film Festival last month. The $15-million opening is even more impressive given that it was available only on 855 screens.

That was good enough for second place at the weekend box office. In first was Skydance-owned Paramount Pictures’ “Street Fighter,” which scored $31 million domestically for a worldwide gross of $51.1 million.

What I’m watching

During a busy (news) week like last week, sometimes you just need a comfort watch. For me, that’s HGTV.

There’s nothing more calming than watching people try to redo their houses into the home of their dreams. But because it’s spooky season, I ended up watching “Scariest House in America,” a hilarious home makeover competition hosted by “Parks and Recreation” comedian Retta, where homeowners show off their creepy, strange or wildly dilapidated houses in hopes of winning a renovation. After watching the travails of people who chose to live in a former jail or a self-constructed giant gingerbread house with a rickety single-person elevator, I was oddly soothed.

What we know: The Dodgers lost. Their season is no more. Their three-peat dream has been dashed. Their winter is upon us.

What we don’t know: What the future holds, in what could be a turbulent winter for the Dodgers and for all of Major League Baseball.

Here are four things we don’t know about the Dodgers, but well worth keeping an eye on:

Shohei Ohtani

Just three short months ago, we wondered whether Ohtani would win his fifth most valuable player award and his first Cy Young Award. Has the time come for the Dodgers to consider curtailing his pitching?

As the Dodgers trudged through the playoffs, we endured daily drama over where in the lineup Ohtani would bat (first, second, fourth, fifth or sixth) and what he could produce despite playing through multiple injuries.

We’ll soon get a better understanding of those injuries, and whether rest, rehabilitation and/or surgery might be recommended for each one. We’ll also get a better sense of what the future might hold for Ohtani as a two-way player, and for his potential to perform at an elite level on both sides of the ball.

Ohtani said he plans to resume pitching next year. He is 32. He just completed his 14th professional season.

Ohtani has pitched more than 132 innings once since 2016, when he was 22 and playing for the Nippon Ham Fighters.

In his three seasons with the Dodgers, this was the first that did not involve rehabilitation from elbow surgery. He started 14 games before a knee injury prevented him from pitching any more this season.

Payroll

Dodgers pitcher Tarik Skubal walks off the field during Game 1 of the NLDS.

(Eric Thayer / Los Angeles Times)

Major league owners are poised to shut down the sport this winter, in pursuit of a salary cap designed to restrain the Dodgers, since they won’t restrain themselves.

The owners’ initial proposal set a salary cap of $245 million next year. The Dodgers already have $347 million committed to 14 players next year, according to Cot’s Baseball Contracts.

Under a cap, the owners have promised a transition period to account for existing commitments, and an actual negotiated cap could be higher.

Even if the players do not agree to a cap — and they insist they won’t — whatever economic system that would emerge from collective bargaining would be almost certain to make it painful for the Dodgers to spend so freely.

Whatever the case, the Dodgers could face the kind of difficult roster choices they often have papered over with money this decade. Two closers for $141 million? Good luck with that.

And would they be able to fit soon-to-be free agent Tarik Skubal into their payroll? Skubal might well sign before the lockout is expected to start in December, but there is nothing agent Scott Boras loves more than pitching a marquee free agent to a new owner. The two other Southern California teams — the Angels and San Diego Padres — both have one.

Age

Dodgers president of baseball operations Andrew Friedman, left, and general manager Brandon Gomes have decisions to make about their aging roster.

(Luke Hales / Getty Images)

When Andrew Friedman made his name as the general manager of the Tampa Bay Rays, he did it in large part by taking advantage of one market inefficiency within the American League East: He beat up on the Boston Red Sox and New York Yankees because they were stuck with rosters crowded with aging stars on big contracts. The Rays couldn’t have done that even if Friedman had wanted to.

He didn’t want to do it too much in Los Angeles, because it compromises roster flexibility. But, after seven National League West titles and no World Series championships, ownership went all in: Mookie Betts (12 years, $365 million), Freddie Freeman (six years, $162 million), Ohtani (10 years, $700 million), Yoshinobu Yamamoto (12 years, $325 million), Tyler Glasnow (five years, $137 million), Blake Snell (five years, $182 million), Will Smith (10 years, $140 million) and Kyle Tucker (four years, $240 million).

It worked: three rings in six years. Now the bill comes due.

The Dodgers fielded the oldest group of position players in the major leagues this season. Ohtani and Betts are under contract through their age-39 seasons; Smith will be 38 when his deal’s up, Yamamoto and Max Muncy 37, Snell 36, Glasnow 35.

Something to watch this winter: Freeman is 37, signed through next year. He would like to play until 40 and finish his career here. That would take a two-year extension. Would the Dodgers say no?

Ownership

Mark Walter’s insurance empire is under investigation by federal authorities — and the subject of discussions with state regulators — over allegations the businesses he controls failed to properly follow laws designed to protect investors.

Walter’s company has denied wrongdoing, and neither Walter nor his businesses have been charged with a crime. He is, however, a defendant in multiple civil lawsuits in which insurance policyholders claim he and several of his companies committed fraud and breach of contract.

Walter may need more than $20 billion to satisfy regulators by recapitalizing insurance companies. He abruptly sold the Lakers in August, in a deal that valued the team — not just Walter’s controlling interest — at $12.5 billion. He and fellow Dodgers co-owner Todd Boehly also sold a small stake in English soccer club Chelsea FC last month for about $1.27 billion, the Financial Times reported. It is uncertain how Walter would provide the rest of the money for recapitalization.

“Regarding the Los Angeles Dodgers, to be clear, the team is not being sold,” Walter’s holdings company said in a statement last month.

It is uncertain whether a resolution with insurance regulators would satisfy the Department of Justice, which reports to President Trump. In July, when the Dodgers visited the White House, Walter presented Trump with an official World Series championship ring with his name engraved on it. He also sold the Lakers to former Disney chief Bob Iger and venture capitalist Joshua Kushner, the brother of Trump’s son-in-law.

Major League Baseball is monitoring the situation and could conduct its own review after the state and federal matters are concluded.

The heart of Screenland is cozying up to artificial intelligence.

The open space in Culver Steps typically hosts community events and movie nights. But on Wednesday, it turned into a job fair for companies looking to hire talent for AI studios.

Companies showed off their life-like AI videos, urging emerging talent — and out-of-work creatives — to join them as they worked to reinvent traditional filmmaking.

“It’s a great breeding ground for this new filmmaking,” Dave Clark, cofounder of AI film production studio Promise, said about Culver City. “To the independent filmmakers here, it’s time to take back power.”

The event was part of LA Tech Week, a citywide event organized by venture capital firm Andreessen Horowitz.

Culver City is already home to big names in Hollywood and technology like Amazon MGM Studios, TikTok, Apple, and Sony Pictures Entertainment. Recently, a growing cluster of AI studios, including Promise, TrueShort, Native Foreign, and PhantomX, are expanding in the neighborhood.

Luma AI, a $4-billion Palo Alto startup that makes generative AI video software, opened a facility in Culver City last year. The company’s Dream Lab occupies a 7,000 square feet space and employs a team of 13.

“Culver City is the future of AI and filmmaking,” Caroline Ingeborn, Luma AI’s chief operating officer, said in a statement.

The companies said they are drawn by the legacy studios they hope to rival. The fact that space is available and affordable thanks to the general decline of the entertainment business in L.A. also helps.

Proponents of AI see it as an antidote to high production costs and say it allows creatives to make films that otherwise would never be made. However, many in Hollywood, its unions, and the public at large are suspicious of the surge in AI use, worried it is stealing the work of human creatives and taking people’s jobs.

The new wave of AI filmmakers have accepted the rise of AI as inevitable, and are forging ahead, increasingly in Culver City.

The city is not opposed to it.

“We’re a hub for the creative economy that is continuing to evolve,” said Adam Troy, Culver City assistant city manager, in a statement. “We look forward to what’s next in the space and what businesses see their future here in Culver City.”

TrueShort moved into Culver City last month, taking over most of a 5,000-square-foot office space near Amazon’s studio. The AI studio has raised $17 million and employs about 45 people. Around 75% of them are creatives: filmmakers, editors, sound designers and composers.

Its streaming app hosts short-form true crime audio and video shows that are fully AI-generated. On average, a 10-minute episode costs about $10,000 to make and takes about 10 days to go from idea to release.

“The next Netflix or the next Disney is going to come out of AI this time,” said Nate Tepper, cofounder of TrueShort. “And, in a way, it kind of needs to be a startup because the big incumbents are not going to move as fast. They’re going to be afraid of backlash.”

The company outgrew its Santa Monica office and is now located near Culver Theater.

“It is cool being next to the other bigger lots like Sony and Amazon, only because it’s inspiring,” Tepper said. “We want the lot. We want to become the big studio.”

Culver City-based creative studio Native Foreign makes AI commercials for brands that are more open than Hollywood about AI use. It has done ads for Virgin and Toys R Us.

It made one of the first AI-animated shorts, “Critterz,” using OpenAI’s software and planned to help make a movie based on it, but OpenAI pulled out of the project and canceled its video-making AI model.

“We don’t have the kind of opportunities that maybe some huge huge studios and companies have, so we are able to bag above our weight with these tools,” Nik Kleverov, co-founder of the company, said on a panel at LA Tech Week.

Google-backed Promise is another Culver City-adjacent AI studio that’s a proponent of hybrid productions, where human actors work with AI specialists. The company uses AI to generate backgrounds, visual effects, and synthetic humans for its slate of films, but a lot of the performances are shot on soundstages across L.A. using actors.

In late 2024, the studio acquired Curious Refuge, an online AI school that teaches traditional artists and newbies to use generative AI tools for filmmaking. Promise moved close to Culver from Venice in June.

Excitement about AI grows even as the industry puts up guardrails to contain it. The actors’ guild SAG-AFTRA has secured special protection against fully synthetic performers in the union contract signed this year.

However, some Hollywood veterans point out that the industry has fought over technology before. Alex Cancado, who spent years in visual effects and has worked on over 80 movies, now works in the AI Studios division of Amazon MGM Studios.

Pitching the crowd of creatives on Wednesday, he said the transition from practical effects to computer graphics was equally fraught.

“It was a challenge getting CG to be accepted by directors and producers,” Cancado said.

Much of the buzz around AI use for big productions started with a conference in Culver City called “AI on the Lot,” which started in 2023. It has since grown to thousands of attendees.

The organization also sponsored the job fair on Culver Steps and a networking happy hour for media AI companies in Culver City. It estimates that AI media companies with $2 billion in backing have converged on the city.

Mike Gioia, a founder of AI on the Lot, attends City Hall meetings and is trying to build momentum around the concept of a “Culver cluster” — bringing more companies and individuals working in AI to the neighborhood.

“We want to make Culver City the capital of AI media,” said Gioia.

It was a crowning moment. Netflix appeared to have prevailed in an audacious $82.7-billion deal to scoop one of the industry’s most prestigious studios: Warner Bros. The move seemed to cement Netflix’s status as the ultimate Hollywood gate-crasher and its dominance as the leading new player in media.

Now, nearly a year later, the plotline for Netflix has dramatically changed. The streaming giant lost out to Paramount Skydance in its bid for Warner Bros. Discovery and is facing headwinds on multiple fronts.

That was underscored this week when the streaming giant Netflix began shedding 6% of its workforce, or about 1,000 jobs — believed to be the largest layoff in the company’s history and exceeding the last round of job cuts in 2022, when it reported subscriber declines.

On Wednesday morning, Ted Sarandos and Co-Chief Executive Greg Peters sent a note to employees confirming the job losses, adding that the bulk of the cuts would affect the tech, product, legal and human resources teams.

“Our mission — to entertain the world — is ambitious, and delivering on it requires us to be disciplined about where we prioritize our people and resources,” wrote Sarandos and Peters in the memo obtained by The Times.

The cuts mark the latest reductions across the film and TV industry. Other entertainment and media companies have slashed their payrolls, including Walt Disney Co., Paramount and Sony Pictures Entertainment during a period of economic uncertainty in Hollywood.

But the scale of such downsizing is unusual for Netflix. Industry analysts and insiders chalk up the reversal of fortune to several factors. Although it still dominates the television business, the Los Gatos company hasn’t been able to produce enough new hit franchises to replace culture-defining shows from years past such as “Stranger Things” and “Squid Game.”

At the same time, Netflix faces rising competition from rivals such as HBO Max, Apple TV, Hulu and others that have upped their game. Free, ad-supported streaming platforms such as YouTube are increasingly taking a larger slice of consumer streaming hours. And Netflix’s efforts to diversify its business into new areas such as games have yielded mixed results.

A Netflix building on Sunset Boulevard in Los Angeles in 2025.

(Myung J. Chun / Los Angeles Times)

The upshot: Netflix continues to be the dominant video subscription streaming player with more than 325 million subscribers, but the time that consumers spend on the platform is growing at a slower pace than what investors want. In the first half of this year, consumer watch time on Netflix increased only 2% compared with a year earlier, even as content spending increased 11% to $20 billion this year. Netflix also narrowed its annual revenue forecast last summer, disappointing some investors.

“Netflix’s layoffs show that even the top streaming companies are not immune to stagnation and financial difficulties,” said Ross Benes, senior analyst at research firm Emarketer.

Amid the sobering signs, investors have grown restless. Netflix shares, which closed at $70.57 on Wednesday, have plummeted 42% in the last year. Part of that decline was fueled by anxiety among investors over Netflix’s deal to buy Warner Bros. Discovery, but the share price hasn’t rebounded even after that deal fell apart.

“They need to better prepare their balance sheet and economics since engagement has plateaued,” said Brandon Katz, director of insights and content strategy at Greenlight Analytics.

Katz said that Netflix’s five most-watched English-language scripted summer movie releases in their first eight weeks posted the lowest average hours watched compared with the streamer’s top five summer releases in 2025, 2024 and 2023, citing Nielsen data.

Sarandos acknowledged concerns about engagement at a Bloomberg Screentime event Sept. 30.

“Overall we’re not growing as fast as I want us to, and we’re working on making that move faster,” Sarandos said.

Netflix declined to comment on the layoffs.

“We’ll continue to invest aggressively in high-impact areas to improve our service and further drive growth and innovation,” Sarandos and Peters said in their memo to employees.

In some ways, Netflix has been victim of its own success. It has produced a string of shows and movies that have hit the cultural zeitgeist such as “KPop Demon Hunters” and “Squid Game.” But finding enough new popular shows that continue to drive subscriptions has been a challenge.

“A lot of these major hits are coming to an end at similar times, and they don’t yet really have heir apparents to replace them,” Katz said.

Sci-fi hit “Stranger Things” released its finale last year, followed by the young-adult drama “Outer Banks” and “Emily in Paris,” which ends this year. Netflix also announced that “The Witcher” and “The Lincoln Lawyer” will wrap after their next seasons.

What’s more, the second seasons of some shows with big followings have seen large view drop-offs compared with their first seasons. For example, the fantasy series “Avatar: The Last Airbender” season 1 debuted with 21.2 million views, but views for its second season dropped 59% to 8.7 million, according to Netflix data.

New series from Netflix also haven’t captured as much consumer demand as other competing shows from rival streamers, according to Parrot Analytics.

Last year, Netflix had just one show — the Japanese anime and manga series “Sakamoto Days” — that made it in Parrot’s top 10 list of first season original series on streaming platforms. Parrot’s ranking measures consumer demand in the U.S. and is based on digital interactions such as social media chatter and Google searches. By comparison, Netflix had three titles in 2022 alone: the true crime show “Monster,” the documentary series “Harry & Meghan” and the sci-fi mystery show “1899,” Parrot said.

Sarandos told investors in July that such declines are typical and that second season falloff is slightly improved this year. But popular shows on rival streaming services such as the medical drama “The Pitt” on HBO Max have not seen such declines. “The Pitt” drew even more viewers in its second season than the first.

To diversify its business, Netflix has expanded its programming offerings beyond TV shows and movies to include live sports, such as football and baseball games.

Although live programs have helped to spur significant subscription sign-ups, they still represent just 1% of watch time on Netflix while costing 5% of the company’s content budget, Sarandos has said.

Netflix also has added video podcasts that have helped to boost daytime viewing on the platform, and has made deals with YouTube creators to bring their content to the streaming service.

But some of the new content hasn’t clicked, particularly in games, analysts said. In August, Netflix shut down Hollywood-based Night School, the maker of supernatural adventure game “Oxenfree,” and said it was closing a Helsinki-based games studio.

“They are spending on a lot of things that haven’t necessarily proven to be effective yet,” said Rob Rosenberg, a partner at law firm Moses & Singer and former Showtime Networks general counsel. “It feels a lot like they’re trying to send a message to Wall Street that ‘we’re re-examining how we do business.’”

Meanwhile, Netflix continues to face more competition from rivals such as YouTube, which offers a free, ad-supported version of its video library.

Unlike Netflix, YouTube does not pay for the creation of many of the videos on its platform. Instead, creators or companies upload and produce the programs themselves and YouTube shares ad and subscription revenue.

YouTube’s share of streaming watch time in the U.S. on TVs has steadily increased. In July, YouTube represented 14.2%, compared with Netflix’s 7.8%, according to Nielsen.

The pressure to boost engagement on Netflix has caused tension within the company, particularly between the teams of people responsible for how programs are promoted on the platform and the employees responsible for bringing shows and movies on Netflix, according to people familiar with the matter who were not authorized to speak publicly.

Some blame the content for not being enticing enough, while others contend that the programs could be promoted better on Netflix.

“It’s a bit of a quagmire,” said one of the sources familiar with the matter. “There is a tension when things aren’t working. People tend to point fingers.”

In their staff memo, Sarandos and Peters said Netflix is on track to deliver its full-year forecast and will continue to invest in areas that improve its service and drive growth and innovation.

“Doing that means making focused choices across the business so we can keep delivering for our members, partners, employees, and investors,” they wrote.

Despite the downsizing, Netflix remains highly profitable. In the second quarter, the company generated $3.4 billion in net income, up 9% from a year earlier. Revenue rose 13% to $12.6 billion last quarter, including double-digit revenue growth in all of its regions. Next week, the company will share its third-quarter results.

The streamer is expected to get a boost from new seasons of popular shows — including season 4 of the political drama “The Diplomat” and spy series “Lupin: Part 4,” as well as Thanksgiving Eve and Christmas Day NFL games.

Having new seasons of popular shows such as “Lupin” and “The Diplomat” will help boost Netflix’s engagement, said Alejandro Rojas, vice president of applied analytics at Parrot Analytics.

“The new season is like a catalyst for people to watch the previous seasons,” Rojas said.

On the theatrical side, Netflix also has high hopes for upcoming movies including La Bola Negra, starring Penelope Cruz; and “The Further Mis-Adventures of Cliff Booth” featuring Brad Pitt. Next year, Netflix will release the Greta Gerwig-directed film, “Narnia: The Magician’s Nephew” on Imax screens.

Netflix has not signaled any changes to its strategy for releasing movies or TV shows. But some analysts said it could benefit from having more theatrical releases and by dropping episodes of shows once a week, instead of all at once, to generate more buzz for programs. They also expect that Netflix will be more disciplined in its content spending.

“While the company will expand its sports roles, it’s cutting back at a time when revenue matters much more than subscriber additions,” said Benes of Emarketer. “With pressure mounting, Netflix will look to turn the tide by getting a boost from low-cost content. The battle for top creators will become more pitched.”

Times staff writer Samantha Masunaga contributed to this report.

Exactly a week after the new Skydance corporation — the product of the Paramount-Warner Bros. Discovery merger — was officially formed, Hollywood’s newest media giant is already raising streaming prices.

Discovery+, one of Skydance’s new streaming assets, will now cost $6.99 a month for its ad-supported tier, up $1. Its ad-free tier is also up $2, costing viewers $11.99 a month. The prices take effect immediately for new subscribers. Existing subscribers will get 30 days’ notice and see the higher rates on bills dated on or after Nov. 12.

Skydance did not immediately respond to a request for comment.

The platform first launched in 2021, at $4.99 a month for its ad-supported tier and $6.99 for ad-free. Nearly six years later, the price of the cheapest tier has risen roughly 40%, and the ad-free tier has jumped about 72%. This is the service’s second price hike since January 2025.

The standalone streaming service features tens of thousands of TV episodes from cable networks like HGTV, Food Network and TLC.

Before the merger, each company maintained its own streaming services, with HBO Max and Discovery+ under Warner Bros. Discovery and Paramount+ under Paramount Skydance. The services are currently operating as separate entities. But David Ellison, Skydance’s chairman and chief executive, has said he plans to merge the two platforms into one streaming service. It’s unclear when that might happen, what it would cost, or where Discovery+ fits in. The company has not publicly laid out plans for the service.

Prices for HBO Max currently range between $10.99 and $22.99 monthly. Paramount+ costs between $8.99 and $13.99 a month.

Streaming is one of the biggest open questions for Skydance as it enters a new era. The company is carrying roughly $80 billion in debt and is targeting more than $6 billion in cost savings over three years. Skydance has said those savings will come primarily from technology, procurement, marketing and real estate, and Ellison has said the bulk won’t come from layoffs. Industry observers expect that debt load to add pressure for more price increases across Skydance’s streaming lineup.

This price increase also comes at a time when many streaming platforms are similarly hiking their prices — in part to cover the rising cost of programming and talent. Discovery+ joins platforms like Netflix, Apple TV, Hulu and Disney+ which have all raised their subscription fees in the last year. Prime Video raised the cost of its ad-free add-on in April.

Skydance-owned Paramount Pictures has taken over the lease for the Bay Theater in Pacific Palisades and intends to reopen the cinema, which has been closed since the January 2025 Palisades fire last year.

Paramount plans to upgrade the theater with state-of-the-art projection systems and in-seat food and drink service, Rick Caruso, whose company owns the Palisades Village shopping center where the Bay Theater is located, said in an interview. Caruso is founder and executive chairman of the real estate firm Caruso.

Paramount plans to show first-run theatrical movies from all studios. The theater will be operated by The Lot, a La Jolla-based luxury dine-in theater chain with four locations in California. The theater is expected to reopen later this year, Caruso said.

“The comeback of this movie theater is a great signal for all of L.A.,” he said. “Los Angeles is resilient, and we’re going to show the country that Los Angeles can bounce back from a terrible, terrible disaster, and the comeback is going to be much greater than the setback.”

Palisades Village reopened in August after more than $100 million in renovations, including major infrastructure work. The upscale outdoor mall survived the Palisades fire, but needed refurbishment to eliminate any potential contaminants from the blaze.

Caruso declined to share terms of Paramount’s lease agreement, saying only that it was long-term. Paramount declined to comment on the size of its investment in the theater.

Caruso said he brought up the Bay Theater over lunch last year with David Ellison, chief executive of Skydance, who was then working to acquire Paramount. The two were discussing that deal and Ellison’s belief in the importance of the movie theater business to the industry.

“Together with Caruso, we are proud to help bring the Bay back to life as a place for the Pacific Palisades community to gather around the shared experience of cinema,” Ellison said in a statement. “This theater has always meant more than movies alone — it’s woven into the fabric of this neighborhood, and helping restore it is a privilege.”

The Bay Theater was previously leased by Netflix, which took it over in 2021. The company used the theater to host special events, screen classic films and showcase its own original theatrical movies.

Caruso described Netflix and company Chief Executive Ted Sarandos as “incredible stewards” of the theater, adding that Sarandos was “very much a gentleman” in having the discussion about Paramount stepping in at the theater.

The Bay Theater announcement comes just about a week after Paramount completed its acquisition of Warner Bros. Discovery. The newly combined company, which took the name Skydance after the deal closed, must release at least 30 films a year as part of a settlement agreement with 12 state attorneys general over antitrust claims.

Ellison has long extolled his love of movies and appeared at the CinemaCon movie theater owners convention earlier this year to reiterate his commitment to theatrical releases.

Studios were barred from owning theaters for decades under the Paramount consent decrees, which a federal judge terminated in 2020. Netflix has since operated the Egyptian Theatre in Hollywood and the Paris Theater in New York.

“Through our curated offering and dedicated hospitality, we look forward to welcoming the Pacific Palisades community back to the movies, the way they were intended to be shared,” Adolfo Fastlicht, founder and chief executive of The Lot, said in a statement.

The Tom Cruise-led “Digger” is poised for a massive loss after ticket sales for the political satire fell 60% in its second weekend in theaters in the U.S. and Canada.

The Warner Bros. film made just $3.2 million in those theaters over the weekend, according to a studio estimate. Its opening weekend brought in $8 million, Cruise’s lowest opening as a leading man since 2007’s “Lions for Lambs.” Global ticket sales for “Digger” were only $35.3 million.

The tepid box-office returns mean the studio is now expected to lose at least $150 million on the film, including ancillary revenue streams such as premium video-on-demand and streaming, industry sources said. Historically, a film has typically needed to make 2½ to three times its budget to recoup its costs.

A Warner Bros. spokesperson did not respond to a request for comment.

It’s a tough result for the film, which stars Cruise as an aging oil tycoon whose company sets off an environmental catastrophe. Analysts have said that the film was challenging to market, given a major twist in the plot, and that Cruise’s nearly unrecognizable appearance could have dissuaded his fan base from coming out to support the film.

The film suffered from polarizing critical reviews, notching a 53% on aggregator Rotten Tomatoes. Opening-night audiences gave it a C+ on CinemaScore, a grade that typically points to weak word of mouth and steep drops in the weeks that follow.

The budget for “Digger” raised the stakes. Warner Bros. has said the film cost $125 million to produce, though some industry experts and trade reports have estimated the cost was at least $160 million, citing production delays.

That figure also doesn’t include marketing costs, which sources said could have increased in the days after the film’s opening since Warner Bros. began using the divided reviews in social media and TV ads to encourage people to see the film for themselves.

The film will have value to Warner Bros. — and Skydance, the newly combined company that now owns it — beyond its theatrical reception. “Digger” probably will make money through downstream revenue sources such as streaming. If Cruise wins his first competitive Oscar, that also would be a plus for the film.

But a film’s domestic reception, and to some extent, its international box office revenue, does play a role in the value of those downstream revenue opportunities, experts said.

“Even with respectable ancillary income based on the film’s pedigree, the movie is going to lose a lot of money,” David A. Gross wrote in his FranchiseRe movie industry newsletter shortly after the film’s opening.

The reception for “Digger” comes during a tough time for Warner Bros.

The film opened Oct. 2, the same day the studio’s film chiefs, Michael De Luca and Pam Abdy, departed. Four days later, Paramount completed its acquisition of Warner Bros. Discovery, and the combined company took the name Skydance.

The studio has had a string of disappointments this year, including Maggie Gyllenhaal’s “The Bride!” and DC Studios’ “Supergirl.” None of its 2026 releases has crossed $100 million at the domestic box office.

But the prospects for Warner Bros. should improve next year, according to the research and brokerage firm Bernstein. Skydance has said it will keep the Warner Bros. and Paramount studios distinct, though Paramount Pictures chiefs Dana Goldberg and Josh Greenstein are expected to oversee both. Bernstein expects the Warner Bros. film and TV studios to amass $11.7 billion in revenue, driven by strong titles that include the sequel to “Minecraft” and a new “Lord of the Rings” movie.

Marvel Unlimited, the company’s digital comics subscription service, is shutting down after 19 years.

Marvel announced Monday that it is launching Marvel Comics, a new digital comics app that will house more than 35,000 current and classic titles featuring Spider-Man, the X-Men, Captain Marvel and more from its extensive library. The new platform is built and operated by Webtoon and will launch Nov. 16.

The Marvel Comics app library will feature comics spanning Marvel, Star Wars and 20th Century Studios titles at launch, with stories from Disney’s other brands — like Pixar and Disney Animation — expected to follow. The new app will support both the traditional page-based comics format that mirrors physical books and the more mobile-device-friendly vertical-scroll format. (Marvel Unlimited also featured vertical-scroll comics under its Infinity Comics banner.)

A preview of the Marvel Comics app.

(Marvel Comics)

Those attending New York Comic Con this Thursday through Sunday can get an early look at the new app at the Marvel Comics booth (#2435).

With the arrival of the new Marvel Comics app, Marvel Unlimited will “sunset” on Dec. 7. Marvel Unlimited has been the company’s in-house digital hub for its comics since its launch as Marvel Digital Comics in 2007. Subscriptions and payment information from Marvel Unlimited will not automatically carry over into the Webtoon-operated Marvel Comics, and Marvel says those whose paid subscriptions will be cut short because of the shutdown can expect a prorated refund on or around Nov. 16.

Marvel Unlimited members who sign up for Marvel Comics will be able to import their current library and reading history into the new app once it’s launched. The steps required for that process have not yet been detailed, but the company says these members will have until Dec. 21 to access their Marvel Unlimited library to ensure the transfer was successful.

Marvel Comics will offer two subscription tiers: The base-tier membership will run $9.99 per month or $69.99 annually for access to the app’s full catalog, with new issues of ongoing titles added as early as three months after print release. For those who would rather not wait that long to read newer comics, Ultimate-tier members will be able to access new issues as early as a month after its print release. Subscriptions for that tier will run $12.49 a month or $99.99 a year. Marvel is currently offering a special $59.99 “founder member” price for the first year of an annual Ultimate-tier memberships for those that preorder the service.

Aaron Sorkin’s “The Social Reckoning,” a sequel to 2010’s David Fincher-directed “The Social Network,” is hitting theaters as part of a surge of tech geek takedowns that includes documentaries on Elon Musk and Theranos’ Elizabeth Holmes, as well as Luca Guadagnino’s upcoming comedy “Artificial” about OpenAI’s Sam Altman.

Still, its timing couldn’t be worse.

Cursory and hollow, it recounts the true story of Wall Street Journal reporter Jeff Horwitz (Jeremy Allen White) and Facebook whistleblower Frances Haugen (Mikey Madison), a disenchanted data engineer on the company’s civic integrity team, who paired up for a 17-part investigative series that provided proof of what people already sensed: Facebook boosted misinformation and rage-bait to juice user engagement at the cost of our country’s mental health.

The script ends shortly after Haugen testified before Congress in October 2021, noting that the carpet in her waiting room had recently been swapped out because of bloodstains from the Jan. 6 Capitol attack. The film rewinds to that day, too, and attempts to squeeze drama from slow-motion reenactments of the rioters, which Alexandre Desplat scores to an overbearing military dirge as Mark Zuckerberg (Jeremy Strong) and his good little Facebook soldiers mull over whether to take down the U.S. president’s incendiary posts.

Back in our own reality, Zuckerberg and the president just had lunch last week. At this point, we’re all so psychically drained that the only response we can muster to this vacant period piece is: So what?

Sorkin has my sympathies. The future moves faster than a film in development. And he fundamentally gets the peril we’ve put ourselves in by entrusting Zuckerberg, who is, at minimum, an ethically askew man. After all, Sorkin’s own screenplay for “The Social Network” remains a prescient masterpiece.

But the movie’s problems go beyond arriving simultaneously too slowly and too soon for Zuckerberg’s endgame, where his emptying social media empire has him gambling his fortunes (and ours) on AI. Expanding his scope from Harvard to the planet, Sorkin now aims to show that we’re all trapped in Zuckerberg’s insensitive mind view. Cold computer speak has infected everyone like a virus. When Madison’s Frances goes on a blind date, her online match says he appreciates that the internet makes it simpler for singles to pair up “within their own vector.” The buddy-buddy Winkelvoss twins’ version of the app might actually have been better for the world.

Meanwhile, Zuckerberg, who mostly stays on the sidelines of the movie, is now a mighty billionaire and, as Strong plays him, a dour, lifeless dork. Gone are the beer bashes, the thrill of invention and any hint that Zuckerberg lusted for something — women, attention, clout — other than a quarterly earnings report. This Zuckerberg is no longer made of flesh and blood but ones and zeros. Pity Strong couldn’t play the CEO after his bro-y 2024 mutation into MMA-fighting Marky Mark. At least that guy is amusingly ridiculous. Trapped in this stiffer, earlier incarnation, the only acting Strong is able to do is poke his head straight up from his shoulders until he resembles a retractable pen.

Worse, all the other characters in the film talk just like him: charmless, frigid and quick to cut each other off with snippy corrections. I could forgive that if it was just Facebook’s employees: Madison’s quavering, exasperated Frances, the co-worker (Anna Lambe) who insists she and Frances are merely colleagues, not friends, even after their company frittered away the meaning of the word, and a media relations executive (a smooth Billy Magnussen) who gets the scariest line, coolly insisting that “we’re post-government around here.” After all, these are the folks who saw “The Social Network” and still wanted to work for Zuckerberg.

But the opposition is steeped in that same monotone rudeness. Sorkin must have adored that earlier film’s opening scene where Rooney Mara insults a clueless Jesse Eisenberg because he’s written three-dozen takes on it. At Sorkin’s version of the Wall Street Journal, everyone up and down the masthead — editors, writers, even interns — insults each other with such relish that someone should be written up by HR. The fast-and-furious dialogue hits its nadir when Madison’s Frances slips Jeff important documents that he can’t even read because she nonsensically starts chattering about the looming coronavirus.

Here’s where you say that this is just how Sorkin writes characters. And here’s where I counter that a movie about how algorithms destroy humanity has to have some credible humans in it, if only to illustrate its own point.

Instead, Sorkin’s protagonist-bots come with bolted-on personality quirks. White’s journalist is a Luddite who would rather be late to his own job interview than use Google Maps. He comes across as so clueless that the audience can barely credit him for his reporting work winning an eventual Pulitzer — he’s just soulful eyes and a cellphone ringtone that tinkles old show tunes.

Madison, 15 years the junior of the real Frances, is too young to convince us that her character truly believes she can turn Facebook into a digital utopia. An ultra-online 20-something, she was a front row witness to Gamergate, yet somehow she’s shocked to overhear about middle-school girls getting bullied on Instagram. Her character wears legwarmers and knit wristlets to the office as protection against the air conditioning, which also serves to emphasize her company’s interpersonal chill.

Yet, bizarrely, the script makes Frances dress like a sex worker whenever she sneaks to Jeff’s hotel to slip him some corporate secrets. It’s a disguise, she explains, although the gag is so forced that it’s just as easy to believe the literal-minded girl is taking her Deep Throat identity too seriously. Or perhaps Sorkin just wanted to remind audiences that this awkward creature is the same actor who won the Oscar stripping off in “Anora.”

A few moments do work, like an opening showdown between a drunk blond (a nasty-great Portia Doubleday) and two cops that gets live-streamed to the web, and Zuckerberg’s congressional coaching sessions with his crisis team, played by Wunmi Mosaku and the comedian Bill Burr. From what we learn of Burr’s Charlie Garrigan, an insider who sold his Facebook stock too fast and then wrote a negative New York Times editorial against the company, he seems to be inspired by early co-founder Christopher Hughes, which would made him the only other callback character from “The Social Network.” But Sorkin has changed his name and upped his age, so as fun and ferocious as Burr is, we also spend his scenes feeling a little confused.

Do we learn anything new about Facebook itself? No. Still, I appreciated how dismissive Frances gets when asked to confirm small scandals that she finds too piddly to care about, like Jeff’s suspicion that Zuckerberg is goosing his posts so that positive comments outrank negative ones 32 to 1. That’s just obvious, her posture says. Facebook is over two decades old and he still hasn’t made many friends.

Netflix plans a substantial round of layoffs as the streaming giant faces rising competition and pressure to retain its subscribers, according to people familiar with the job cuts.

The cuts are expected to affect 5% of the company‘s workforce, which could be 800 employees, according to one of the sources who was not authorized to comment. The job losses will affect the creative team including those working on features, the source said.

Netflix declined to comment. The planned cuts are believed to be the biggest at the Los Gatos company since 2022. The news was first reported by news outlet Puck.

Netflix has been under scrutiny from investors over how much time its subscribers spend on the streaming service. View hours rose only about 2% in the first half of 2026 compared with a year earlier, even as content spending climbed.

“Overall we’re not growing as fast as I want us to, and we’re working on making that move faster,” said Netflix co-Chief Executive Ted Sarandos at the Bloomberg Screentime event last week.

Netflix has noted how engagement can be measured in different ways. For example, its investment in live programming helps spur significant subscription sign-ups, even though it represents a small percentage of watch time on the streaming service, the company has said.

But some investors remain skeptical about the company’s future growth. Rival YouTube remains the leader in streaming viewing hours in the U.S. on TVs, representing 14.2% versus Netflix’s 7.8% in July, according to Nielsen. Netflix stock has also declined 43% compared to a year ago. On Friday, the stock closed at $70.30, down about 2%.

Netflix last conducted major layoffs in 2022 after the streamer reported subscriber losses for the first time in more than a decade. In May that year, the company laid off 150 workers and dozens of contractors and part-time workers in areas including its social media teams. The following month, it laid off 300 people or roughly 3% of its staff.

Recently, Netflix made changes to its games division. In August, the company closed its Hollywood-based gaming studio Night School and said it was in the process of closing its Helsinki-based gaming studio Moonloot.

The White House is expanding its campaign against international workers, targeting elite study and work visa holders with restrictions and a new investigation.

On Thursday, the Trump administration announced a probe into whether Stanford, Caltech, UC Davis and other universities across the country have been abusing a special visa used by international scholars and students to do research and work in the U.S. It is also suspending Microsoft, Adobe and six other tech companies from how they sponsor employees who are in the country under a highly skilled worker visa program.

The White House’s concern is that schools and companies are too quick to bring in people from outside the U.S. The moves rattled Silicon Valley executives and California educators who see easy access to the smartest, hardest-working people in the world as one of America’s greatest competitive advantages.

Vice President JD Vance said the universities being investigated are overusing J-1 visas to bring in students and researchers from abroad. The international scholars then take jobs and grants that could go to Americans.

“They are using these visas way too much,” he said. “They are using them to undercut the wages of American grad students and American researchers, and it simply has to stop.”

Harvard, Yale, Brown, the University of Pittsburgh, Arizona State and MIT will also be investigated.

Labor Department Inspector General Anthony D’Esposito said subpoenas have been served and “nobody will be getting a free pass because their name is carved into an expensive building.” Many universities have buildings named for foreign donors.

While most of the companies targeted for the tech visa restriction were Indian, Vance called out Microsoft.

“There’s been no company, unfortunately, in the United States that has abused this system more than Microsoft,” Vance told reporters at a White House news conference.

Vance said the company has abused the permanent labor certification program, which he argued has enabled Microsoft to hire international talent that is then paid less to replace American workers.

The new development suspends Microsoft from applying for green cards for workers who come to the U.S. on H-1B visas and later apply to become permanent residents.

American technology giants have relied on the H-1B visa program for decades to bring in thousands of skilled foreign workers they cannot find locally. Critics have accused the program of being riddled with fraud and abuse.

The administration’s power move came the same day President Trump awarded the National Medal of Technology and Innovation to two prime examples of international talent who came to the U.S. on student and work visas: Microsoft Chief Executive Satya Nadella and Tesla’s Elon Musk.

Cognizant, Infosys, Tata Consultancy Services, Wipro, HCL and Capgemini were also on the list of companies that will no longer be able to apply for permanent residence status for their H-1B employees.

Microsoft defended the use of H-1B and said in a statement that it looked forward to sharing additional information with the administration. In a post, it said that of the thousands of H-1B visa applications it submitted in the last fiscal year, 80% were to extend or change the status of existing Microsoft employees.

“They equal only 1% of our U.S. workforce. They are not new arrivals to our country,” the company said. “Microsoft only files H-1B petitions for those who meet the rigorous standards of this visa category.”

There’s a limit of 85,000 H-1B visas issued in a fiscal year, and they are selected through a lottery system. Last year, Microsoft was the third-largest beneficiary of the program, with 6,258 H-1B visas, according to data from U.S. Citizenship and Immigration Services. Amazon led the list, employing more than 13,000 H-1 B visa holders; Adobe had 777 approved applications.

The Thursday announcement has sparked confusion among technology workers and companies. Immigration lawyers point out that the action is not a blanket suspension of green card applications for all employers, but a targeted enforcement freeze on the Permanent Labor Certification program for the eight named corporations.

Proponents of H-1B note that Silicon Valley’s biggest tech companies are founded or run by immigrants, and the efforts to thwart H-1B have already started stifling talent flow and startup creation.

“It’s only going to probably hurt some companies and hurt the best and the brightest that are coming here,” said Devashish Mitra, professor of economics at Syracuse University. “It’s like throwing the baby with the bathwater.”

The J-1 investigations follow other actions, making it more difficult for international students to come to U.S. campuses. This year, the Department of Homeland Security said it wanted to end a “duration of status” visa policy that lets students stay in the U.S. through the completion of their programs and limit stays to four years. A federal judge blocked the change, and the government is appealing.

The Trump administration has also proposed charging colleges $70,000 per student for Optional Practical Training, which lets international students work in their fields of study for a limited number of years after graduation. Students now pay about $500.

In a statement, a Stanford spokesperson said the campus “complies with all applicable visa laws, including those relating to J-1 visas. We will cooperate with the investigation.”

A UC Davis spokesperson said the university “carefully complies with all federal laws and regulations for visas and looks forward to working with our federal partners to confirm compliance.”

A Caltech spokesperson did not respond to a request for comment.

About 275,000 people started J-1 programs in 2025, down from 301,694 in 2024, according to State Department data. Trainees and temporary summer workers, such as au pairs and summer camp counselors, also use the visa to enter the U.S.

Most were not at universities, with a majority working summer jobs.

The Trump administration’s crackdown has started to dissuade students from coming to the U.S., with experts expecting a drop in their registration when data for 2025 are released next month.

New research scholars fell 27% from 2024 to 17,622, about half the 2015 total. Most new research scholars in 2025 came from China, followed by South Korea and India.

California drew the most research scholars, 3,211. It ranked second behind New York for all new J-1s in 2025, with 23,167.

The State Department vets applicants and approves sponsors. Research scholars can stay up to five years

Sarah Spreitzer, vice president and chief of staff for government relations at the American Council on Education, said she had found little information about what the new probes would cover. But she said the federal government already has tools “to identify fraud, both in the granting of the visa and then also tracking the person through the Department of Homeland Security.”

“I think that all of these things are focused on bringing fewer international students into the United States, and we have been seeing that impact,” she said, expecting “a huge drop in our international enrollment this year, given everything going on.”

Tech scion David Ellison spent three years doggedly pursuing his dream: acquiring Paramount, then Warner Bros. Discovery.

Ellison pulled off his bold feat this week by completing Paramount’s $111-billion takeover of Warner Bros., uniting two industry pioneers and a wealth of cherished properties — Batman, Bugs Bunny, Harry Potter and Maverick of “Top Gun,” as well as CBS, HBO, Comedy Central and CNN. All will be tucked under a corporate umbrella that Ellison is calling Skydance — the name of the studio he formed two decades ago.

The mogul and his lieutenants celebrated their victory in style, ringing the New York Stock Exchange opening bell on Thursday, capping a bruising battle to secure approval of a deal that had sparked protests across Hollywood over fears of looming job cuts.

Ellison and his team must braid together two huge film studios (housing nine film labels), four streaming services, three TV production studios, three animation units and more than 50 television networks, including two prominent news organizations. That could be a daunting task, particularly based on how previous Hollywood mergers have fared.

“Now, the real work begins,” David G. Fubini, a Harvard Business School senior lecturer, said in an interview.

Anxieties were evident Tuesday — the day the deal closed — when Ellison held a town hall meeting at Warner Bros., which drew nearly 500 employees.

During the session, CNN’s Anderson Cooper quizzed his new bosses, including about anticipated layoffs and news independence.

“Do you stand with CNN and our effort to completely restore access to covering President Trump?” Cooper asked, referring to CNN’s legal fight alongside MS Now and Politico to reverse the president’s ban on the three organizations.

“Of course,” Ellison replied.

CNN news anchor Anderson Cooper, pictured here in 2021, quizzed his bosses at a Burbank town hall.

(Evan Agostini / Invision / Associated Press)

Hours later, Ellison parried with reporters in Paramount’s darkened Stage 3, recently revamped with laser projection capabilities to simulate fantastical and far-flung settings for TV shows, such as the streets of New York.

“This was a turbulent process, and, at times, a really ugly process, to actually get this deal over the finish line,” Ellison acknowledged to reporters. “What I want to be able to do now is turn the page, and actually make sure that we are in the business of rebuilding trust.”

To do that, Ellison intends to make more movies and TV shows than rivals. He wants to ensure the Warner Bros. and Paramount studios, which will be kept separate for now, remain talent-friendly destinations.

Ellison has taken an opposing view from his predecessors who confronted crumbling industry economics by cutting expenditures to boost their corporate bottom lines.

The 43-year-old executive, son of Oracle co-founder Larry Ellison, proudly views his family as “owner-operators,” unshackled by quarterly earnings expectations or the need to dole out dividends to keep investors happy. The Ellison family controls the company’s voting stock, allowing David Ellison to take a long-term view as he charts Skydance’s course.

The goal is to “win in storytelling,” Skydance said in an investor presentation. It intends to build the media industry’s most “technologically capable” firm, which uses artificial intelligence to speed work flows. Skydance plans to spend at least $30 billion a year on film, television and video game content.

Skydance co-CEO Ynon Kreiz, Sarah Ellison, CEO David Ellison and investor Gerry Cardinale of RedBird Capital Partners on the floor of the New York Stock Exchange on Thursday.

(Yuki Iwamura / Associated Press)

The realities of Ellison’s big swing will soon sink in as he and his team turn their focus to integrating the myriad operations and about 55,000 employees.

In some ways, Ellison is behind the curve.

Most major mergers are consummated after executives have dedicated months to quietly drafting detailed operational plans and organizational hierarchies. Ellison, in contrast, has spent the last nine months in a pitched battle for Warner Bros. — ultimately vanquishing Netflix, hundreds of vocal merger opponents, and California Atty. Gen. Rob Bonta and his coalition of 11 other state attorneys general who filed an antitrust lawsuit in July in an attempt to derail the deal.

Ellison and Bonta resolved their legal fight Sept. 21. A week later, a federal judge cleared the way for the merger to close.

The lawsuit settlement with Bonta requires that the combined company produce at least 30 movies a year for five years. It also must maintain the studio facilities in Los Angeles, making “reasonable efforts to operate the lots in a manner consistent with past practices,” according to the agreement.

Skydance has committed to maintaining operations on the Warner Bros. lot, pictured here, and at Paramount Pictures in Hollywood.

(Eric Thayer / Los Angeles Times)

Ynon Kreiz, former chief executive of Mattel toys in El Segundo, has been tasked with leading the integration. The 61-year-old executive joined Ellison at Skydance as his co-CEO earlier this week. Day One of the combined company marked Kreiz’s second day on the job.

“They have a whole new management team that will be expected to immediately lead this massive integration,” Fubini, a former partner at consulting firm McKinsey, said. “The clouds have cleared, and they are at the base camp of Mt. Everest facing this enormous undertaking.”

In a report this week, TD Cowen Global Research maintained its “hold” rating on the newly constituted Skydance, expressing some doubts about Ellison and his team’s ability to “avoid integration and execution problems that have bedeviled other major media mergers.”

Hollywood has had a history of failed mergers, including Discovery’s 2022 takeover of WarnerMedia from AT&T, which led to years of cost cuts that ultimately seeded the ground for Ellison’s takeover. AT&T’s purchase of the same assets in 2018 also quickly unraveled, some 20 years after the epic failure of AOL Time Warner.

Ellison now must grapple with the hefty acquisition costs for Warner Bros., which climbed as the deal was delayed. The company emerged from the transaction with $86.8 billion in total debt; with most of that going toward buying out Warner Bros. Discovery’s stockholders at $31.17 a share.

The debt burden also includes more than $18 billion in obligations leftover from past mergers. Skydance has nearly $7 billion in cash on hand.

Oracle’s Larry Ellison and executive producer David Ellison arrive at the L.A. premiere of “Star Trek Into Darkness” at the Dolby Theatre in 2013.

(Eric Charbonneau / Getty Images for the Hollywood Reporter)

The Ellison family brought in foreign investors, including royal families of Saudi Arabia, Qatar and Abu Dhabi as passive owners, to contribute equity to the deal. Gerald Cardinale’s RedBird Capital Partners, a longtime Skydance stakeholder, added $4 billion, bringing its total investment in Skydance deals to $6 billion.

The deal’s financial terms pose deep challenges, analysts said. Fitch Ratings this week downgraded Skydance credit, citing “materially higher leverage after the acquisition and significant execution and integration risks,” according to its report.

“Interest rate increases made financing this transaction far more expensive than anyone anticipated,” said Eric Talley, a professor at Columbia Law School. “Those lenders are going to start expecting their interest payments — Skydance executives won’t have the luxury of time.”

The company could struggle, Talley said, to “generate the cash flow needed to easily service that debt unless they can significantly cut costs.”

Skydance has promised investors that it will make $6 billion in cost cuts over three years. It anticipates $2 billion in reductions within a year, with the bulk of the rest occurring in the second year of the merger.

“They are going to be firing a lot of people,” TD Cowen Global Research media analyst Doug Creutz said.

During the press briefing, Kreiz sought to downplay the expected workforce toll, saying Skydance would achieve savings by combining technologies that support streaming services and marketing expenditures. It plans to save costs on real estate by locating employees at Skydance-owned properties in Santa Monica, Hollywood and Burbank.

HBO could move from Ivy Station in Culver City, its home for the last five years, to one of the studio lots.

Ellison and Kreiz said they would jointly manage the new colossus.

“Where David will focus on creative, technology, long-term strategy, including especially as it relates to the creative part of the business, I will focus more on the operations and the day-to-day management of the business,” Kreiz said.

Kreiz was named to Skydance‘s expanded board this week along with Laurene Powell Jobs, founder of the Emerson Collective; and Bobby Kotick, former CEO of Activision.

The new leaders expressed confidence they could expand and integrate their two major streaming services to drive growth. HBO Max and Paramount+ combined will reach more than 200 million subscribers.

The plan, they said, is to combine the two streamers within a couple of years, but the company may offer subscribers a bundle with the two offerings sooner.

Skydance, according to sources, also expects to bolster its free, ad-supported service Pluto TV, which offers more than 200 channels. The service hasn’t had much corporate attention in recent years amid the cuts and deal-making.

The executives have not disclosed which teams would soon be affected or how they will structure overlapping business units.

For example, the company’s three TV studios each have their own leader: Channing Dungey runs the largest, Warner Bros. Television; David Stapf has long managed CBS Studios; and Skydance executive Matt Thunell has been president of Paramount Television Studios since last year.

Integrating CNN and CBS

Anxiety over whether CNN and CBS News would be mashed together was quelled, at least for now.

Skydance announced that it was retaining CNN Worldwide Chairman Mark Thompson as head of the larger news organization. CNN journalists had worried that CBS News Editor in Chief Bari Weiss, who has presided over a year of turmoil at the network, would be put in charge of both.

Any news consolidation could take years, in part, because CBS News is largely unionized while CNN is a non-union shop.

“We are going to spend the next several months basically getting under the hood,” Ellison said.

CBS News Editor in Chief Bari Weiss, pictured here in 2023 in Los Angeles, has had a turbulent tenure at CBS.

(Francine Orr / Los Angeles Times)

Another challenge will be stabilizing the Warner Bros. film unit, which has had a rough year at the box office. This month, the top two Warner Bros. film executives, Mike DeLuca and Pam Abdy, exited abruptly, clearing the way for longtime Ellison lieutenants Dana Goldberg and Josh Greenstein to oversee both film studios. The co-heads of DC Comics, James Gunn and Peter Safran, segued to the new Skydance.

Skydance also will have to deal with the NFL, which could demand substantially higher fees for CBS to keep its Sunday games.

The current contract allows the league to reopen negotiations because of the ownership change. Skydance is hoping it can wait three years until the contracts of other broadcasters also are up for discussion.

Skydance will be a major player in sports. Last year, Paramount agreed to spend $7.7 billion for UFC fights. The combined company also has rights to professional golf, including the Masters tournament; National Hockey League; Major League Baseball and NCAA basketball, including March Madness, as well as European rights to televise the Olympics.

“Until you actually get inside the company, there are things you won’t know,” Creutz said. “But they are going to have to come up with answers pretty quick.”

WASHINGTON — Six years after he was released from a California immigrant detention facility, Wilfredo Gonzalez Mena has to sleep with his back propped up by pillows, nearly in a seated position, to avoid gasping for air.

He blames his lasting medical issues on the 10 months he spent in custody until September 2020 at the Adelanto ICE Processing Center, about 60 miles northeast of Los Angeles, during which guards sprayed him and fellow detainees nearly around the clock with a concentrated disinfectant meant to guard against COVID-19.

Now Gonzalez Mena, who is one of six named plaintiffs in a class-action lawsuit filed in 2023 over the use of the cleaning solution, is expected to get a six-figure payout as part of a proposed settlement in the case, which was given preliminary approval on Sept. 25 by a federal judge in Riverside. The settlement applies to around 2,700 people detained at the Adelanto facility between March 11 and Sept. 30, 2020, who were exposed to the disinfectant called HDQ Neutral.

“When you least expected it, you would feel the mist,” Gonzalez Mena said. “They would spray us like we were animals.”

The Adelanto facility is operated by the GEO Group, a Florida-based private prison corporation that has faced criticism for years over conditions at its immigrant detention facilities. The company has also pushed back against California laws seeking to increase oversight of its facilities and inform the public about health and safety shortcomings.

Under the settlement, GEO Group and Spartan Chemical Co. Inc., the company that manufactures HDQ Neutral, acknowledged that HDQ Neutral — which is classified as a pesticide — can cause symptoms including blistering, chemical burns, vomiting, permanent eye damage, and damage to the respiratory tract, throat and stomach.

Those findings can now be used by class members who weren’t named plaintiffs and may pursue their own lawsuits, the settlement says.

Neither GEO Group nor the Department of Homeland Security responded to requests for comment. After the lawsuit was filed, GEO Group denied its allegations and said cleaning products are used safely and securely, in accordance with the manufacturer’s guidelines and sanitation standards, at all detention centers.

At the time, a GEO Group spokesperson called the allegations “part of a radical politically motivated campaign to attack ICE contractors, abolish ICE and end federal immigration detention.”

The company later swapped HDQ Neutral for a different cleaning product.

Lawyers from the Los Angeles-based civil rights nonprofit Trial Impact Project who are representing the former detainees called the settlement a victory.

Executive Director Sara Haji referenced other pending lawsuits addressing allegations such as medical neglect, retaliation and substandard food and water. Each one is a different lens into the same problem, she said.

“When a company like GEO settles instead of defending itself at trial, and when it admits that the pesticide it sprayed everywhere can cause serious health problems, it should cause us all to sit up and pay attention to what detained people have been telling us about the everyday cruelty of immigration detention,” Haji said.

The lawsuit alleged that GEO Group engaged in a “months-long poisoning” of detainees when its employees sprayed HDQ Neutral inside the facility. Before the pandemic, staffers had used it as a cleaning product. But as COVID-19 spread, they began spraying the concentrated solution across wide areas, “directly into the air and on all types of surfaces,” the lawsuit said.

Detained immigrants quickly began experiencing the effects, the lawsuit claimed, including nosebleeds, headaches and dizziness.

Spartan Chemical warns that inappropriate exposure can cause the types of effects detainees experienced. Long-term exposure has been linked to asthma and, in laboratory studies on animals, reproductive issues and birth defects.

In 2021, the Environmental Protection Agency found that GEO Group had violated federal law by misusing HDQ Neutral. The report found that staff and detainees were instructed to apply the pesticide inside the facility as often as every 30 minutes, without proper ventilation and at a dilution rate of 2 ounces per gallon of water, which is double the amount allowed for disinfectant use.

In September 2021, a federal judge ordered GEO Group to discontinue use of HDQ Neutral at the Adelanto facility, writing that it had been used “with a callous disregard for the safety of Adelanto’s detainees.”

Among the more than 100,000 pages of documents released during discovery for the lawsuit was an email from a nurse at the facility to Wendy Baca, who was acting health services administrator at the Adelanto facility for Wellpath, the company providing its medical care at the time.

The nurse wrote that patients were arriving with headaches, rashes and blisters, “we believe, due to the chemicals being used to spray.”

“Some of the officers have also reported ‘feeling burned’ after touching their skin with the same gloves that were used to handle the chemical. Please look into this so we do not endanger everyone we are trying to protect,” the nurse wrote.

Baca appeared dismissive of the nurse’s concern. She forwarded the email to GEO Group’s chief of security, asking him to look into it.

“Please also remind them not to put metal into light sockets, run with scissors, or anything usually avoided with a little common sense,” she wrote.

Mark Anthony Ferretiz, a former GEO Group cook supervisor who worked at the Adelanto facility for 14 years until March 2025, wrote in a declaration that his team was told to spray the red chemical “like Lysol.”

“I could taste the spray in my mouth when I used it, and it felt heavy in my lungs,” he wrote.

At some point, the facility’s safety manager brought men from HD Supply to talk to the staff about HDQ Neutral. After learning how often the chemical was being sprayed, one of the men told Ferretiz that it was “rat poison” and that “you’re going to kill someone like that,” he said.

Years later, former detainees such as Gonzalez Mena say they’re still living with the fallout. The former long-haul truck driver said his health deteriorated so significantly while he was detained that, afterward, he could no longer pass the required physical assessment because of his vision and breathing issues.

To make ends meet, he has turned to online resale.

“My wife says that after I was released, I didn’t go back to being the same person,” he said. “I’ve had depression and I often dream that I am there, in that place, and I want to get out.”

Dolly Parton’s estate is alleging that Bryan Seaver, the country icon’s nephew and former head of security, used a “no trespassing” sign and barbed wire to avoid being served legal documents.

There is an active restraining order and lawsuit against Seaver by Parton’s company, She’s Alive LLC, which is run by Parton’s former manager, Danny Nozell, for allegedly threatening and extorting her estate.

Seaver served as Parton’s head of security for more than 20 years and, on Aug. 25, delivered the news of his aunt’s death via a video on her Instagram account.

Legal troubles for Seaver first came to light on Sept. 22 when a case was filed by She’s Alive in Davidson County Chancery Court in Nashville on the heels of Seaver’s termination as head of security. Both Seaver and his company, Squadron Augmented Protection Services LLC, are the defendants in the lawsuit.

In documents reviewed by the New York Times, Seaver is accused of mounting “an obscene, deliberate and escalating campaign of threats” to acquire money from the Parton estate, including a profane threat made toward at least one Dollywood business partner.

Seaver filed a motion last week to delay a hearing scheduled for Friday, saying he needed time to meet with his preferred legal counsel.

The following day, lawyers for She’s Alive asked the court to deny this motion, arguing that Seaver “attempted to evade service of process” and that the “court should not reward that behavior.”

According to court filings obtained by ABC News, a process server tried to issue court documents to Seaver for the third time but encountered a “no-trespassing sign in the front yard and barbed wire draped across the handrails leading to the front door.”

The new hearing date is set for Oct. 20.

The legal complaint includes text messages in which Seaver wrote that he would become “the hand of retribution for my entire family.” According to the complaint, in other text exchanges between him and a longtime lawyer of Parton, he described himself as a “killer,” a term he would later argue was taken out of context.

There are also claims that Seaver began making financial demands before Parton’s death, including in a text to Nozell where he said he would launch a podcast “dedicated to ruining Dolly’s brand partnerships and telling the violations these people have done on us” if demands were not met, the New York Times reported.

Nozell was Parton’s longtime manager and is credited with reviving the “I Will Always Love You” singer’s international touring career.

The Times reached out to Seaver, Nozelle and She’s Alive LLC but did not hear back.

SACRAMENTO — A private prison company is challenging a new California law requiring detention centers to provide medical care, privacy and other civil rights to people detained by federal immigration authorities.

GEO Group, a for-profit prison company, filed a complaint in federal court over Senate Bill 942, also called the Civil Detainees’ Bill of Rights Act of 2026. It mandates that immigrant and other detainees are afforded privacy, safety, hygienic living conditions and other rights.

Gov. Gavin Newsom signed the law last week as part of a package of bills to push back on the Trump administration’s immigration enforcement, which the Democratic governor described as “Orwellian.” GEO Group filed its complaint the day after Newsom signed the law.

SB 942 declares that detainees at state, local and privately run facilities have the right to medical, dental and mental health care; physical exercise; clean drinking water and functioning toilets; and other rights. It allows the attorney general to bring civil action against private and public entities that allegedly violate those rights.

GEO Group attorneys argue in the federal complaint that while California elected officials “may disagree with federal immigration policy,” the state “may not impose its preferred immigration-detention standards on federal detention operations, whether those standards would tighten, loosen, supplement, or otherwise alter the federal framework.”

According to its website, the company operates six detention facilities in California, four of which are housing detainees under contracts with Immigration and Customs Enforcement. That includes a shuttered state prison that began holding ICE detainees earlier this year.

GEO Group has had some previous success challenging laws seeking to undermine the private prison industry’s role in federal immigration enforcement. A federal court struck down a 2019 law that attempted to bar any “private detention facility within the state” after the company filed suit.

Representatives for GEO Group did not respond to a request for comment. Spokespeople for Newsom, Atty Gen. Rob Bonta and state Sen. Anna Caballero (D-Salinas), who authored the bill, did not immediately comment on the lawsuit.

The Super Bowl is coming to Disney+.

The Walt Disney Co. announced Wednesday that ESPN’s telecast of the NFL’s marquee event on Feb. 14 at SoFi Stadium in Inglewood, Calif. will be available to Disney+ subscribers. The company also said Disney+ will carry two ESPN “Monday Night Football” games in the current season.

ESPN is producing the Super Bowl for the first time in its history. The game is airing on Disney’s broadcast network ABC which last carried the game in 2006, and on ESPN and the ESPN app.

The addition of Disney+ makes the game available to casual fans who may not have cable or subscribe to a sports TV channel. The Super Bowl is the most-watched TV event of the year, with audiences exceeding 120 million viewers in recent years.

Streaming platforms are bringing in additional advertising revenue for the networks that carry the game.

In 2025, the Fox telecast of Super Bowl LIX averaged 13.6 million viewers on Tubi, the ad-supported streaming service owned by the network’s parent company. Fox was able to sell streaming-only ads on the telecast at around $2 million for a 30-second commercial. The spots aired in the commercial breaks for local Fox TV affiliates.

Disney is offering advertisers the opportunity to buy streaming-only ads across Disney+, the ESPN app, Hulu Live and Fubo. The company has already sold out the commercial time on the ESPN and ABC telecasts with some 30-second spots going for $10 million.

As a lead-up to the game, Disney+ will carry ESPN’s “Monday Night Football” match-up between the Dallas Cowboys at Philadelphia Eagles on Oct. 26 and another contest later in the season.

Disney+ has been adding sports to its lineup, with select ESPN college football games and Formula E races now available on the platform.

CHARLOTTE Dawson and her fiancé Matt Sarsfield’s closed beauty business has paid back just £10,000 of an £88,000 debt after its liquidation.

Latest documents for Dawsylicious Ltd, filed in June, confirmed the amount received, which is £5,000 short of the sum agreed with liquidators.

The business was unable to repay the overdrawn director’s loan in full so a reduced sum of £15,000 was agreed upon “taking into account Mr Sarsfield’s personal financial situation”.

Liquidators estimate their total bill for winding down the company will be £9,053.

That sum is repaid ahead of money owed to unsecured creditors, which, in this case, total £53,700 and won’t be paid back.

The company, which was launched in 2020 and counts Charlotte and Matt as its directors, had a rocky ride overcoming numerous compulsory strike-off actions before voluntarily being wound down in 2025.

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The Sun has contacted a representative for Charlotte for comment.

Undeterred by the bust business, Charlotte, 34, has launched a new venture, Confidence Curve.

And Charlotte has proudly been showing off her body transformation as proof she knows what she’s talking about.

Mum-of-three Charlotte says on the brand’s site: “I created Confidence Curve because I wanted something real. Something that wasn’t about punishing yourself, being obsessed with the scales or thinking you have to be perfect to feel good in your own skin.

“I’ve had my own ups, downs, wobbles, confidence dips and moments where I’ve thought, ‘Right, I’m starting again Monday!’ And that’s exactly why I wanted Confidence Curve to be different.”

It features two payment tiers: Standard and VIP.

The basic package is £19.99 a month and features access to over 500 recipes, a meal planner,workout plans and more.

While the VIP is £59.99 and has all of the same features but includes one-to-one video calls and consultations with Charlotte.

Fiancé Matt is also part of the team as one of its trainers, along with fitness coach Kelly and nutritionist Sarah Griffiths.

Citing lingering concerns about the potential misuse of police license plate readers, the Los Angeles City Council voted Tuesday to delay an agreement that would enable the deployment of hundreds of the controversial devices until officials are satisfied that the technology will be wielded responsibly.

By a 10-4 vote, the council opted to overrule approval of the 10-year, $235-million contract between the Los Angeles Police Department and Axon Enterprise, halting a deal that had previously been signed off on by the Board of Police Commissioners.

Axon is seeking to outfit hundreds of LAPD patrol squads with plate scanners, which track the movements of vehicles around the city. Under the agreement, the company would also replace thousands of body-worn cameras, supply new Tasers, provide cloud video storage, and roll out a program that uses artificial intelligence to assist officers in writing police reports.

In addition, Axon is seeking to launch a pilot program that would attach plate scanners to streetlights around Los Angeles, offering the LAPD a souped-up version of its current systems by using AI to identify vehicles, license plates, pedestrians and objects that appear on streets and sidewalks.

The council’s decision — which was preceded by several fiery comments from members of the public who oppose the use of license plate readers — sends the contract back to the Police Commission for reconsideration.

A commission spokesperson said that the board’s members weren’t immediately available for comment.

Several council members voiced unease about proceeding without a better sense of the LAPD’s internal policy on license plate reader use. Delaying the contract, Councilmember Hugo Soto-Martínez said, would give the public and city leaders more time to review the safeguards and policies written into the LAPD’s proposed memorandum of understanding with Axon.

Councilmember Traci Park, a staunch supporter of plate reader technology, said there is an urgent need to get the devices “up and running.”

Councilmember Eunisses Hernandez shot back that it would be irresponsible to deploy the technology, citing news reports about officers misusing plate readers to stalk romantic partners and track women seeking reproductive health services.

Earlier this year, the LAPD allowed its agreement with one of Axon’s chief competitors, Flock Safety, to lapse over concerns that the Trump administration is using the data it collects to locate immigrants targeted for deportation. Police officials say they no longer have access to the company’s cameras, many of which are owned by homeowners associations and other private groups.

LAPD Chief Jim McDonnell and other department leaders have pushed to expand the use of license plate readers, saying they are a valuable tool for solving crimes, enabling investigators to more easily locate stolen vehicles and fugitives.

Hernandez noted that other police technologies, such as a robot dog used in situations involving barricaded suspects, had quietly moved from a pilot to a full-fledged program without input from the council.

Council President Marqueece Harris-Dawson said he still had privacy concerns about license plate readers, while noting that their deployment along the Figueroa corridor had assisted in the rescue of dozens of juvenile sex trafficking victims.

“Now having said that, if I’m honest I don’t know what else the cameras are doing,” he said.

Councilmember Monica Rodriguez said that as the license plate reader technology is adopted by other, non-police agencies such as sanitation and street services, the city needs a universal policy governing its use.

The matter will next be heard by the public safety committee — likely at its Oct. 20 meeting — before being taken up by the full council later that week.

In a presentation to the Police Commission last month, the LAPD’s technology czar, Dean Gialamas, said that the department understood the privacy and civil liberty concerns raised about companies such as Flock. This summer, the department announced it was pausing its relationship with the Atlanta-based firm, but police officials have said they are still hopeful to negotiate a new deal with the company that would include more data-sharing safeguards.

Much like the initial debate over the use of forensic DNA testing, Gialamas said, the answer wasn’t to abandon the technology but to create safeguards to “ensure responsible and trusted use.”

Gialamas told commissioners that Axon had agreed to terms that would give the LAPD complete ownership of the data captured and bar the sharing of data with federal authorities. The proposed deal, he said, would also limit the use of plate readers to criminal investigations, missing persons cases and other “serious public safety matters.” Investigators, for instance, would not be able to conduct searches based solely on protests or other 1st Amendment-protected activities, he said.

Under the proposed contract, investigators would no longer be given “unfettered access” to license plate data and the retention period would be significantly cut down, he said. The department would also be permitted to conduct regular audits to flag officers who use the system frequently or conduct unusual searches.

A report issued last month by the LAPD inspector general’s office found numerous “limitations” in the department’s existing agreements with its three plate reader vendors — Flock, Axon and Motorola — including a lack of clear language about how long data are retained and how they are shared with third parties or other law enforcement agencies.

The inspector general recommended that the department update its current license plate reader contracts to address data security and privacy concerns, conduct regular audits and develop standardized rules for traffic stops based on plate reader hits.

Several years ago, DreamWorks Animation veterans Joel Crawford and Januel Mercado pitched the studio an original story centered on friendship and steeped in Filipino culture.

That draft became the animated film “Forgotten Island,” which opened in late September and counts singer H.E.R., Liza Soberano and Dave Franco among its voice cast. The movie focuses on best friends Raissa and Jo, who will soon be separated when Raissa goes to college in the U.S., and the final adventure they take to the fantastical island of Nakali.

The movie opened to a softer $13 million in the U.S. and Canada and has so far made $23.6 million at the domestic box office over two weekends. Globally, “Forgotten Island” has brought in $38.5 million on an $80-million production budget.

That opening haul is lower than the average for original animated films from a major studio, which is about $14.6 million, according to the FranchiseRe movie industry newsletter. But the studio is hoping the movie — which has garnered a strong 95% rating on Rotten Tomatoes — will pick up steam and benefit from the relative lack of animated competition at the box office until the early November debut of “The Cat in the Hat,” developed by Warner Bros. Pictures Animation.

“Forgotten Island” is a big bet for Glendale-based DreamWorks Animation, which like many studios, has largely depended on sequels to drive box office success.

Original animated stories — or original movies at all — have become rarer gambles in Hollywood these days, when sequels and reboots feel like safer options. But Crawford and Mercado knew they wanted to develop a new story together.

The pair, who wrote and directed the film, have been friends for nearly two decades after they met at DreamWorks Animation as storyboard artists. Together, they’ve worked on 2011’s “Kung Fu Panda 2,” 2013’s “The Croods” and 2022’s “Puss in Boots: The Final Wish.” The two bonded over their similar sense of humor and their love for movies, and their longtime friendship was apparent in their easy banter during a joint interview shortly after the “Forgotten Island” premiere last month.

Early on, Crawford and Mercado knew they wanted to tell a story set in the Philippines that celebrated Filipino culture. Mercado is Filipino American and Crawford’s wife is Filipino, so a movie that authentically represented Filipino culture was important to them. In the film, the island of Nakali has many creatures inspired by Filipino folklore, and the characters casually use Tagalog words alongside English.

“There’s a sophistication in terms of respecting that the audience is smart, and doing our part as filmmakers to make sure that the visual storytelling and the context gives everything the audience needs to know,” Mercado told me.

Audiences, too, are more comfortable with content in other languages these days, as I wrote last week about Neon’s Korean-language thriller “Hope.” After all, kids will sing Korean lyrics in K-pop songs, and even “Puss in Boots: The Final Wish” interspersed Spanglish into the story.

“It feels timely to update the way we tell stories, to not treat the audience like, ‘They won’t understand this,’ but really treat them with respect,” Crawford said. “It just felt right to chase authenticity and let go of expectations, especially of what an animated movie should be and has been, and really do something fresh because it’s just coming from who we are.”

In the last few years, animation has been a powerhouse at the box office. Disney and Pixar’s “Toy Story 5” and Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” have each crossed $1 billion at the global box office, two of only five movies to do so this year. In 2024, Disney and Pixar’s “Inside Out 2” was the highest grossing movie in the U.S. and Canadian markets.

Original stories have been tougher. Pixar has recently struggled to match the theatrical success of its prior original films and the slower start for “Forgotten Island” may be a sign of similar hurdles for new stories. But culturally accurate storytelling has paid recent dividends — just look at the success of Netflix’s “KPop Demon Hunters,” which won two Oscars, broke streaming records and sold out theatrical singalongs.

“We believe that there is a platform and space for everyone’s story, for people to feel seen and to know they matter,” Mercado said. “Even when they see a story that is specifically Filipino, if we’ve done our job right, we’ve shown you that you could connect to the story, whether or not you have this experience with the Filipino community or the culture.”

With “Forgotten Island,” Mercado and Crawford also want to push the boundaries of animation beyond its perception as films just for kids. Later this year, films such as Laika’s PG-13 rated “Wildwood” and Brad Bird’s noir film “Ray Gunn” will test the audience appetite for more adult animated and original fare.

“We’re in a time of massive sequels,” Crawford said of stories today. “When you expand where you’re telling them and who is telling them, you naturally get originality. This year has been really exciting for original stories in both animation and live action. You are taking a chance on originality, but it pays off.”

Stuff We Wrote

Film shoots

Number of the week

The Tom Cruise-led “Digger” tanked at the box office last weekend with a domestic debut of $8 million, good enough for fifth place.

The Warner Bros. film was plagued by very mixed reviews from critics, as well as a challenging marketing campaign. The film stars Cruise as an aging oil tycoon whose drilling operations trigger a catastrophic climate change disaster. Worldwide, the film brought in $20 million on a production budget of $125 million.

It’s been a tough theatrical year for Warner Bros., which has seen a string of disappointments before “Digger.” Beyond the cinema, the company is now in the process of being absorbed by Paramount Skydance, with the merger set to finalize Tuesday.

What I’m watching

It’s been yet another busy week, so about the only thing I was able to watch was a few WNBA playoff games. Since the Sparks were left out of the playoff picture again, I’ve sort of adopted the Golden State Valkyries as the next best California team to root for, and what a wild game that was over the weekend against the Las Vegas Aces.