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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.

WASHINGTON — The Department of Homeland Security has purchased three immigrant detention facilities in Adelanto for $950 million, according to the private prison corporation that sold them.

The sale by the GEO Group, a Florida-based government contractor, follows an initial $1.5-billion sale over the summer of two other California detention facilities by GEO’s competitor, CoreCivic of Tennessee.

The facilities owned by GEO Group include the 1,280-bed Adelanto West ICE Processing Center, the 660-bed Adelanto East ICE Processing Center and 704-bed Desert View Annex.

In total, the federal government has now spent nearly $3.2 billion on detention facility purchases, the majority of them in California. CoreCivic sold off two other facilities, in Minnesota and Kansas, in August.

The sales were made possible by an infusion last year of $45 billion for immigration detention from President Trump’s One Big Beautiful Bill Act.

In its announcement, GEO Group sad it will continue managing daily operations at the facilities under the company’s existing contract with U.S. Immigration and Customs Enforcement, which is effective through Dec. 19, 2034.

The company said it is engaged in an “active process” with Homeland Security for the potential sale of multiple other facilities. Those sales hinge on GEO Group’s ability to continue managing those facilities under long-term contracts, the company wrote.

“We are pleased with the completion of these important asset sales to the U.S. federal government, and we look forward to continuing to provide high-quality secure support services under our existing long-term contracts with ICE,” George C. Zoley, the company’s CEO, wrote in a news release.

“We are proud of our 40-year public-private partnership with ICE, and we stand ready to continue to assist the federal government in meeting its immigration enforcement priorities,” Zoley added.

During a shareholder call in August, Zoley said ICE was contemplating buying more than 10 facilities, and that number “could continue to grow.”

“We believe we have two types of assets: the buildings and the businesses of providing support services,” he said on the call. “We are pursuing a potential sale of the buildings, but we want to retain the business. We consider ourselves primarily a support services operator, and will place particular importance on our ability to continue our support services at any facility sold to ICE.”

GEO Group said it anticipates receiving $705 million in proceeds from the sales, after taxes and transaction fees. The company wrote that net proceeds will reduce the company’s debt and facilitate the repurchase of company shares.

This story will be updated.

What a surprise. David Ellison has decided to name the Frankenstudio media company created by the merger of Paramount Skydance and Warner Bros. Discovery simply Skydance.

And why not? “Massive Debt Funding Media” doesn’t really roll off the tongue (though “Ultra Leveraged” has a nice ring); “Ellison and Dad” is a bit too on the nose; and “Skydance” is, after all, the name he chose for the one company out of those four that he built rather than bought.

Skydance is a poetic term with some definite “Star Wars” overtones and perhaps unintentional symbolism. Before the aviation-loving Ellison claimed it, “sky dance” referred to the aerial mating of certain birds, most famously the American woodcock, also known as the timberdoodle or (I’m not making this up) the bogsucker.

(“Timberdoodle Media,” now that’s a splendid name, and “Bogsucker Productions” could work as well.)

In his attempts to acquire Warner Bros. Discovery, Ellison has certainly engaged in some high-flying … well, courtship might not be the right term for the dizzying mix of cajoling and threats he has employed to get the deal done, and it certainly does not seem fair to the American woodcock. I’m no expert, but I don’t think their mating rituals involve using the New York Times to plead their case or, when that doesn’t work, threatening to move en masse to Tennessee.

For those inexplicably hoping for ParaBros, Skydance seems a bit of a letdown, especially considering all the trouble Ellison went to. It’s been quite a show, the various razzle-dazzle versus strong arm tactics (not to mention the Middle Eastern money) he mobilized to turn two of Hollywood’s preeminent founding studios into ingredients in sub-brand stew that also includes CNN, HBO Max, CBS, DC Comics, Nickelodeon, MTV and Food Network.

Overseeing such a diverse mix is obviously too big a job for one person so Ellison added yet another flavor by drafting Ynon Kreiz as co-chief executive. Kreiz was previously chairman and chief executive of Mattel, where he facilitated the toy company’s big Hollywood push with “Barbie,” “Masters of the Universe” and the upcoming Hot Wheels movie. (Polly Pocket, now in development at Reese Witherspoon’s Sunshine Productions, should be preparing for her close-up.)

By sticking with Skydance, Ellison is not just making a large swath of Hollywood indisputably his own, he’s showing remarkable confidence in a name that first came to many people’s attention in 2019 when he hired John Lasseter.

Six months after Walt Disney Co. ended its relationship with the then-chief creative officer of Pixar and Disney Animation Studios following an investigation into multiple accusations of sexual harassment and workplace misconduct, Ellison hired him to oversee Skydance Animation.

Unsurprisingly, this led to all manner of protest, within and outside the company. When Emma Thompson learned of Lasseter joining Skydance, she withdrew from its highly anticipated upcoming animated film “Luck.” In a stinging letter she sent to the company at the time (and allowed The Times to make public), she wrote: “It feels very odd to me that you and your company would consider hiring someone with Mr. Lasseter’s pattern of misconduct given the present climate in which people with the kind of power that you have can reasonably be expected to step up to the plate.”

Lasseter was not Skydance’s only controversial hire. After merging with Paramount, the company made deals with or hired multiple men, including Brett Ratner, Max Landis and Jeff Shell, who had been accused of sexual harassment and/or misconduct.

Shell was made president of Paramount less than three years after losing his job as NBCUniversal chief executive following the disclosure of an “inappropriate relationship” with an NBC employee. He stepped down from Paramount in April after a monthslong legal battle with a Las Vegas gambler and self-described “fixer” who claimed that Shell had reneged on a deal to develop a series in exchange for free crisis control.

Now, of course, all of that is ancient history. Now Paramount is merely a sub-brand and Hollywood is less concerned with who Skydance hired as it is with who, and how many, Skydance will fire.

Also how exactly the CNN/CBS oversight committee Ellison agreed to create as part of the settlement with 12 states is going to work. And what will happen if Skydance does not release 30 new films each year, which Ellison has promised to do as part of the settlement deal. And how expensive the new Skydance streaming bundles are going to be. And if, perhaps, in some language Skydance translates to “the end of the entertainment industry as we know it.”

Most important, is it too late for the American woodcock to sue?

Walt Disney Co. laid off nearly 300 workers this week, the latest wave in an industry-wide consolidation that continues to reverberate throughout Southern California.

Several people close to the Burbank entertainment giant confirmed this week’s cuts, which came as Disney separately offered early retirement packages for older workers. The voluntary separation program is underway, and the number of executives who will exit later this year has not been determined, one of the knowledgeable sources said Friday.

The layoffs this week largely affected the human resources and the technology divisions — a belt-tightening that comes as Disney Chief Executive Josh D’Amaro seeks to put his imprint on the sprawling company and sharpen its focus.

D’Amaro took the reins from former CEO Bob Iger in March, and the former parks chief has begun to organize the company around a “One Disney” approach to break down corporate silos that sprouted with each large acquisition, including Disney’s 2019 takeover of much of 21st Century Fox.

Disney also has been working for the past year to make Disney+ the company’s central streaming hub. As part of that effort, executives have begun to diminish the Hulu service and brand, which sprung to life nearly 20 years ago.

Disney employees are bracing for further cuts. Many expect a significant television division restructuring early next year, which could result in hundreds of layoffs, according to the Wall Street Journal.

Disney’s legal government affairs department also will be downsized, according to a recent internal memo Disney Chief Legal Officer Horacio Gutierrez.

A Disney spokesperson declined to comment.

Disney President Dana Walden, during a Thursday appearance at Bloomberg News’ Screentime media conference in Hollywood, acknowledged the industry turmoil.

Traditional studios and TV networks have shed tens of thousands workers in recent years after the streaming bubble burst and twin labor strikes paused projects.

Production workers in Los Angeles have felt a double-whammy as other states and countries have offered generous tax subsidies that have pulled productions from L.A.

Separately, Warner Bros. Discovery workers are anxious that David Ellison’s planned takeover of their company next week will ultimately result in hundreds of layoffs as the tech scion and his team hunt for $6 billion in cost cuts that they promised investors and prospective debt holders.

The merger will leave the combined company, which will go by the name Skydance, with more than $80 billion in debt.

Walden suggested her company’s cuts would be more modest. She said restructurings were necessary as companies adapt to changing consumption patterns, which have eroded the more lucrative TV economics of yesteryear.

“There is a need to constantly evaluate how you’re structured,” Walden said. “It is extremely painful. We’ve exited colleagues who I’ve worked with for most of my career and it is, in many ways, a harsh reality.”

She described Disney’s voluntary retirement program as a “generous” program to give “long-tenured executives agency and the opportunity to make their own decisions around whether the timing was right to leave.”

“This evolution, it will never stop,” Walden added. “Technology set their sights on our business, and we must survive, and thrive and grow. And that’s what we’re going to do.”

When Brandon Hurst first decided to sell his plants on TikTok Live in 2023, the 32-year-old Sylmar resident didn’t know what to expect. He said he thought he could sell at least 30 plants, but instead sold 250.

Now, three years later, the internet creator, who goes by Brandon the Plant Guy, sells up to 5,000 plants a week, works out of a 3,000-square-foot greenhouse in Sylmar and has a staff of 13. He credits much of this success to the exposure he’s received on TikTok.

“I’d be out of business if it wasn’t for TikTok,” said Hurst. “I would have ended the business and gone back to working the desk job that I was working prior. I was already on that path, that was where we were headed. And then TikTok really did turn that around.”

Hurst is one of the 920,000 California-based businesses using the social media platform to reach new customers and grow their brands, according to new data from consulting firm PF Global.

In 2025, TikTok helped generate $12 billion in advertising and merchandise sales for those businesses and supported 52,000 jobs in the state, said the PF Global report, which was commissioned by TikTok.

Nationwide, economic activity on TikTok last year helped contribute $81 billion to some 8.5 million U.S. businesses, the report said.

The surge in activity reflects a growing trend toward online commerce, as more small businesses and consumers turn to social media platforms like TikTok to buy and sell goods.

“We enable American culture, American creators, American businesses, to reach an audience around the world,” said Nicole Mason, TikTok’s head of U.S. public policy, said during a presentation on Wednesday morning.

The new report comes as TikTok is increasingly eager to tout its economic impact as a newly formed U.S. joint venture. In January, the company was taken over by three managing investors: Silver Lake, Oracle and Emirati investment firm MGX, each holding 15%, with ByteDance retaining 19.9% of investments. This transition came after TikTok’s Chinese parent company, ByteDance, was under pressure to divest its ownership in the app’s U.S. operations or face a nationwide ban, due to security concerns.

Last month, TikTok also settled a $400-million lawsuit from the U.S. Department of Justice, ending a 2024 lawsuit alleging the company violated federal children’s privacy laws.

TikTok, which operates its U.S. headquarters in Culver City, where it employs several hundred workers, is mostly known for its viral, short-form vertical videos. But, over the years, the platform has become a hub of curated viral content and a central part of many businesses’ marketing strategies.

The app also has features like TikTok Live, where businesses can host live shopping events, and TikTok Shop, which serves as a direct-to-consumer online marketplace.

For its study, PF Global surveyed more than 11,000 adults in the U.S. and 5,000 businesses. The firm also conducted five case studies with U.S. small businesses and TikTok creators and interviewed over 600 people around the country. The data set combined that survey data with government statistics, industry research and TikTok’s own internal data.

PF Global recently published a similar economic report for the U.K. and is working on reports for 10 other European countries with TikTok.

Neil Ross, a partner at PF Global, said a common global theme is that TikTok users are more likely to see something on the platform and go out and do it.

“People around the world are using it as a kind of digital front door to work out where to go, what to shop, what experiences to have,” Ross said.

The U.S. report states that 27 million Americans “visited an independent shop, cafe or restaurant for the first time after seeing it on the platform.”

The app’s roots date to 2014, when an app called Musical.ly was launched in Shanghai. In 2016, Chinese tech company ByteDance launched a similar platform in China called Douyin.

As the apps grew in popularity, ByteDance picked up on their potential. It purchased Musical.ly in 2017 and combined all these platforms into one, named TikTok. Over the next few years, the app began its rapid ascent, hooking in users with a curated algorithm and viral trends. Today, 200 million Americans use TikTok every month, according to PF Global.

“On a daily basis, TikTok powers real economic impact across the United States, helping entrepreneurs grow their businesses, reach new customers, and create jobs across the country,” said Adam Presser, TikTok’s chief executive in a statement.

Paramount Skydance’s streaming chief Cindy Holland is exiting the studio, clearing the way for HBO Chairman Casey Bloys to claim a key role in the company once Paramount acquires Warner Bros. Discovery.

Holland announced her departure Tuesday in a memo to her staff. Her resignation is effective immediately.

She joined Paramount nearly 14 months ago as chairman of direct-to-consumer operations, in charge of Paramount+ and Pluto TV, after David Ellison’s Skydance Media took control of the media company long held by the Sumner Redstone family.

Holland, a respected former Netflix executive, was one of the few Paramount executives who lacked long ties to Ellison, who brought much of his Skydance team with him to Paramount.

Her resignation comes as Paramount is waiting for a federal judge to approve a settlement agreement that would allow Paramount to finalize its $111-billion purchase of Warner Bros. Discovery, which also includes CNN, TBS and the Warner Bros. film and television studios.

The agreement, unveiled last week, was designed to end a lawsuit brought by California Atty. Gen. Rob Bonta and 11 other Democratic attorneys general, who had argued Hollywood’s biggest merger in decades violated U.S. antitrust laws.

“As David readies for the next phase of his vision, we’ve discussed my role and the future of the combined businesses,” Holland wrote in the memo shared with her staff viewed by the Times. “David is optimizing for HBO stability as we move into this next chapter, and I fully support that.”

Ellison, in recent months, has signaled his intention to install Bloys in a pivotal role at the combined company.

Ellison months ago made a public commitment to protect HBO, which has long been a leader in prestige TV programming. The network has already undergone two ownership changes, and considerable management turmoil, during the last decade. Bloys has led HBO as its chairman since late 2022. He was one of the first Warner executives that Ellison met with this year after Paramount prevailed over Netflix in the bidding war for Warner Bros. Discovery.

The New York Times first reported Holland’s departure.

“Cindy has been a trusted partner to me and so many others, and I couldn’t be more grateful for her leadership, her relentless drive and everything she’s done for our company,” Ellison said in a statement.

Director Na Hong-jin’s action movie “Hope” opened in 1,500 U.S. cinemas this month, marking the biggest domestic theatrical footprint for a Korean-language film since the Academy Award-winning “Parasite.”

That’s a big bet, particularly for a foreign film. But after the success of “Parasite,” the growth of Korean shows such as Netflix’s “Squid Game” on streaming and the broader acceptance of subtitles in film and television, it was a bet Neon was willing to make.

The indie studio snapped up North American and English language rights to “Hope” for an undisclosed price before the film’s world premiere in the spring at the Cannes Film Festival.

Right off the bat, Neon knew the film would be positioned in South Korea as a big action thriller and massive event film for director Na, and wanted to match that.

In the film, which includes Alicia Vikander and Michael Fassbender in its cast, a group of people fight back against a creature that rampages through a Korean village.

“The reality is that just because a movie has subtitles, doesn’t make it an art film or a niche film,” Elissa Federoff, Neon’s chief distribution officer, told me this month. “And this, to us, felt like a big action blockbuster.”

She continued, “To me, it was this movie that certainly cinephiles were going to be curious about. But I also knew that we could cross over to a broader audience if we gave it a shot.”

So far, “Hope” has grossed more than $8 million domestically and $45.6 million worldwide on a reported production budget of at least $45 million.

Neon expected to reach Korean and Korean American audiences with “Hope,” but the film also over-indexed with Latinos, who represented 27% of the audience, according to PostTrak theatrical data.

Such a wide national release is unusual for foreign films, which typically play in specialty theaters on fewer than 100 screens. Though its domestic box office total doesn’t indicate that the film fully crossed over to mainstream audiences, “for a foreign film, it’s very successful” and has done “solid business,” said David A. Gross, who writes the FranchiseRe movie industry newsletter.

Neon, of course, has experience with Korean cinema. It distributed 2019’s “Parasite,” which became the first non-English-language film to win Best Picture. After “Parasite” won the Oscar, it was shown on 2,000 screens, about 17 weeks after its release. The Bong Joon Ho-directed film ended up grossing more than $53 million domestically and brought in more than $263 million worldwide.

The film put Neon on the map in many ways, Federoff said, and also pushed the boundaries for what the industry considered a best picture nominee. Films such as “Parasite” and “Hope” should also expand what studios consider to be mainstream fare.

“Studios and distributors are still boxing things out a little bit and thinking of these as not as accessible or not for a general commercial audience,” Federoff said. “And I would totally disagree with it.”

Though “Hope” is a long way from the domestic box-office success of “Parasite,” these kinds of swings are important to keep the pipeline of original films humming and to vary the types of fare mainstream audiences can see at their local theaters.

Although art house films once skewed toward older audiences, indie films are now popular with younger generations, who have also become accustomed to reading subtitles.

That could bode well for future foreign language films looking to make inroads with mainstream audiences. While giving a wide release to a foreign language film could be seen as risky, it’s a move Federoff believes can help bolster creative filmmaking and keep people engaged at cinemas.

“My hope is that studios start to trust their audience and respect their audiences a little bit more,” she said. “I think we can all do this. I think we can all say that we just have to have more risk taking involved with what we do. There’s a lot of incredible international cinema out there that should be seen by everybody.”

Paramount and the states fight back

Paramount Skydance and the state attorneys general are defending their proposed settlement in the face of skeptical questions from Sen. Cory Booker (D-N.J.), arguing that the judge overseeing the case should approve the agreement without the deeper review the senator has requested.

On Thursday, U.S. District Judge Araceli Martínez-Olguín told both sides to answer Booker’s questions before she ruled on whether to approve the proposed consent decree. She said at the time that she would issue a ruling “in due course.”

On Monday, both sides issued separate filings that argued the terms of the settlement were adequate. In particular, the states pushed back on assertions that the consent decree was too weak, saying it “reflects a reasonable compromise that addresses the competitive issues posed by the proposed merger in the markets alleged in the complaint.”

“The decree’s enforcement provisions have teeth,” the states wrote in their filing.

Stuff We Wrote

Film shoots

Number of the week

A bipartisan group of lawmakers formally introduced a bill last week to create a federal film and television tax credit.

The proposed legislation would provide a 20% credit on above-the-line and below-the-line U.S. labor costs for eligible productions, including postproduction and visual effects work — two industries that have increasingly moved overseas.

The uncapped credit could increase to 30% with several uplifts, including for independent productions or filming in a federally declared disaster area, such as Los Angeles County.

What I’m watching

It’s fall, which means I’m all in on “Dancing with the Stars,” as I have been since Season 2, when Drew Lachey won with pro partner Cheryl Burke back in 2006.

This season feels like it was made for millennials like me, with contestants such as Julia Stiles, Harry Shum Jr. and Jenna Dewan. But my favorite dance last week was actually Guillermo Rodriguez’s paso doble.

Tallinn accuses Moscow of responsibility for fire at Estonian company Milrem Robotics, a supplier of unmanned ground vehicles to Ukraine.

Estonian Foreign Minister Margus Tsahkna has accused Russia of “sabotage” following an August arson attack on a defence company, Milrem Robotics, a claim the Kremlin rejected.

“We can conclude with certainty that the arson attack … in Tallinn was an act of sabotage ordered by the special services of the Russian Federation,” Tsahkna wrote on X on Tuesday.

He added that the perpetrators of the attack had been apprehended and “no longer pose a threat”, and that Estonia had summoned the Russian ambassador.

“This act of sabotage is part of Russia’s broader campaign across Europe, aimed at intimidating us and weakening our support for Ukraine,” he wrote.

Kremlin spokesman Dmitry Peskov rejected the allegation.

“Such statements are baseless, ill-considered, have absolutely no relation to reality, and lack any form of reasoning. Consequently, we cannot and will not take such statements seriously,” he told reporters.

Estonia, a European Union and NATO member state along the alliance’s eastern flank, has accused Moscow of several hybrid provocations since the beginning of Russia’s full-scale invasion of Ukraine in 2022.

Along with its neighbours Latvia and Lithuania, it has ramped up its investment in defence in the years since and remains a staunch ally of Kyiv.

Support from allies

NATO chief Mark Rutte, speaking to journalists after Estonia’s accusation, said that “Russia continues its reckless campaign of hostile actions against NATO allies. It is trying to weaken our resolve and stop our support for Ukraine”.

“But Russia is failing. It is failing on the battlefield in Ukraine, and it is failing to undermine our unity and support for Ukraine,” he added.

The attack was condemned by several of Estonia’s allies, who also reaffirmed their support for Ukraine.

French President Emmanuel Macron said on X that Paris was in full solidarity with Estonia, adding: “The proliferation of these hostile acts reflects a dangerous headlong rush by Russia – one that will only lead it into a dead end.”

“Russia’s fingerprints are all over” the attack, Lithuanian Foreign Minister Kestutis Budrys wrote on X, adding that Moscow’s “hostile activities do not stop at Ukraine’s borders”.

Latvian President Edgars Rinkevics added that “more support for Ukraine … will be needed and must be provided”.

Swedish Prime Minister Ulf Kristersson called Estonia’s attribution of the attack “extremely serious”, and said the pattern of the attacks was “directed against Europe as a whole”.

For many celebrities, getting a Funko Pop! doll modeled after themselves is a sign they’ve made it in Hollywood. The 4-inch vinyl “Pop!” figurines, with their oversize heads and black dot eyes, symbolize being ingrained in pop culture — objects fans buy, celebrate and display.

At Funko’s flagship Hollywood store, there are thousands to choose from, ranging from NFL players to Disney princesses and characters from the Netflix period drama “Bridgerton.”

But the publicly traded company behind the popular dolls has been facing significant headwinds.

Funko Inc. last year posted a loss of $67.4 million on sales of $908.2 million, down 13% from the previous year. The company disclosed it had debts of $225 million.

The Everett, Wash.-based company warned investors in filings that there was “substantial doubt” about its ability to generate enough cash to meet its debt payments, citing the effects of tariffs in China, where most of its toys were made, canceled retail orders and loan covenants it expected to breach.

Funko Chief Executive Josh Simon, pictured at the Pokémon convention, says he took over the company at an “inflection point.”

(Carolyn Fong / For The Times)

Now the company is looking to stage a comeback.

Leading the turnaround challenge is Josh Simon, who left his job running global consumer products at Netflix to become Funko’s chief executive in September 2025 — the third person to hold the title in two years.

“Funko was at an interesting inflection point,” said 48-year-old Simon, who lives in Los Feliz. “I felt there was still a lot of really deep fandom and enthusiasm from retailers and at the same time, there were a lot of problems that had to be sorted out at the company. I thought it would be an interesting adventure and hopefully a way to help turn things around a bit and restore it back to that level of fan passion and glory that existed years ago.”

The rise and fall of Funko

Funko began in 1998 when entrepreneur Mike Becker decided bobbleheads would be the next big thing and shipped them out of his garage. After entrepreneur Brian Mariotti bought Funko in 2005, the business began licensing more characters. Sales took off with the launch of its big-headed “Pop!” figurines in 2010.

The company changed ownership over the years, added backpacks and other products, and went public in 2017. Most of its revenue still comes from making licensed characters and selling them through retailers, online and at events.

Funko survived a decline in sales with the rise of kidults — adults who collect toys.

(Carolyn Fong / For The Times)

But Funko’s sales plunged in 2025 following a global trade war.

The company overestimated demand, picked the wrong characters and made too many of dolls, said Gerrick Johnson, senior research analyst at Seaport Research Partners, which has a buy rating on Funko.

President Trump’s heavy tariffs imposed on China substantially raised the costs of making Funko dolls.

Amid lagging sales, retailers marked down the figurines, alienating collectors who want to see items appreciate in value.

“Collectors hate buying things 50% off,” Johnson said. “One of the biggest turnoffs in collectibles is a bargain bin.”

What kept the brand alive through the slump was the rise of kidults — adults who collect toys. Simon was one, picking up Pop! figurines from “Toy Story” and “Back to the Future” long before he worked there. Funko’s job, he said, is to distill what people love about a character into a stylized version of it.

“The number of inbound requests we get from musicians and athletes and celebrities — everyone is excited and pitching us they want a Funko Pop! made of themselves, because in some ways it suggests a mark of establishment in pop culture,” Simon said. “It’s like akin to getting your star on the Hollywood Walk of Fame in some way.”

Convention-goers create custom dolls at a Funko Pop! kiosk.

(Carolyn Fong / For The Times)

One expert said Funko’s job is to distill what people love about a character into a stylized version of it.

(Carolyn Fong / For The Times)

A turnaround plan

Though based in Washington, Funko has a large presence in L.A., where most of its senior leadership is based. They work out of the same offices as the flagship Hollywood store. The company also has employees in Arizona, London, Hong Kong and other markets.

Under Simon, Funko has diversified its supply chain, shifting production out of China to Vietnam and other countries. To improve cash flow, Funko renegotiated the timing of its debt payments and pushed products to market faster.

For example, Funko turned around figurines of the characters from “KPop Demon Hunters” — the Netflix film that became the streamer’s most-watched movie ever after its June 2025 release — in about four months, well ahead of Mattel, whose first items reached stores this spring.

When John Cena stepped into the ring for his final WWE match in December, there were pre-orders for a Funko figure wearing the same outfit down to the shirt reading, “The Last Time is Now,” built from an image Funko received a week earlier. The doll became a bestseller, said Scott Zanghellini, executive vice president of WWE Consumer Products.

“It’s happening in real time and his team being able to move quickly, and us always moving quickly in this world of we have seven hours of programming a week — how do you take advantage of that and give the fans what they want?” Zanghellini said.

Funko is also widening what counts as a license, making figures from “The Folk of the Air,” Holly Black’s fantasy series revived by book lovers on TikTok, as well as creating more original characters that aren’t licensed.

“We really want to make sure that we can be a part of these cultural moments while they’re happening,” Simon said.

Reaching out to fans is another priority. At PokémonXP, the first official Pokémon fan convention held last month at San Francisco’s Moscone Center, Funko ran a Pop! Yourself booth where attendees built custom figures in exclusive Trainer uniforms with a Pokémon of their choice.

“We really want to make sure that we can be a part of these cultural moments while they’re happening,” Funko’s chief executive said.

(Carolyn Fong / For The Times)

Jeff Leu, 40, of San Francisco spent about $100 there on two figures modeled after his kids. He already owns 40 to 50 “The Simpsons” Pop! figures and tracks his collection in a spreadsheet.

“I feel like there is a Funko for everything,” Leu said.

Now he feels the pull of the Pokémon ones.

“As they add more, there’s more pressure to buy it because I like to collect things,” Leu said. “Luckily I have a lot of room to display my toys.”

So far, the turnaround plan has yielded some positive signs.

Second-quarter sales rose 7% to $207.7 million and the company reported net income of $15.4 million, against a $40.5-million loss a year earlier. The quarter, however, included a $25.4-million benefit from expected tariff refunds, without which Funko would have lost money.

Funko’s share price closed Friday around $5.50, up about 1%. The stock has climbed 38% in the last year but is 60% below what it trade at in January 2025.

“It’s way too early to make any sort of calls on Josh at this point, but I like what he’s doing,” Johnson said. “It’s an interesting point in Funko’s history, and it’s a great opportunity for him to grow this business.”

In California’s Sacramento Valley, a grower was cited for multiple pesticide safety violations in a stone fruit orchard.

In the sweeping farmlands near the Central Coast, a seed supplier that cultivates peppers, vegetables and fruit was hit with more than two dozen pesticide safety violations, some of them serious offenses that caused health or environmental hazards.

And in the San Joaquin Valley, an agricultural retailer with a history of pesticide safety violations was cited for failing to provide protective equipment for workers and post emergency medical information in the fields.

In all, nearly 18,000 regulatory actions were taken by county pesticide safety inspectors across California from the start of 2020 through June 2025. Fewer than 30% resulted in fines, though, according to state enforcement records.

When regulators did levy penalties, they were often as low as $50 to $250, and they varied widely from county to county for the same violations, according to an analysis of more than 40,000 state enforcement records obtained through public records requests.

The regulatory system designed to protect farmworkers from pesticides is enforced haphazardly across California. Even in cases where regulators found that companies endangered workers or committed multiple violations, few were penalized for all their citations. Instead, they received warnings or notices to correct problems for cases in which they were not penalized, an investigation by Capital & Main has found.

In interviews, dozens of farmworkers reported suffering from nausea, burning eyes or irritated throats due to chemical-laced fields. Most said they didn’t report the problems because they feared retaliation or lacked confidence in the regulatory system.

“Yes, there are laws,” said Jesus, his face wrinkled from years of harvesting garlic, pruning grape vines and picking blackberries in the sun-baked San Joaquin Valley.

“But unfortunately, at times the law favors the powerful — it sides with the wealthy,” he added, asking that his last name not be used for fear of reprisal from his bosses.

Autonomous tractors, which are used to apply pesticides, line a field in Fresno County. The machines are operated remotely and spray crops including pistachio and almond trees. A scarecrow overlooks a field of corn at La Huerta de Cantua Creek.

Labor and community activists who track pesticide safety issues contend that lenient penalties, as well as warning letters and written notices, fail to deter violators, especially repeat offenders and larger businesses that can absorb the costs of fines.

State records show that warning letters and written notices were issued more than twice as often as penalties, “[raising] serious questions about accountability and deterrence,” said Bianca Lopez, co-founder and project director at Valley Improvement Projects, which monitors pesticide safety in the northern San Joaquin Valley.

The findings come as state officials are proposing to overhaul decades-old pesticide regulations to toughen enforcement and standardize penalties. Those proposals are strongly opposed by groups representing growers, retailers and providers of agricultural services.

Current regulations are enforced by county agricultural commissioners, who police pesticides in their jurisdictions and also promote California’s $61-billion agricultural industry.

In a statement, the California Department of Pesticide Regulation acknowledged the need to improve regulation and ensure it is applied consistently in every county.

Department spokesperson Amy MacPherson said officials are also proposing new regulations that would increase fines for violations that affect people’s health. This can include cases in which toxic chemicals drift into neighboring fields or communities and sicken people.

MacPherson said county agricultural commissioners have discretion in deciding which enforcement tools — warning letters, written notices, fines — to use in a given situation, depending on the “nature and severity of the violation.”

Paola Lopez, who has harvested raisins in the central San Joaquin Valley, supports stronger regulations.

On a Saturday in late September 2025, the 40-year-old mother of four was loading crates of grapes onto a forklift in a Fresno County field. A tractor pulling a pesticide sprayer passed by on a street just a few yards away. She remembers a loud blast — then a toxic spray covered her face and arms.

“It was a little hard for me to breathe, and my eyes started burning a lot,” she said in Spanish, recounting the incident to a reporter. “I could hardly see.”

Disoriented, she called local activist Nayamin Martinez, executive director of the Central California Environmental Justice Network. Lopez had received pesticide safety training from the organization.

Martinez told Lopez to go to a hospital and said she would file a complaint with the Fresno County agricultural commissioner’s office.

“She started vomiting and became dizzy,” the local activist wrote of Lopez in the complaint.

Paola Lopez, 40, harvests raisins in the San Joaquin Valley and cares for her four children when she is not working in the fields. In September 2025, she was exposed to toxic pesticides and required emergency medical treatment. The county agricultural commissioner investigated the incident and found multiple state pesticide safety violations. Above, Lopez at home with two of her children on April 4.

A reporter reviewed copies of safety notices required by federal law that detail the hazardous chemicals that were mixed into the pesticide load that sprayed Lopez.

“Harmful if inhaled,” one notice says. “Causes skin irritation.”

“Danger … Causes serious eye irritation,” a second document adds.

“May cause cancer,” it warns.

California, unlike other states, has a split system of pesticide oversight. The Department of Pesticide Regulation is charged with statewide enforcement and provides guidance and training for 55 county agricultural commissioners, who police their jurisdictions.

State officials do not supervise the agricultural commissioners, who are appointed by and report to their elected boards of supervisors.

In interviews, commissioners lauded California’s enforcement system, saying they think it’s important to have discretion when applying regulations because crops, growing seasons and pesticide use vary from county to county. They said their work has improved safety in the fields.

The flexibility “gives us the ability to closely work with growers and … keep our communities safe,” said Juan Hidalgo, agricultural commissioner for Monterey County, one of the top farming counties in the nation with a gross agricultural production value of $4.8 billion in 2025.

Last year, a Capital & Main investigation found that companies with violations in multiple counties across California were not fined for hundreds of those offenses — many involving worker safety.

In 2023, a federal audit flagged serious pesticide incidents in half a dozen counties and uncovered patchwork oversight by agricultural commissioners. The county regulators interpret pesticide safety laws differently, are not required to justify fines and are not mandated to check a company’s statewide compliance history, the audit found.

The Department of Pesticide Regulation in late 2025 unveiled searchable county and statewide data breakdowns for regulatory actions taken by agricultural commissioners from the start of 2020 through the end of June 2025.

During that period, commissioners took 17,742 regulatory actions for pesticide violations of all types, but only 4,885 resulted in fines or referrals to district attorneys for possible prosecution, according to the data.

The treatment of violators, including repeat offenders and companies cited for serious infractions, varied depending on the county, according to the analysis by Capital & Main, which examined 40,150 state enforcement records detailing investigations, violations and civil penalties from 2018 through early 2024.

In one county, for instance, an agricultural commissioner fined a farmer $2,000 for failing to provide safety training for workers who applied pesticides in fields. In another county, a grower was fined $200 for the same violation.

1

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1. A farmworker, 43, who is not identified for her safety, picks grapes that will be sold as raisins in southwest Fresno County on Sept. 3. She works from 6 a.m. to 3 p.m. and is paid 36 cents for each paper sheet she fills. 2. A grape farm in Fresno County.

Failure to provide pesticide safety training for workers who handle pesticides is one of the most common violations in California, according to state regulators. Such training is crucial for all field workers because pesticides have different safety requirements and can pose serious health risks.

Many farmworkers who were interviewed, including Lopez, who was sprayed in the raisin field, said employers did not provide pesticide safety training.

According to the analysis, more than 240 businesses were cited for at least 1,268 violations in multiple counties across California, but they paid no fines for nearly half of these citations — many involving worker safety.

Labor advocates who have studied pesticide regulation say the oversight gaps and failures to impose stiffer fines underscore the need for more vigilant enforcement. They note that rural and predominantly Latino communities are disproportionately affected.

“We need much stronger and more consistent enforcement to protect workers and communities,” said Anne Katten, director of the Pesticide & Work Health & Safety Project for the California Rural Legal Assistance Foundation.

In June, the Department of Pesticide Regulation unveiled proposed changes to state pesticide regulations. The approval process will take months and has involved public comment; revised rules are expected to be adopted next year, officials said.

To address uneven enforcement, the new rules would require agricultural commissioners to check whether companies were cited for violations in other counties, officials said. Commissioners would also have increased reporting requirements when they don’t impose fines. Minimum levels for penalties would be raised and stiffer fines would be imposed for repeat offenders.

But individual farmers as well as more than a dozen associations that represent growers, agricultural retailers and firms that spray pesticides have voiced opposition to the changes. They argue that current regulations are effective, that agricultural commissioners need flexibility to investigate violations and that more training is needed to help growers understand the rules, according to written comments obtained through California Public Records Act requests.

“A one-size-fits-all enforcement approach fails to account for California’s agricultural diversity,” said a letter sent to state officials in December that was signed by groups such as the California Strawberry Commission and California Agricultural Aircraft Assn.

“Maintaining county-level discretion,” the letter says, “ensures that enforcement decisions reflect on-the-ground realities and local expertise.”

Some supporting the overhaul say it doesn’t go far enough to protect workers and communities.

Violations of reporting requirements, including those involving pesticide spraying near schools, would trigger only minor, optional fines, said Yanely Martinez, an organizer with Safe Ag Safe Schools, which monitors pesticide safety in the Salinas and Pajaro valleys.

In early June, the investigation into the pesticide exposure case involving Paola Lopez was closed.

Officials found five violations, including failure to have an emergency medical plan for workers, failure to protect people and wildlife from pesticide drift and failure to have pesticide safety records on file, according to a copy of the investigative report obtained through a public records request.

The agricultural commissioner’s office referred the case in June to the Fresno County District Attorney’s Office for possible criminal prosecution. As of mid-September, the case was still under review and there was no timeline for a decision regarding potential criminal charges, said Taylor P. Long, spokesperson for the district attorney.

1

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1. Crates stacked at a grape farm in Fresno County. 2. Crates of raisins dry in the sun in Caruthers in Fresno County. 3. Sweet Harvest Church is surrounded by agricultural fields in an area of Fresno where many low-income families live and work.

If prosecutors reject the case, it would go back to the agricultural commissioner’s office, which would determine the severity of the violations and how much the fines would be, said Mario Reeves, Fresno County’s assistant agricultural commissioner.

Lopez was at her apartment in the prosperous farmland known as the “Raisin Capital of the World” when a reporter told her about the investigation’s findings and the timeframe for penalties.

She expressed frustration that months would pass before anyone is held accountable.

“How many more people will be exposed? … How many more people will get injured?” she said.

Lopez’s medical bills are covered by workers’ compensation insurance, but her health has worsened and her doctor has referred her to specialists who deal with respiratory and nervous system disorders, she said.

She had gone back to the raisin fields days after she was exposed, even though her throat was sore and she was coughing, because she needed the money. “We cannot afford the luxury of just walking away from a job,” she said.

She lasted less than two days before becoming too sick to work. She has not returned.

Lopez is an independent journalist and fellow at the McGraw Center for Business Journalism. Data journalist Cherry Salazar analyzed state pesticide records for this report.

Sept. 23, 2026 1:44 PM PT

PORTLAND, Maine — Maine Democrats on Wednesday assailed U.S. Sen. Susan Collins over a news report that the FBI investigated how much she knew about illegal campaign contributions that sent one of her donors to prison.

The ProPublica report, published Tuesday, states that the FBI in 2024 planned to launch an investigation into Collins’ dealings with Navatek, a Hawaii defense contractor and donor to her campaign. The investigation, which focused on an alleged pay-to-play scheme, failed to commence after President Trump took office after winning the election, according to ProPublica.

The report arrived six weeks before an election in which Collins is seeking a sixth term against Democrat Troy Jackson. Democrats have targeted the seat, in a state that Trump lost in 2024, as the party tries to win control of the Senate, making it one of the most competitive races on the November ballot.

Collins on Tuesday called the entire story “absolutely outrageous” and said it is frustrating and unfair to have such claims made against her so close to the election. Her campaign manager, Steve Abbott, also said Wednesday that the allegation that “we charge people to have meetings” is categorically false and Collins accepting campaign cash for contracts “did not happen.”

Jackson called the allegation “corruption of the highest order.” He was not present Wednesday when a group of Maine Democrats held a news conference near Collins’ Portland office, calling the allegations a betrayal of trust.

“I cannot stress enough here today the seriousness of these allegations. Maine people deserve clear and real answers from Susan Collins right now,” Maine Democratic Party Executive Director Devon Murphy-Anderson said.

FBI says allegations were already investigated

The ProPublica report stated that the head of a Collins super PAC met with executives from defense contractor Navatek in 2019 and asked them for a $500,000 campaign donation. The company’s chief executive, Martin Kao, sent an initial $150,000 donation using a shell company, the report stated. ProPublica reported that it reviewed an internal company email from Kao in which the CEO later told Navatek executives that Collins committed to getting the company $32 million in Navy contracts.

Kao and two other Navatek executives were later indicted on charges of funneling illegal donations to Collins. Kao sought to reduce his prison sentence by revealing to the FBI the full scope of illegal contributions to Collins, ProPublica reported.

Collins said Kao is “a liar” whose story is untrustworthy.

“He has been twice convicted in separate federal court cases. He’s been convicted of money laundering. He’s been convicted of bank fraud. He has been convicted of false submissions to the FEC. He’s being convicted of a lot of crimes,” she said.

An FBI spokesperson said in a statement that the allegations “had already been investigated by the FBI years ago and ultimately found nothing implicating Senator Collins or Senator Collins’ campaign. Any suggestion otherwise is totally false.”

The ProPublica article also states that Trump’s return to the White House left the Justice Department unable to perform the investigation.

Corruption investigations have decreased in Trump’s second term

The number of FBI agents and Justice Department prosecutors specializing in corruption investigations plummeted in the first months of the Trump administration. The Justice Department, for instance, decimated its elite Public Integrity Section in early 2025 and the FBI disbanded a white-collar fraud and public corruption squad based out of its Washington field office.

The administration has also fired numerous law enforcement officials who participated in investigations into Trump, including over his efforts to undo the 2020 presidential election he lost and his retention of classified records at his Mar-a-Lago estate in Palm Beach, Fla.

An email seeking comment was sent to the Justice Department on Wednesday.

Collins said she first learned of the company through the University of Maine because of the research the Navy found to be valuable, which had to do with 3D printing for production.

She said the Justice Department has already reviewed the matter.

“I’m telling you this is completely false,” Collins said.

Senate Majority Leader John Thune dismissed the idea that Collins would be implicated in a pay-to-play scheme, calling the allegations “a political hit job.”

Whittle and Mascaro write for the Associated Press. Mascaro reported from Washington. AP writers Mary Clare Jalonick and Eric Tucker in Washington and Kimberlee Kruesi in Providence, R.I., contributed to this report.

A TRAVEL company that fell into administration earlier this year has been saved.

Groupia Ltd, which sells stag do holidays and company away days, has been acquired by Cheshire-based Funktion Leisure.

Known for their golf trips, hen and stag dos, spa breaks and tours, the company opened back in 2002 and since, more than 750,000 travellers have travelled with the company.

The site is now up and running again with different holidays and getaways on offer.

For example, you could book a trip to Friendsfest in Bournemouth from £249 per person, including two nights accommodation, hot tub access, a silent disco and a locally sourced BBQ hamper.

Or for £319 per person, you could book a spa experience in Barcelona with a hummer pick up from the airport.

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The company fell into administration back in June after 24 years in business.

Funktion Events managing director Jay Broughton said: “We acquired GoHen and StagWeb out of administration because they’re two of the strongest names in UK hen and stag travel, with more than 750,000 customers between them since 2002.

“Both are back open and taking bookings, and early demand since the relaunch has been really encouraging, which tells us the appetite for these brands never went away.”

On the company’s website, it also added that over the coming months it will focus on investing in the sites and services.

Funktion Events has arranged more than 55,000 hen parties and 12,000 stag weekends since 2007.

The company has also organised thousands of corporate and team-building events.

A UK holiday park operator has entered administration.

The company behind Medmerry Holiday Park in West Sussex – Cove Communities Venture 2 Medmerry OpCo Limited – has been appointed administrators.

Medmerry Holiday Park, known for its nature-focused 100-acre holiday village, was forced to close back in 2024 following flooding and now will not reopen.

The park sits by the Medmerry Nature Reserve and Bracklesham Bay Beach and was home to 308 self-catering chalets, a large outdoor swimming pool and central pub and restaurant.

The park was loved by visitors, with one guest stating: “Having just returned from a four day break and was blown away with this park, the friendly and well informed staff and quality and price of the food in the restaurant was second to none.”

According to The Herald, the company is also connected to parent company Cove Communities Holiday Park UK Holdco Limited.

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A number of this company’s subsidiaries have been forced into administration this year as well.

These include the eight-park Argyll Holidays portfolio in Scotland, including holiday parks Drimsynie Estate and Hunters Quay Holiday Village.

In Cornwall, Gwel an Mor Resort also entered administration, as did Solway Holiday Park in the Lake District.

However, most of these continued to operate.

There are still some Cove sites that are not impacted including the group’s largest flagship holiday park – Seal Bay Resort in West Sussex.

Administrators are now attempting to sell the group’s sites in Scotland, Cornwall and Northern England.

California Atty. General Rob Bonta and Paramount Skydance Chief Executive David Ellison have reached an agreement to end the state’s antitrust fight, paving the way for Ellison to complete his $111-billion purchase of Warner Bros. Discovery, said a person familiar with the matter.

The two sides have agreed to resolve antitrust claims that Bonta and 11 other state attorneys general brought in late July, said the source, who was not authorized to comment publicly on the settlement.

As part of the deal, Paramount agreed to pay a penalty if the company fails to make good on a promise to distribute 30 films per year in theaters and to spend $1.5 billion on film production in Hollywood over the next five years, said the source who was not authorized to comment.

Representatives of Paramount and Bonta did not respond to a request for comment.

A federal judge must approve the agreement. Paramount would then be poised to quickly finalize its purchase of Warner Bros. Discovery — a blockbuster combination that will reshape Hollywood by collapsing two historic film studios with rights to Batman, Harry Potter, “Top Gun,” and Bugs Bunny and by combining the HBO Max and Paramount+ streaming services.

In addition to CBS, Paramount would own dozens of cable television channels, including CNN, TBS, HGTV, Food Network and Comedy Central.

The road to a resolution was fraught. Bonta abruptly canceled a negotiation session with Paramount in late August after potential deal terms leaked. Then, after talks restarted and the settlement began taking shape, several powerful Bonta allies, including New York Atty. Gen. Letitia James and Connecticut Atty. Gen. William Tong, signaled their displeasure with proposed deal terms.

They felt the deal points didn’t go far enough to mitigate the potential clout Paramount would wield over the film and television industries if it was allowed to swallow its larger industry rival, according to three people familiar with the matter but not authorized to comment.

Ellison’s goal had long been to complete the Warner takeover by the end of September — before midterm Congressional elections and prior to a key deadline for Paramount to increase its payout to Warner Bros. Discovery shareholders. Ellison received a boost from California Gov. Gavin Newsom, Los Angeles Mayor Karen Bass and Xavier Becerra, the Democratic nominee for California governor, who pressed Bonta to end the dispute rather than take the case to trial in Oakland in March.

Newsom said he took “seriously” Paramount’s threat to leave the state. He advocated for a settlement behind the scenes, according to two people close to the matter who were not authorized to comment.

State Attorney General Rob Bonta in 2025. (Genaro Molina/Los Angeles Times)

(Genaro Molina/Los Angeles Times)

Ellison was highly motivated to strike a deal because his company’s expenses will soon accelerate. Beginning Oct. 1, Paramount is on the hook to pay Warner investors a “ticking fee” of 25 cents per quarter, per share until the deal closed. That obligation is expected to add $7 million a day to the cost of the $31 a share that Paramount agreed to pay Warner shareholders when it won the bidding war back in February.

Paramount’s takeover will be heavily leveraged. The company’s bankers have lined up nearly $80 billion in debt to finance the merger. Ellison’s father, billionaire Larry Ellison, late last year agreed to backstop the $47-billion in equity needed to complete the acquisition. Royal families from Saudi Arabia, Qatar and Abu Dhabi have agreed to chip in $24 billion for an equity stake by assuming some of Ellison’s financial commitments.

Late last week, the Federal Communications Commission approved Paramount’s request to allow the foreign investors to own nearly 50% of the merged company. The Ellison family, however, will retain its voting control.

Paramount has promised Wall Street that it would make more than $6 billion in cost cuts. A recent Los Angeles County economic report predicted the merger could lead to an estimated 4,500 workers in the Los Angeles region losing their jobs as Ellison works to combine the two companies.

The truce comes after Paramount received clearances from regulators around the world, including the European Commission, Canada and the U.S. Justice Department.

But despite those approvals, Paramount spent weeks over the summer wrangling with Bonta and applying political pressure. Ellison threatened to move his studio from its historic Melrose Avenue address to Texas or Tennessee.

Larry Ellison separately announced plans to switch the headquarters of his software behemoth Oracle to Nashville from Austin, Texas (after Oracle relocated from Silicon Valley six years ago).

Paramount also enlisted major Hollywood unions, the Directors Guild of America and the International Alliance of Theatrical Stage Employees, and prominent cinema chains to drop their opposition to the deal.

Bonta’s suit had leaned heavily into potential harms to theatrical distribution and lawyers for the states had been banking on theater executives’ testimony at trial.

The parties also were facing a key court hearing Thursday. Paramount was poised to ask U.S. District Judge Araceli Martínez-Olguín in Oakland to make the states and the Writers Guild of America post a $1.88-billion bond that would cover some of Paramount’s delay-related deal costs should the company eventually prevail.

The states and the WGA, which also sued to block the merger, have balked at the request, which was designed by Paramount to create fissures within the coalition of states by raising doubts about the strength of their case.

Paramount’s high-profile lobbying campaign reached a crescendo in late August after Paramount called out activist-actor Mark Ruffalo, accusing him of resorting to “antisemitic tropes” to argue against the merger.

Prominent Jewish groups rushed to Paramount’s aid. Ruffalo, who frequently works with HBO, denied the allegation, saying he had a 1st Amendment right to speak against the deal as well as Oracle’s business ties to Israel. Numerous Jewish artists came to Ruffalo’s defense, saying his free speech rights were being squelched.

Bonta abruptly canceled a settlement conference, accusing Paramount of leaking confidential information.

“If you want to have an adult, legitimate, serious settlement discussion — no problem,” Bonta said during an Aug. 25 appearance in Los Angeles. “But if you want to play games, we’ve got better things to do.”

The states’ 37-page lawsuit, filed in the U.S. District Court for Northern California, claimed the Paramount-Warner combination would violate the U.S. Clayton Act, a century-old antitrust law to prevent mergers that weaken competition and raise costs for consumers.

The states, which also included Nevada, Colorado, Oregon, Washington, New Jersey and New Mexico, had argued the tie-up of two legacy movie studios would give Paramount-Warner too much marketshare in two categories — wide-release movies and potential blockbusters.

Paramount Skydance CEO David Ellison has pressed to get his blockbuster deal done before his company must make higher payouts to Warner Bros. Discovery shareholders and before the mid-term elections, which could change the makeup in Congress.

(Mark Schiefelbein / Associated Press)

The states also said Paramount-Warner would control nearly 30% of the cable television channel space with more than 50 networks.

Paramount has been facing a June 4 deadline to complete the deal — or owe Warner Bros. Discovery a $7-billion breakup fee. Paramount has already paid $2.8-billion to cover a termination fee paid to Netflix after the streamer withdrew from the auction in February.

Tensions flared on the eve of a critical week ahead for Paramount Skydance’s proposed $111-billion acquisition of Warner Bros. Discovery, amid new urgency for talks aimed at settling antitrust litigation brought by California Atty. Gen. Rob Bonta and 11 other states.

Over the weekend, opposition intensified to a proposed settlement as details trickled out, including a proposal to establish a bipartisan editorial board to monitor cable news channel CNN, one of Warner’s premier properties that Paramount Chief Executive David Ellison would control along with CBS News.

It wasn’t clear Sunday whether a proposed settlement would require Warner to sell off assets — something Bonta repeatedly has insisted upon. Critics of the deal urged Bonta and other state attorneys general to resist pressure to reach a settlement that would allow Ellison’s deal to move forward.

“State Attorneys General, please hang tough against the giant proposed Paramount-Warner Brothers merger,” Rep. Jamie Raskin (D-Md.) wrote on social media late Saturday.

“Paramount, run by the Ellisons, should not own both CBS and CNN. California must not cave and take a deal that leaves both under the same owner,” Rep. Ro Khanna (D-Fremont) wrote.

Bonta and Ellison have made progress in the talks in recent days, according to four people familiar with the matter not authorized to speak publicly.

However, New York’s Letitia James and at least two other attorneys general who joined Bonta’s lawsuit in July privately have expressed reservations about the proposed compromises, believing they don’t go far enough to mitigate concerns about the power Paramount-Warner Bros. would wield over the film and TV industries should the merger go through, according to the people familiar with the matter.

James isn’t on board with Bonta’s proposed settlement, two of the people said. A potential split within Bonta’s coalition could be a setback because Bonta needs the other state attorneys general who joined his legal effort to sign off on any deal.

A spokesperson for Bonta did not respond Sunday to a request for comment.

Paramount maintains its deal to bring HBO, CNN, CBS, TBS, Comedy Central and two legendary film and television studios together would create a stronger company that could withstand the fierce competition from tech giants such as Apple, Netflix, Google (which owns YouTube) and Amazon. The two studios, on their own, would not be strong enough on their own to remain viable in the streaming age, the company has said.

On Thursday, Paramount lawyers plan to demand that U.S. District Judge Araceli Martínez-Olguín in Oakland require the states and the Writers Guild of America to post a $1.88-billion bond that would cover some of Paramount’s delay-related deal costs should the company eventually prevail.

The states and the WGA, which also sued to block the merger, have balked at the request, which was designed by Paramount to create fissures within the coalition of states, which also include Minnesota, Oregon, Colorado, Connecticut, New Jersey and Massachusetts.

Ellison wants the merger finalized by Oct. 1, when his company will be obligated to make a higher payout to Warner Bros. Discovery shareholders. The company has threatened to move its Hollywood base from its historic Melrose Avenue lot to Tennessee or Texas should the antitrust battle stretch into October.

The prospective loss of an iconic California business — a century-old film studio that helped establish Hollywood — has rattled state and local politicians, who are fearful of losing more jobs at a time when Los Angeles film production levels already are at alarming lows.

Gov. Gavin Newsom, Los Angeles Mayor Karen Bass and Xavier Becerra, the Democratic nominee for California governor, have publicly called on Bonta to settle the suit rather than prepare for a trial next spring. City Councilmember Nithya Raman, Bass’ opponent in the L.A. mayor race, has been one of few California politicians in support of Bonta’s fight.

In an opinion essay Sunday, a trio of 1st Amendment and antitrust experts dismissed Paramount’s threat to leave Los Angeles as a ploy that doesn’t make business sense.

“Ellison’s threat is empty, and the AG should call that out — not give into it,” the experts — Fiona Scott Morton, Gene Kimmelman and Norm Eisen — wrote in the Contrarian.

Both Morton, an economics professor at the Yale School of Management, and Kimmelman formerly served in the U.S. Justice Department during Democratic administrations. Eisen, founder of the group Democracy Defenders Action, is helping lead the Block the Merger campaign.

“Paramount [would be] sinking the cost of moving before it knows what businesses it owns and how best to combine and organize them — which makes expensive strategic mistakes inevitable,” the trio wrote. “A company that raises its own costs while leaving behind the most valuable labor in the industry does not threaten California; it threatens itself.”

The group noted Paramount, in its regulatory filings, still lists its Times Square offices in New York as its corporate headquarters — not its Melrose Avenue campus in Hollywood.

“There is also the possibility that Ellison is planning to move Paramount to Tennessee regardless of how the lawsuit resolves,” the group wrote.

Bonta and Paramount have discussed including in any settlement a condition that Paramount would keep its operations in California for a set period, according to people familiar with the proposal but not authorized to comment.

Merger opponents planned a Sunday evening rally outside Bonta’s offices in Oakland to encourage him to stand tough. The group plans subsequent demonstrations this week outside James’ office in New York City and the Paramount lot in Hollywood.

The jockeying comes as President Trump, who favors the Ellison takeover of CNN and Warner Bros., has sought to block several prominent news organizations, including CNN and Politico, from reporting from the White House.

“Trump just locked CNN out of the White House. Now his billionaire allies want to own it,” Sen. Cory Booker (D-N.J.) added in a Sunday post. “State attorneys general: Don’t settle. Hold the line. Block this merger.”

After a bitter standoff, Paramount Skydance and California Atty. Gen. Rob Bonta have made progress in settlement talks that could push Hollywood’s massive merger over the finish line, people familiar with the matter said Friday.

The two sides have quietly been negotiating a truce to end the antitrust lawsuit brought by Bonta and 11 other Democratic state attorneys general — a legal volley that has threatened to derail Paramount’s $111-billion takeover of Warner Bros. Discovery.

It’s not clear how close to a resolution the two sides are, but talks in recent days have been constructive, one of the knowledgeable sources said.

Paramount Chief Executive David Ellison is highly motivated to end the court battle with Bonta before Oct. 1, when his company will be obligated to make a higher payout — an extra $7 million a day — to Warner Bros. Discovery shareholders on top of the $81 billion the company has already agreed to pay.

For weeks, Ellison and his team have been ratcheting up political heat on Bonta to abandon his lawsuit, including threatening to pull Paramount out of Hollywood — a scenario that has rattled state and local lawmakers who desperately want to bring film jobs back to Los Angeles, not lose thousands more.

Paramount declined to comment.

A spokesperson for Bonta’s office said in a statement: “Potential settlement talks are confidential. We cannot confirm or deny whether settlement talks are occurring or their alleged substance.”

Both sides have incentives to settle. Ellison, who has leaned on his family’s connections to President Trump and Washington Republicans, would like to avoid taking on more debt for the already highly leveraged deal. And he is eager to close the transaction and take the reins at Warner Bros. before the midterm elections.

Bonta has been on a winning streak with favorable rulings against the Trump administration and social media giant Meta, and he doesn’t want to overplay his hand or risk having his coalition of state attorneys fall apart.

Earlier this week, the two sides agreed to sit down for court-mandated settlement talks in mid-October. The two sides were set to meet in late August but Bonta pulled the plug on those sessions, accusing Paramount of leaking misinformation and “playing games.”

The Wall Street Journal first reported the two sides were in advanced talks.

This is a developing story.

The Federal Communications Commission on Thursday granted Paramount Skydance’s request to allow Middle Eastern royal families to hold a substantial stake in a merged Paramount-Warner Bros. Discovery.

The sovereign wealth funds of Saudi Arabia, Qatar and Abu Dhabi are slated to indirectly own nearly 50% of the equity in David Ellison’s proposed mega-studio, Paramount-Warner Bros. That will give them a hefty stake in CBS, CNN, Comedy Central, HBO and two historic Hollywood film studios.

Ellison needed FCC approval because the deal will change the ownership structure of CBS.

As part of the Communications Act of 1934, Congress placed restrictions on foreign ownership of broadcast outlets because of concerns about national security. Current rules prevent foreign investors from owning more than 25% of a company that holds a U.S. broadcast license — unless the FCC determines that foreign ownership would serve a public interest.

CBS owns more than two dozen TV stations with FCC licenses, including KCBS-TV Channel 2 and KCAL-TV Channel 9 in Los Angeles.

“Upon review of [Paramount’s] Petition and consideration of the record of this proceeding, we find that the public interest would be served by granting the Petition,” FCC said in its ruling, noting that Paramount has said the proposed ownership changes would “not result in a transfer of control of Paramount.”

Instead, “Ellison family will retain a majority of the voting interests and control of Paramount,” the FCC said.

FCC Chairman Brendan Carr, an appointee of President Trump, has been supportive of Paramount’s takeover of Warner Bros. Trump and his lieutenants, including Defense Secretary Pete Hegseth, have been cheering for Ellison to control CNN, a Warner property.

Anna M. Gomez, the lone Democratic FCC commissioner, slammed the agency’s decision, saying it “just let some of the most repressive governments in the world indirectly control nearly all of a combined Paramount-Warner Bros.”

“An investment this large in one of America’s biggest media companies doesn’t just buy equity, it secures influence over what gets said and what gets made,” Gomez said. “That’s why I called for this new and novel issue to go to a full commission vote given what’s at stake. Instead, the FCC snuck this ruling out as a staff-level decision, with no public vote and no accountability for a call of this magnitude.”

Ellison’s billionaire father, Oracle co-founder Larry Ellison, in February agreed to personally guarantee the $47 billion in equity needed to buy out Warner Bros. Discovery’s existing shareholders for $81 billion. Ellison and longtime Skydance investor, RedBird Capital Partners, then entered into agreements to assign some of their purchase rights to the sovereign wealth funds.

The funds plan to invest $24 billion in the Paramount-Warner deal. Saudi Arabia’s Public Investment Fund is set to contribute $10 billion while the Qatar Investment Authority and Abu Dhabi’s L’imad Holding Co. will separately add $7 billion.

Paramount has separately lined up debt financiers to help pull off the leveraged buyout of Warner Bros. Discovery — Hollywood’s biggest merger in decades. The deal has been stalled by an antitrust challenge brought by California Atty. Gen. Rob Bonta and 11 other Democratic attorneys general, representing such states as New York, New Jersey, Colorado, Nevada and Oregon.

The foreign ownership rule was adopted nearly a century ago because members of Congress wanted to make sure that hostile foreign players were barred from using U.S. airwaves to spread propaganda, particularly in times of war.

“We appreciate the FCC’s careful review and are pleased that it has granted Paramount’s petition,” Paramount said in a statement, adding the Trump administration’s Committee for the Assessment of Foreign Participation in the United States Telecommunications Services Sector had separately recommended approval of the deal, subject to several conditions to protect the data of the company’s U.S. based consumers.

Paramount said that, once the deal closes, the Ellison family and RedBird would “collectively hold the largest equity stake in the combined company and 100% of the voting shares, with no other equity participant having any governance rights.”

Paramount has two classes of stock — an ownership structure that will be replicated in a merged Paramount-Warner Bros.

The Ellison family owns 77.5% of Paramount’s voting Class A common stock. RedBird indirectly holds the remaining 22.5% of the Class A shares. The Ellison family separately has 40% of the non-voting Class B shares.

“At a time when the media industry faces unprecedented competitive pressure from dominant big tech companies, a combined Paramount-WBD will have the scale and resources necessary to compete, invest, innovate, and deliver premium content to audiences worldwide,” Paramount said in its statement.

Paramount Skydance will meet with California Atty. Gen. Rob Bonta’s representatives next month for court-ordered settlement talks that could clear a path for David Ellison’s $111-billion takeover of Warner Bros. Discovery.

The two sides will convene for two days, Oct. 14 and Oct. 15, according to court documents filed this week.

The talks come as both sides look for ways to resolve the pitched battle over Hollywood’s industry-reshaping deal, which would put HBO, CBS, CNN, TBS, Food Network, Comedy Central and the Paramount and Warner Bros. studios under one roof. Bonta and 11 other Democratic state attorneys general sued in July to block it, and Ellison’s team has been stoking political pressure on Bonta to retreat.

Bonta canceled preliminary last month after details of a session on ground rules leaked, accusing Paramount of “playing games” by violating a confidentiality agreement and spreading misinformation.

Bonta’s Paramount case appears to have ruffled the Trump administration. He sued one month after the U.S. Justice Department blessed the merger without demanding concessions — a decision he said showed federal officials were not doing their jobs to enforce antitrust law. This week the department weighed in on Paramount’s side.

“The United States enforces the federal antitrust laws and has a strong interest in their correct application,” the Justice Department said in a Tuesday filing, describing its unique position to bring antitrust actions. Its “statement of interest” argued that the plaintiffs had sued as “private persons,” who must clear higher hurdles than the federal government.

The department also asked the judge to force California, the other states and the Writers Guild of America to post a $1.88-billion bond, covering fees Paramount would owe Warner Bros. Discovery shareholders if the deal isn’t finalized by Oct. 1. Paramount agreed to the so-called ticking fees earlier this year, confident the deal would sail through regulatory review. Bonta’s office said Wednesday it stands by its earlier filings arguing it should not have to post the bond. A hearing is set for Sept. 24.

Paramount’s chief legal officer, Makan Delrahim, has been quarterbacking the campaign for Warner Bros. Discovery. He served as Trump’s antitrust chief in his first administration, when he led an unsuccessful effort to block AT&T’s takeover of the company, then known as Time Warner Inc. That 2018 deal was the first of two acquisitions that saddled Warner Bros. with instability, strategic misfires and a mountain of debt, paving the way for the Paramount bid — which would mark the third time in a decade the storied studio has changed hands.

Trump has been eager for Ellison to shake up CNN, a Warner property, following his reboot of CBS News, which has coincided with diminished ratings at “60 Minutes”.

Ellison’s company has won approvals from more than 65 international regulators, and Paramount expects the Trump-appointed Federal Communications Commission leadership to sign off on a foreign ownership arrangement that would give Middle Eastern royal families a nearly 50% equity stake in the merged company. Bonta’s lawsuit is the remaining obstacle to closing.

WASHINGTON — President Trump on Monday forcefully rejected calls to slow the development of artificial intelligence, dismissing concerns about its risks as a “hoax” and warning the United States remains locked in a fierce technological race with China.

The president’s position has put him at odds with a growing chorus of industry leaders and bipartisan lawmakers warning that AI could soon advance beyond human control.

Top executives from three of the country’s leading AI companies — OpenAI’s Sam Altman, Anthropic’s Dario Amodei and SpaceXAI’s Elon Musk — issued exceptional calls this past weekend for collaboration on a path forward that could “pace the frontier” of AI development.

Rare flashes of bipartisanship have also emerged on Capitol Hill, where Senate Majority Leader John Thune, a Republican, is working with Democrats on legislation aimed at guarding against AI’s most catastrophic risks, including its potential use to develop biological weapons.

And Democratic elders, including former President Obama and former Secretary of State Hillary Clinton, have urged their party to treat the threats posed by AI as an acute national security crisis.

But Trump remained steadfast in his pushback, blaming the political backlash on a “conspiracy” perpetuated by China, the only major competitor in the field.

“AI taking over the World, destroying Humanity, and all other things bad, is a HOAX,” Trump wrote in a series of social media posts. “The only control or ‘guardrails’ that AI needs is a STRONG AND SMART (High IQ!) PRESIDENT, and the U.S.A. has that, in spades!”

The Trump administration, the president continued, “has stopped AI ‘people’ from doing bad, or potentially bad, ‘things,’ like Dario (Anthropic!), who is now pretending to be a ‘perfect little angel’ — and we will continue to do so! We already have tremendous CRIMINAL and REGULATORY power over these companies!”

Calls for action have grown since a former researcher at Anthropic posted a dire alert on social media that AI development could lead to an extinction-level event. His message went viral, prompting Amodei, the founder of Anthropic, to issue a public letter calling for a slowdown.

Altman said he agreed with Amodei, announcing the company would delay its initial public offering until 2027 over safety concerns. In July, OpenAI discovered a swarm of rogue AI agents had secretly plotted to escape their virtual sandbox, infiltrating the open internet and hacking a private company — a spectacular omen of how quickly AI systems could become difficult to contain.

“Given the accelerating rate of AI capability development, it’s my worry that in 6–12 months such a swarm could be capable of taking over the entire internet with a persistent botnet, potentially causing hundreds of billions of dollars in damage,” Amodei wrote over the weekend, “and that the scale of damage would continue to increase from there if AI becomes more powerful without the necessary guardrails.”

Still, Trump and several of his Republican allies rejected the prospect of government regulation — or cast doubt on Altman and Amodei’s motives.

The Defense Department posted a graphic on X promoting “AI-First,” and stating the government would advocate “Americanism, not effective altruism.” The image appeared generated by artificial intelligence.

“If the unreleased models are scary enough that you think you should slow down, I support your decision to be responsible,” David Sacks, Trump’s former AI czar now serving as co-chair of the president’s Council of Advisors on Science and Technology, wrote on X. “But stop pretending you need anyone else’s permission. Stop pretending antitrust law has to be suspended so you can form a cartel. Stop pretending you need a regulatory approval process that supersedes product liability.”

“Most of all, stop pretending the motivation to slow down is purely altruistic,” Sacks added. “You face massive product-liability exposure if your products enable a truly damaging cyberattack.”

Regardless of the companies’ motives, Democrats are seizing the moment as an opportunity to pursue meaningful regulatory reforms.

At a Thursday fundraiser with Democratic Rep. Hakeem Jeffries, the House minority leader, Obama said AI should move to the center of the Democratic agenda, both in Congress and on the campaign trail ahead of the 2028 presidential primary.

“I would strongly urge that the Democrats put together a framework for a very public conversation,” Obama said. “This is something that is moving very fast in private hands, and if we don’t get on top of it, I think can be dangerous.”

The following day, Clinton said AI was becoming “too dangerous” for partisanship to paralyze Washington.

“The one good thing that Donald Trump did in his first term was Warp Speed,” Clinton said on MS NOW’s “Morning Joe,” referring to a federal program in Trump’s first term to expedite the development of a vaccine for COVID-19. “Let’s put an AI commission on warp speed, and figure out what we’re going to do to sensibly regulate.”

AI leaders “are basically saying, ‘Stop us before something really bad happens,’” Clinton continued. “‘Help us stop.’ The president of China is coming to the White house in two weeks. There should be a concerted effort by this government to get off of the lies, get off of social media, quit worrying about ballrooms and ridiculous arches, and come up with a plan to enlist the Chinese.”

But China’s rapid progress in AI has so far pushed Trump to let U.S. industry move ahead with few constraints.

China’s spy chief issued a rare warning Monday that AI development could risk the future of Chinese Communist Party control over the country. But China’s foreign ministry responded defensively to the U.S. debate. “Fearmongering, confrontation and vicious competition will only disrupt the process of global AI governance which serves no one’s interest,” a spokesperson said.

Leading AI companies in the United States have begun using their most advanced models to train new ones, in a process known as recursive self-improvement. Within the industry, experts and researchers believe the first AI company to master recursive self-improvement will kick off exponential development, “winning” the race by making it impossible for competitors to catch up.

But that achievement — reaching endless intelligence improvements, generated by machines — could also drive intelligence growth beyond human control.

“There is a SICK conspiracy going on against AI and Data Centers, and the only one that is happy about it is China,” Trump wrote Monday. “WHOEVER WINS AI, WINS! We are leading China, and all others, and will continue to do so. Conspiracy Theorists, Treasonists, Traitors, and Leakers, BEWARE!”

In the U.S. House, strange bedfellows from the Republican and Democratic parties, including Sen. Bernie Sanders (I-Vt.) and Rep. Anna Paulina Luna (R-Fla.), have come together to try to tackle legislation that might contain AI’s greatest dangers. One bill, introduced by Rep. Lori Trahan (D-Mass.) and Rep. Jay Obernolte (R-Big Bear Lake), proposes embedding independent government auditors in AI labs and installing a federal “kill switch” to shut down agents in case of emergencies.

But it is far from clear whether Rep. Mike Johnson, the Republican speaker of the House and a close Trump ally, would allow any such bill to come to the floor.

“We cannot put a moratorium on this because China will overlap us, and that’s the challenge,” Johnson said Sunday. “It’s national security balanced with the immediate security of making sure the models are safe.”

“We need to handle this new technology like we have others in the past and make sure we’re doing everything we can responsibly to also not smother American innovation,” Johnson added. “We have to do both things simultaneously.”

It’s never too late to run away and join the circus.

That’s a major theme of the Tony-nominated musical “Water for Elephants,” and living proof is on stage at the Hollywood Pantages Theatre an hour before the curtain rises on opening night. The show — about a traveling circus — boasts an ensemble with as many acrobats as actors, all of whom must warm up prior to performing. This nightly routine is a show in and of itself, with acrobats stretching, tumbling and throwing one another in the air. Another ensemble member is juggling nearby as someone spins in a giant hoop at an unnatural speed.

The night includes a special treat: The company is breaking in a new piece of equipment known as the Chinese pole, a nearly 20-foot-high cylinder the performers climb up, slide down and generally defy laws of gravity on. This pole won’t be used just yet — it arrives with a texture that can be slick or uneven, so the troupe must spend a couple weeks prepping it for better gripping and friction.

Adam Fullick, of the touring production of Broadway’s “Water for Elephants,” practices using a Cyr wheel on stage at the Hollywood Pantages Theatre.

(Ariana Drehsler / For The Times)

There’s an almost comically blasé way in which the performers — who are used to such spectacles — go about their work an hour before thousands of audience members will gasp and clap at the same tricks. That’s not to mention the gorgeous puppetry work done by another set of performers as the play reveals a series of detailed circus animals.

“It’s really fun to hear the audience react to this show,” says Serafina Walker, an actor and acrobat in the ensemble who also serves as circus captain. “There’s a lot of moments that come as a surprise, you can definitely hear the audience reaction, and that is what fuels us on stage as performers.”

Walker got into competitive gymnastics at the age of 3, and at 13 she began working with a Vermont-based traveling youth circus called Circus Smirkus. She graduated from École Nationale de Cirque in Montreal a year ago and is now on her first musical tour. She is one of several performers who play the roles known collectively as “Kinker & Roust,” slang terms for acrobats/aerialists and “roustabouts,” a.k.a. circus laborers. It’s a deceptively simple title for a role that will soon have her spinning from hoops and being thrown high into the air — not to mention singing, dancing and acting alongside the ensemble.

Actor and acrobat Serafina Walker backstage at the Pantages.

(Ariana Drehsler / For The Times)

Walker is one of many performers who has to blend specialty skills with traditional acting to form one flawless company. Co-choreographer Jesse Robb comes from a concert and theater background while his co-choreographer/circus designer Shana Carroll emerged from the circus world, having directed and choreographed for Cirque du Soleil. Carroll is also a co-founding artistic director of the acclaimed circus collective the 7 Fingers

“What makes the collaboration so special is that we don’t simply bring our separate perspectives to the table—we truly meld into each other in the work,” Robb says. “The boundaries between circus, Broadway, and concert language become fluid, and something new emerges from that intersection.”

Based on Sara Gruen’s 2006 novel, “Water for Elephants” tells the story of Jacob Jankowski, a 93-year-old man who reflects on his time in the 1930s with a traveling circus. As a young veterinarian student, Jacob loses his parents in a tragic accident and jumps a moving train that just happens to belong to the Benzini Bros. Circus. He is hired by the owner and ringmaster August Rosenbluth, but complications ensue when Jacob falls for August’s wife, Marlena, as they work together to train a stubborn elephant named Rosie for their star act.

Helen Krushinski and Zachary Keller perform in the touring production of “Water for Elephants” at the Pantages, which has as many acrobats as it does actors in its ensemble.

(Matthew Murphy)

The story was previously adapted into a 2011 film before being reworked as a musical with music and lyrics by PigPen Theatre Company, a book by Rick Elice and directed by Jessica Stone. After an Atlanta run in 2023, “Water for Elephants” hit Broadway in March 2024, where it earned seven Tony nominations, including best musical. The first national tour is in Los Angeles through Sept. 27 before playing the Segerstrom Center for the Arts in Costa Mesa Nov. 10-22.

Also displaying massive versatility is Summer Severin, who, in addition to being an ensemble swing member, serves as dance captain and understudies the role of Marlena. While Severin had an extensive background in acting, singing and dancing, she has found herself learning skills she never imagined, from standing on people’s shoulders to aerial work.

Dance captain and ensemble swing member Summer Severin in her Pantages dressing room.

(Ariana Drehsler / For The Times)

“I’ve never trained in acrobatics or circus or anything,” says Severin, who had to learn a trapeze act for her part as Marlena. Severin says she came in “completely raw” and took four weeks to learn the routine. And while one might think her background in movement helped, she says it actually provided a challenge. “That was the most difficult thing to learn because, as a dancer, you have such a relationship to the floor and you have to dance with an apparatus that doesn’t quite move with you.”

Fortunately, Severin says everyone has been more than generous with their time and knowledge. “Circus performers are not gatekeepers in any way,” she notes. “They want to share what they love with everyone else, and it’s completely mutual. All of the different worlds [this show] bridges, it’s infectious.”

Co-choreographer Robb gives much of the credit for cast synchronicity and camaraderie to the director. “Our fearless leader, Jessica Stone, always believed that ‘Water for Elephants’ should feel like one company,” he says. “Everyone needed to feel like they were part of the same circus troupe traveling across the country. There weren’t separate camps of actors, circus artists, dancers, musicians, puppeteers or singers. ”

Tyler West juggles on stage ahead of the production.

(Ariana Drehsler / For The Times)

This philosophy also extended to his collaboration with Carroll. Though they had both worked with Cirque du Soleil, the two had never met when they entered into what he jokingly calls “an arranged marriage.” Fortunately, it worked. “We were constantly looking for the place where our disciplines could overlap and strengthen one another. The whole production became an exercise in that same idea: Take what you know, learn what you don’t, and trust the people around you enough to try something new.”

It’s one of the reasons the performers say they always feel safe, despite some of the death-defying acts seen on stage. While Walker admits two-show days can be tiring and she spends a lot of time concentrating on “energy conservation,” the performance itself is a joy.

Severin agrees, “There’s never really scary moments,” she says. “You know somebody’s going to catch you. I trust all of these people with my life, every day. It’s built into the choreography. It’s built into the nature of the show.”

Paramount Skydance Chief Executive David Ellison faces a pivotal decision: Should he uproot his Hollywood studio — the birthplace of such film classics as “Sunset Boulevard,” “The Godfather” and “Beverly Hills Cop”?

Paramount floated shifting its home base to Tennessee or Texas in July, hoping to deter California Atty. Gen. Rob Bonta from waging a legal battle to block Paramount’s $111-billion acquisition of Warner Bros. Discovery.

Bonta rejected the tactic, calling it “blackmail.” His antitrust lawsuit, filed in collaboration with 11 other Democratic state attorneys general, has since stalled the largest Hollywood merger in decades and put Ellison in a jam.

The 43-year-old tech scion — a film aficionado who has spent two decades building his career in Hollywood — has told associates he doesn’t want to leave L.A. But he has signaled that he’s prepared to sell the historic studio lots and move Paramount’s and Warner Bros.’ operations from California if the merger isn’t finalized by next month, according to people familiar with the situation who were not authorized to comment.

The prospect has rattled a region already reeling from steep declines in film production, heavy job losses, empty soundstages and shuttered small businesses.

“It would be devastating,” Assemblymember Rick Chavez Zbur, who represents a district that includes the Melrose Avenue movie lot and neighborhoods near Warner Bros. in Burbank, said of a Paramount move. “We need to do everything we can to protect these important jobs in California’s iconic industry.”

Paramount declined to comment.

Ellison is frustrated after securing approvals from more than 65 regulators worldwide for the mammoth merger that would bring HBO, CNN, CBS, Comedy Central, MTV and TBS under the same roof.

Bonta’s lawsuit stands in the way.

“California is the fourth-largest economy in the world and the best place to do business,” a spokesman from Bonta’s office said. “Strong antitrust enforcement is essential so everyone can benefit from a vibrant economy.”

A federal judge in Oakland temporarily blocked the deal, prompting Paramount to agree not to finalize the acquisition until after a trial or June 1, whichever comes first. Settlement talks collapsed in late August after Bonta accused Paramount of leaking and misrepresenting their discussions.

Paramount has plenty at stake. U.S. District Judge Araceli Martínez-Olguín set the trial for March, but the company urgently needs the valuable Warner assets to better compete against tech behemoths. And beginning Oct. 1, Paramount must increase its payout to Warner Bros. Discovery shareholders by $7 million a day, so-called ticking fees that will heap more debt onto the highly leveraged transaction.

Paramount asked the judge to require California and other plaintiff states, including Nevada, Oregon and New York, along with the Writers Guild of America (which also sued) to post a $1.88-billion bond that could compensate Paramount for ticking fee costs. A hearing is set for Sept. 24.

For weeks, Paramount’s most potent weapon has been its in-the-works plan to leave L.A.

Lobbying has been intense, prompting a parade of politicians led by Gov. Gavin Newsom, L.A. Mayor Karen Bass and gubernatorial nominee Xavier Becerra to urge the two sides to settle the lawsuit.

“It’s a game of chicken,” Kevin Klowden, an economist and managing director at the Melcene Advisory firm, said in an interview. “But I’m not dismissing the threat because it is very real.”

Relocating from Los Angeles would allow Ellison’s cash-hungry media company to qualify for lucrative tax incentives offered by another state. Ellison’s short list includes Tennessee, Texas and Georgia. But leaving its longtime home would be costly for Paramount too, given how much of the talent and deal-making remains concentrated around L.A.

Tennessee’s Department of Economic and Community Development declined to discuss its negotiations with Paramount, but in a statement a spokesperson said the state “remains committed to working with companies across a wide range of industries that are exploring opportunities to invest and grow in Tennessee.”

Early this month, a pro-merger group was set to hold a news conference outside Paramount, but it moved its gathering to a warehouse a few blocks away after anti-merger activists planned a counterprotest.

The pro-merger organization, Neighbors for Strong Communities, was incorporated in Washington, D.C., in June and has lobbed text messages to Californians urging them to press Bonta to drop the case.

Speakers were concerned with just one issue: What would happen should Paramount pull out?

“What are we going to do with all these people who have invested their lives and many generations into building something here?” asked Keyla Wood, who moved from Mexico to L.A. about a decade ago after getting her start in Spanish-language soap operas.

“It’s been one thing after the other: The pandemic, the strikes and then it was the fires,” said Wood, who has worked as a stand-in for Eva Longoria and Salma Hayek. “So many people never work again.”

David Ellison is deciding whether to leave Hollywood.

(Bloomberg via Getty Images)

L.A.’s very identity is at stake, added Daniela Kelly, an actor and dancer who arrived from Brazil two decades ago.

“Everyone in the world sees Los Angeles and Hollywood as the platform for their dreams,” Kelly said. “Imagine if a huge studio with 100 years of history here just leaves? What will we be?”

Businesses like Kelly’s small Kreashen Studios USA, which provides video and podcasting space in Marina del Rey, depends on the region’s entertainment economy.

“It’s difficult financially right now to keep open,” she said. “So I’m pro having Paramount stay because this is the center, the heart of Hollywood.”

But deal opponents and some experts say the merger would actually worsen L.A.’s already bleak production picture.

Paramount has promised to cut $6 billion in expenses — a figure that doesn’t factor in the cost of ticking fees, which would add $650 million each quarter to the $81 billion that Paramount had anticipated paying Warner shareholders.

“We’ve seen from previous mergers that jobs have been lost,” L.A. City Councilmember Adrin Nazarian said at a City Hall event recently.

Combining Paramount and Warner could result in the elimination of nearly 4,500 positions over three years and put at risk an additional 5,865 jobs within businesses that serve the studios, according to an August report by the Los Angeles County Department of Economic Opportunity.

“When you look at the economic impact, it’s pretty staggering,” Kelly LoBianco, the department director, said in a recent interview. “An estimated $4 billion in economic output lost, and another $550 million lost in tax revenue at the local, state and federal level.”

The merger also could erase $79 million in tax revenue to Los Angeles County even if Paramount stays in L.A., she said.

But state and county tax revenue would plummet further should Paramount dispatch hundreds of its workers to Tennessee or some other state, Klowden said.

“If Ellison moves all the management out and all of the productions out, you’re talking about potentially tens of thousands of jobs,” Klowden said. “That, bluntly, isn’t just devastating to L.A. That becomes devastating to everybody.”

A report commissioned by Paramount from Los Angeles Economic Development Corp. predicted even steeper losses of at least 28,000 jobs should the studio move its entire operation out of state, according to a draft report given to Politico.

Under a less dire scenario, Paramount could shift its corporate headquarters to another state to qualify for incentives but still maintain large staffs in the creative hubs of Los Angeles and New York, where the company has its legal headquarters.

When the Ellison family acquired Paramount from the Sumner Redstone family last year, Ellison shifted operations to L.A., where he and other key executives work on the Melrose Avenue lot.

The threat to pull up stakes has created a disconnect after Ellison has spent more than a year touting how his family’s growing collection of media properties would strengthen traditional Hollywood.

The relocation campaign echoes a tactic used by software giant Oracle Corp., co-founded by Ellison’s billionaire father, Larry Ellison. For three decades, Oracle thrived in Redwood City, Calif., but in 2020, the company moved its headquarters to Austin, Texas, joining other California tech firms leaving in protest of the state’s high taxes.

The elder Ellison announced in 2024 that Oracle would be moving again, this time to Nashville, although that relocation hasn’t been finalized.

Paramount would risk leaving behind a skilled talent pool filled with experienced production workers and entertainment executives, Klowden said.

Fleeing L.A. could prompt “a talent bleed-out,” Klowden said. “Creative types are like: ‘Would I feel comfortable moving there?’ And, ‘What if I move there and something goes wrong? There would be nowhere else for me to go.’”

He pointed to Nissan’s 2006 U.S. headquarters move to the Nashville area from Gardena in L.A.’s South Bay, which dramatically reset the automaker’s workforce as fewer than half of its Southern California employees made the trek to Tennessee.

On Friday, a magistrate judge told both sides to identify dates in late October to meet for court-ordered settlement talks.

Each has motivations to settle — including avoiding a years-long court fight. Bonta has said Paramount must be willing to part with assets to alleviate market concentration, which could lead to a sale of Warner’s New Line Cinema, which has rights to “The Lord of the Rings” and “The Conjuring” franchises, and potentially cable channels such as CNN, Food Network or Cartoon Network.

Paramount, as part of a settlement, could abandon plans to leave L.A.

“All of the parties need to understand what this [issue] means to workers and small businesses,” Zbur, the local Assembly member, said. “I’m hopeful for a settlement that assures that Paramount and Warner Bros. will maintain their operations and remain a significant economic and employment force in Los Angeles.”

Times staff writer Cerys Davies contributed to this report.

A former employee of Activision Blizzard is suing the Santa Monica-based game company, alleging she was sexually harassed and subject to retaliation.

In a lawsuit filed in Los Angeles County Superior Court on Wednesday, the woman, filing anonymously as Jane Doe, says the game giant “fostered and tolerated a pervasive ‘frat boy’ workplace culture,” where male employees and supervisors “openly objectified women, viewed and displayed pornography” and made demeaning sexual remarks in her presence.

She is seeking unspecified compensatory damages, including for lost wages, benefits and earning capacity.

“We take these allegations seriously. We strive to maintain a respectful and inclusive workplace, and we do that through best-in-class policies and systems designed to prevent and address harassment, discrimination, and retaliation, and by holding employees accountable for their behavior,” said a Blizzard spokesperson in a statement to The Times.

The woman, who said she worked for the company for 14 years beginning in 2009 in its sound department, accuses 10 men of subjecting her variously to harassment, physical assault, inappropriate touching and inappropriate comments.

Between 2011 and 2012, she alleges, one co-worker lured her to his apartment, where he repeatedly touched her leg and “blocked her exit, threaten[ing] her with physical violence and attempted to rape her.” He continued to demand dates and spread sexual rumors about her calling her a “bitch” and “slut” in front of co-workers and a male manager, according to the suit.

Over five years starting in 2010, Jane Doe says that she was “repeatedly sexually harassed” by another man, a re-recording mixer with whom she worked with, and who told her that she would “be risking her career if she reported him,” the complaint states.

She further alleges that a third man, Blizzard’s audio director, “repeatedly touched” her leg “in a sexual manner without her permission” and when she rejected his advances he “retaliated against her by sabotaging her work and ensuring that she was denied a promotion.”

According to the suit, Jane Doe’s complaints and reports to her supervisors and human resources about her alleged treatment were dismissed and they “failed to take timely or effective corrective action.”

Further, the former employee says that she was “required to work excessive and unsafe hours” and told not to report overtime.

As a result of the harassment, the employee says in her complaint, she suffered suffered depression “and was required to seek ongoing psychiatric care” before being discharged in April 2024.

A year earlier, Activision Blizzard and California’s Civil Rights Department reached a roughly $50-million settlement agreement to resolve an employment discrimination and equal pay lawsuit. .

The Civil Rights Department sued Activision Blizzard in 2021, alleging that women at the company were regularly subjected to sexual harassment, paid less, denied promotions and met with retaliation when they raised concerns with managers.

As part of the agreement, Activision Blizzard agreed to pay up to $45.75 million to compensate women who worked for the company in California from Oct. 12, 2015, to Dec. 31, 2020. The company also agreed to pay $9.1 million to cover the Civil Rights Department’s attorneys fees and costs.
Activision Blizzard also settled a case with the federal Equal Employment Opportunity Commission. As part of that 2022 settlement, the company agreed to establish an $18-million fund for workers who experienced sexual harassment or discrimination, among other types of workplace misconduct.

Activision Blizzard has denied all wrongdoing.