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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”.