The cost to experience the Happiest Place on Earth continues to rise as the Disneyland Resort unveiled its annual price increases for the upcoming year.
The Disneyland Resort on Wednesday morning increased prices on most tickets for guests 10 and older, with the price to visit a single park on its most in-demand days now $224 per person, up from $206. The price of its lowest-tier offering — a one-day, one-park ticket for often a less crowded weekday — will remain the same at $104. (Disneyland Resort ticket prices vary depending on the day and consumer demand.)
Pricing for all other one-day, one-park tickets on more popular days will increase between 1.5% and 4.8% — Disneyland has six tiers of pricing based on crowd levels — and most increased moderately between $3 and $7, a lower jump than in years past. Park hopper add-ons, which allow a guest to visit both Disneyland Park and Disney California Adventure on the same day, are now between $70 and $90 per day, up from $65 to $75 per day, depending on the crowd calendar.
Parking at the resort has also increased, up $5 to $40 per day for a standard vehicle.
Once in the park, those who opt for the line-skipping Lightning Lane Multi Pass will find that service starts at $34 per day, up from $32, but the program is also subject to variable pricing. For instance, today a Lightning Lane Multi Pass is $40 per guest.
Its Magic Key annual pass has also experienced an increase for its top two tiers, the so-called Inspire and Believe passes. The Inspire pass, which offers the most year-round access and highest merchandise and dining discounts, including the cost of parking, is up $150 to $1,899. The Believe key is up $100 to $1,474. Prices for its two lowest tier Magic Keys — the Enchant and Imagine — did not change.
Currently, only the Enchant and Imagine keys, the latter for Southern California residents, are available for sale. All are available for renew, as Disney makes Magic Key passes for sale available at various times throughout the year.
Disneyland has maintained its lowest $104 ticket for seven years now. This year, for instance, one can visit the park in early November at that rate in the days between the resort’s Halloween and holidays celebrations. From Oct. 7 through April 4, 2026, Disneyland has also increased its number of $104 days, up from 20 to 32 for the upcoming months.
“Disney Parks offer a full day of experiences each day, with ticket, hotel, and dining options designed to suit a wide range of needs and budgets for all who visit,” read a statement from the company. “Our commitment to creating magical experiences for everyone remains at the heart of what we do — and that will never change.”
The resort has also unveiled a new California ticket offer, which is set to go on sale Dec. 3. The deal is for a 3-day park-hopper ticket, which can be used on non-consecutive visits, and starts at $249 per person, which amounts to $83 per day. A Lightning Lane Multi Pass add-on will bring the cost of the ticket to $351 per person, or $117 per day. The offer is good for visits from Jan. 1, 2026 to May 21, 2026.
Disneyland is currently in the midst of its 70th anniversary celebration, which will continue until next summer. As part of the latter, Disneyland unveiled the show “Walt Disney — A Magical Life,” featuring the first-ever audio animatronic of the company’s founder. Disneyland this week announced an update is coming soon to one of its most historic attractions, as it will be adding Rapunzel’s Tower to its Storybook Land Canal Boats, a leisurely boat ride through tableaus of exquisite miniatures.
While Disneyland has yet to announce its full slate of programming for 2026, popular festivities such as Lunar New Year and the Food & Wine Festival are set to return. Disneyland Park in its Star Wars: Galaxy’s Edge area will unveil a new mission on its attraction Millennium Falcon: Smugglers Run to tie into the upcoming film, “The Mandalorian and Grogu.” The new interactive scenes are set to debut May 22, 2026.
Disney’s experiences division — which includes the Disney theme parks, cruise line and Aulani resort and spa in Hawaii — reported revenue of $9.1 billion, up 8% compared with the previous year, in its most recent quarterly earnings report. Operating income rose 13% to $2.5 billion.
About 200 people gathered on Paramount’s Melrose Avenue lot for a screening of “Red Alert,” a four-part scripted drama portraying the deadly Oct. 7 Hamas attack on Israel from the perspective of six victims.
The host of the Sept. 30 event was Paramount Chairman and Chief Executive David Ellison, who shared how he had chatted with Academy Award-nominated producer Lawrence Bender a few weeks earlier at a memorial service for legendary Hollywood power broker Skip Brittenham. That’s where Ellison learned that Bender’s Israeli-backed series, “Red Alert,” needed a home in the U.S.
Ellison quickly volunteered. “It was a fast ‘yes,’ ” he told the group.
On Tuesday, “Red Alert” debuted on the company’s streaming service, Paramount+, marking the second anniversary of the Oct. 7 attack on Israel. The initial Hamas assault left about 1,200 Israelis dead and more than 250 kidnapped.
The high-profile project comes two months after Ellison assumed control of Paramount in an $8-billion buyout by his family, led by billionaire and Oracle founder Larry Ellison, and private equity firm RedBird Capital Partners.
Since the deal closed Aug. 7, David Ellison has moved to position the company slightly right of the political center, while also taking on polarizing issues. The scion has been unafraid to challenge those in Hollywood who’ve called for a boycott of Israel.
More than two years after the Oct. 7 attack, a deep divide remains in Hollywood over the subsequent Israel-Hamas war.
The effort called for a boycott of Israeli film festivals, institutions and projects to help spur an end to the war in Gaza. The campaign was designed in the vein of South African boycotts decades ago, which proved to be instrumental in ending apartheid, that country’s racial segregation.
No other major studio followed Paramount.
In its Sept. 12 statement, Paramount said it disagreed with the Film Workers call to avoid film screenings or to work with Israeli film institutions.
“At Paramount, we believe in the power of storytelling to connect and inspire people, promote mutual understanding, and preserve the moments, ideas, and events that shape the world we share,” the company said. “Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace.”
The Film Workers group accused Paramount of misrepresenting the intent of its pledge, saying it did not target individual filmmakers.
But critics counter that filmmakers who engage with Israeli cultural institutions would likely fall under the ban.
More than 1,200 industry players including actors Mayim Bialik and Liev Schreiber and Paramount board member Sherry Lansing signed an opposing open letter released by the nonprofit organization Creative Community For Peace that accuses the Film Workers for Palestine of advocating “arbitrary censorship and the erasure of art.”
The Palestinian supporters dismissed the characterization. “The Film Workers Pledge to End Complicity is an explicitly anti-racist and non-violent campaign that is grounded in international law and the moral clarity of a global majority opposed to genocide,” the group said in a statement this week. “It is the first major refusal of the international film industry at large that targets complicit Israeli film institutions and companies.”
“Red Alert” was co-produced by a prominent Israeli production company, Keshet Media Group, and received funding from the Jewish National Fund-USA and the Israel Entertainment Fund. The series premiered last weekend on Israel’s popular television channel Keshet 12. Keshet produced the Hebrew-language series “Prisoners of War” that Showtime later adapted into the award-winning American drama “Homeland.”
During the late September screening at Paramount, Ellison spoke of the need for such projects as “Red Alert” to remember the atrocities as well as stories of survival and heroism.
“We at Paramount, we are here to tell stories that last forever,” Ellison said. “We are not here to debate politics or platforms or to argue about east or west. And ‘Red Alert’ is the very embodiment of that mission, and I couldn’t be prouder to support this series.”
Others in Hollywood have found fault with Israel’s government and its conduct in the Gaza war, which has killed more than 67,000 Palestinians, according to Gaza’s Health Ministry, which does not distinguish between civilians or combatants.
The United Nations, rights groups, experts and many Western governments accuse Israel of committing genocide. Israel denies the charge.
During a May 2024 Simon Wiesenthal Center gala in his honor, WME Group Executive Chairman Ari Emanuel sharply denounced Israel Prime Minister Benjamin Netanyahu and called for his ouster. Emanuel’s remarks were met with cheers and jeers and some attendees walked out.
In his Oscar acceptance speech last year, Jonathan Glazer, director of the Holocaust drama “The Zone of Interest,” asked “Whether the victims of October 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization — how do we resist?”
Weeks later, Steven Spielberg called out the rise of antisemitism as well as the ongoing war.
“We can rage against the heinous acts committed by the terrorists of October 7th and also decry the killing of innocent women and children in Gaza,” Spielberg said during an event celebrating the anniversary of the USC Shoah Foundation.
Paramount’s opposition to the Film Workers’ pledge and other recent moves, including buying the Free Press news site for $150 million and installing its founder, journalist Bari Weiss, as the editor in chief at CBS News, has rattled a small group of Paramount employees.
David Ellison recruited Weiss, who has been public about her support for Israel, for the prominent role.
The division was roiled by Paramount’s efforts to settle President Trump’s lawsuit over edits to a “60 Minutes” interview a year ago with then-Vice President Kamala Harris. Paramount this summer agreed to pay $16 million to end Trump’s suit, which 1st Amendment experts viewed as a spurious shakedown.
Weeks later, Trump appointees on the Federal Communications Commission approved the Ellison family’s takeover of Paramount.
The employee group, which calls itself Paramount Employees of Conscience, said they have sent two letters to Paramount leaders in the last month to voice their concerns but have not received a reply. In a statement, the group noted that while Paramount+ was distributing “Red Alert,” the company had not offered “equivalent programming about Palestinian experiences of the genocide in Gaza.”
“How can a company with this supposed creative mission actively ignore, suppress, and silence internal calls for years to champion stories that shed a light on the reality that marginalized and excluded communities, particularly Palestinians, face every day?” the group asked in a Sept. 17 letter addressed to Paramount’s leadership.
Paramount declined to comment.
The group includes about 30 employees, according to one member who asked not to be identified out of fear of retribution.
Paramount employees separately are bracing for a steep round of layoffs, which is expected next month. Ellison’s firm Skydance Media and RedBird promised Wall Street that they would find more than $2 billion in cost cuts at Paramount.
“We know the Ellisons are formidable, powerful and have a lot of resources,” said the Paramount employee. “But we are here to interrupt a culture of silence…. Silence within the industry becomes complicity.”
The Chelsea star has officially won the rights to his nickname and trade mark celebrationCredit: Getty
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Palmer is renowned for his iconic shivering goal celebrationCredit: Getty
It comes after Chateau Palmer, which sells bottles of wine for as much as £750, opposed his bid to flog plonk — and won their case in August.
But, on Friday, the 23-year-old won the right to brand an array of other products, including snacks, mobile phone covers, toys, Christmas crackers and even teddy bears.
This essentially means nobody can use Palmer’s “Cold” nickname for commercial use without his permission.
He has also successfully trademarked his autograph.
read more uk football news
An article in The Athletic detailed how the Intellectual Property Office approved the application made by the footballer’s private company, Palmer Management Limited.
In August, winemaker Chateau Palmer, based near Bordeaux, opposed the initial application.
It still covers a range of other alcoholic beverages, such as spirits, liqueurs and alcoholic energy drinks.
The winery was founded in 1814 when Army officer Charles Palmer bought the estate.
Royal wine merchant Berry Bros & Rudd says: “At their best, the wines of Ch. Palmer are among the greatest anywhere in Bordeaux.”
Chelsea ace Cole Palmer LOSES battle against £750-a-bottle winery to trademark nickname & goal celebration
A bottle of its Cru Classé Margaux from 1970 is priced at £750.
Speaking to The Athletic, Karen Lee, an intellectual property lawyer at Edwin Coe, said: “Once you have a registered trademark in place, it is much easier to enforce your rights against third parties.
“Anyone using something that’s the same or similar can amount to an infringement. And that’s when it can lead to High Court litigation, which can be very expensive.”
Palmer has made no secret about the celebration not being his own original work.
He previously admitted how, following his time in the Manchester City academy, he was inspired to perform the celebration by then team-mate Morgan Rogers.
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The vineyard is in France’s Margaux region
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One bottle of the firm’s Cru Classé Margaux from 1970 was listed at £750
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The 23-year-old has now also won the rights to brand an array of other productsCredit: Getty
Aston Villa star Rogers, was accused of copying the celebration when he scored against Chelsea in April 2024, before he clarified: “It’s the opposite, I did it first, he copied me.”
Speaking of his celebration in a previous interview with The Telegraph, Cole said: “It symbolises joy, passion and hard determination for the game, plus it’s funny as it works well with my name.
“Everyone knows it’s my celebration. Lots of people might have done it (before me), but everybody knows it is my celebration.”
However, this could mean that Chelsea has to register for a licence if the London club wants to use his nickname in promotional material.
EA, the company behind the EA Sports FC series of video games, might also have to ask permission to use his celebration in future games.
Other footballers who have trademarked their names and celebrations include David Beckham and Cristiano Ronaldo, who trademarked his name, CR7 initials and “Siuuu” celebration.
Lionel Messi also trademarked his surname after a legal challenge from the cycling brand Massi.
Some other stars have managed to have their brand made exclusive in specific countries, including Marcus Rashford with his name in the United States, Erling Haaland with his signature and goal celebration in his native Norway.
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The footballer has claimed that everyone knows its his celebrationCredit: Getty
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Other players like Beckham and Ronaldo have also trademarked their namesCredit: Getty
WASHINGTON — Canadian Prime Minister Mark Carney will meet with President Trump in the Oval Office on Tuesday at a time when one of the world’s most durable and amicable alliances has been fractured by Trump’s trade war and annexation threats.
Carney’s second visit to the White House comes ahead of a review next year of the free trade agreement, which is critical to Canada’s economy. More than 77% of Canada’s exports go to the U.S.
Trump’s talk of making Canada the 51st state and his tariffs have Canadians feeling an undeniable sense of betrayal. Relations with Canada’s southern neighbor and longtime ally haven’t been worse.
“We’ve had ups and downs, but this is the lowest point in relations that I can recall,” said Frank McKenna, a former Canadian ambassador to the United States and current deputy chairman of TD Bank.
“Canadians aren’t being instructed what to do. They are simply voting with their feet,” he said. “I talk every day to ordinary citizens who are changing their vacation plans, and I talk to large business owners who are moving reward trips away or executive business trips. There is an outright rebellion.”
There is fear in Canada over what will happen to the U.S.-Mexico-Canada Agreement. Carney is looking to get some relief on some sector-specific tariffs, but expectations are low.
“Improving relations with the White House ahead of the USMCA review is certainly an objective of the trip, but opposition parties and part of the Canadian public will criticize Prime Minister Carney if he doesn’t achieve some progress on the tariff front at this stage,” said Daniel Béland, a political science professor at McGill University in Montreal.
Trump said Monday that he anticipated Carney wanted to use the meeting to discuss trade.
“I guess he’s going to ask about tariffs, because a lot of companies from Canada are moving into the United States,” Trump, a Republican, told reporters after signing an executive order related to Alaska. “He’s losing a lot of companies in Canada.”
Carney has said the USMCA, which is up for review in 2026, is an advantage for Canada at a time when it is clear that the U.S. is charging for access to its market. Carney has said the commitment of the U.S. to the core of USMCA means that more than 85% of Canada-U.S. trade continues to be free of tariffs. He said the U.S. average tariff rate on Canadian goods is 5.6% and remains the lowest among all its trading partners.
But Trump has some sector-specific tariffs on Canada, known as Section 232 tariffs, that are having an impact. There are 50% tariffs on steel and aluminum imports, for example.
McKenna said he is hearing Canada might get some relief in steel and aluminum. “It could be 50% to 25% or agreeing on tariff-free quotas to allow the steel and aluminum to go through at last year’s levels,” he said.
The ties between the two countries are without parallel. About $2.5 billion (nearly $3.6 billion Canadian) worth of goods and services cross the border each day. Canada is the top export destination for 36 U.S. states. There is close cooperation on defense, border security and law enforcement, and a vast overlap in culture, traditions and pastimes.
About 60% of U.S. crude oil imports are from Canada, and 85% of U.S. electricity imports are from Canada.
Canada is also the largest foreign supplier of steel, aluminum and uranium to the U.S. and has 34 critical minerals and metals that the Pentagon is eager for and investing in for national security.
“The bigger prize would be getting a mutual agreement to negotiate as quickly as possible the free trade relationship,” McKenna said. “If the United States were to threaten us with the six months’ notice of termination, I think it would represent a deep chill all across North America.”
Taylor Swift has already conquered the music world and the concert business, so it’s no surprise that this weekend she reigned supreme over the box office — again.
Swift’s latest venture into theaters came in the form of a listening session/fan party of sorts for her latest album, “The Life of a Showgirl.”
The 89-minute movie, titled “The Official Release Party of a Showgirl,” featured the premiere of the Swift-directed “The Fate of Ophelia” music video, as well as behind-the-scenes footage and commentary from Swift about the inspiration for her new songs.
As expected with anything Swift, the film quickly rocketed to the top of a weekend box office that didn’t have a lot of new big-name releases. The one-weekend-only affair hauled in $34 million in the U.S. and Canada, AMC said Monday morning. Globally, it made more than $50 million. Paul Thomas Anderson’s “One Battle After Another” was the runner-up in its second outing this weekend, grossing about $11 million domestically.
But the lack of competition doesn’t dilute the impact Swift had — and has had — on the box office. Her three-day theatrical total beats opening weekend grosses for other recent, studio films such as the Leonardo DiCaprio-led “One Battle After Another” ($22 million), 22-year sequel “Freakier Friday” reuniting Lindsay Lohan and Jamie Lee Curtis ($28.6 million) and my personal favorite, “Downton Abbey: The Grand Finale” ($18.1 million).
I may not be a Swiftie, but I know plenty who made their way to theaters this weekend, with some dressing up for the occasion. My colleague, Malia Mendez, wrote about the Taylormania that took over AMC Century City, which screened the Swift film 21 times over three screens, just on Saturday.
There’s something to be said about harnessing the power of a fan base to drive people to theaters. Look at Swift’s last theatrical appearance — 2023’s “Taylor Swift: The Eras Tour” made about $180 million domestically and brought in more than $261 million worldwide, making it the highest-grossing concert film of all time.
As she did with the “Eras Tour” film, Swift bypassed the typical Hollywood system and worked directly with AMC Theatres Distribution to release “The Official Release Party of a Showgirl.” The film played at all of AMC’s 540 locations and also showed at other theaters such as Cinemark and Regal.
The unconventional release was welcome news for theaters, which have struggled to bring in crowds as they did before the pandemic
“On behalf of AMC Theatres and the entire theatrical exhibition industry, I extend our sincerest appreciation to the iconic Taylor Swift for bringing her brilliance and magic to movie theatres this weekend,” AMC Chief Executive Adam Aron said in a statement. “Her vision to add a cinematic element to her incredible album debut was nothing less than a triumph.”
The film’s success is another reminder of the value of nontraditional, alternative content for theaters at a time when they need to employ fresh strategies to lure younger audiences to the multiplex.
As the number of movies released by studios has decreased, theaters are on the hunt for content to put on their screens. Lately, that’s ranged from episodic streaming series like “The Chosen,” which chronicles the life of Jesus, to concert films, opera performances and anniversary screenings of hits such as “The Sound of Music,” “Jaws” or “Back to the Future.”
It’s a business that really took off after the pandemic. Distributor Fathom Entertainment has specialized in this kind of nontraditional content for more than 20 years, but it is now seeing increased interest in these types of titles, particularly anniversary screenings, which now tend to make up between 20% and 40% of the company’s annual revenue.
Providing these kinds of titles is a way to mitigate the uncertainty of the film business, where there can be highs driven by hotly anticipated releases and lows when there’s little in the lineup.
“Our bread and butter is, and has continued to be, the big studio releases,” said Daniel Fastlicht, chief operating officer of the Lot, a luxury dine-in theater chain based in La Jolla with four locations. “What we want to see more than anybody is more content. But if that doesn’t happen, we still need to fill our auditoriums with people.”
All of the Lot’s theaters had at least one or two screens showing the Swift film, and the atmosphere was light, with people singing and dressing up, including a few in Travis Kelce jerseys, said Marcos Sayd, director of operations. He noted that alternative content helps their theaters fill the less-scheduled holes in their calendar. In addition to the Swift release, the Lot also programs local documentaries and films, as well as one-off events such as the Newport Beach Film Festival to draw audiences in.
And they’re not alone. Other theaters have been looking to position themselves as gathering places for communal experiences, whether that’s to celebrate T-Swift fandom, sing and dance to “KPop Demon Hunters” or collectively scream at a horror movie. Will the post-pandemic zeal for connection repopulate theaters again? Only time will tell, but the popularity of Swift’s latest film is a positive sign.
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San Bruno-based YouTube is the latest tech and media company to settle one of Trump’s lawsuits. Meta, Twitter (now X), Paramount Global and Walt Disney Co.-owned ABC News have all paid multimillion dollar sums in settlements. Most of the YouTube settlement dollars will go to Trump, who plans to contribute it to the Trust for the National Mall, which is “dedicated to restoring, preserving, and elevating the National Mall” and will also fund construction of the White House State Ballroom, according to court documents.
Finally …
My colleagues, Matthew Ormseth and Summer Lin, wrote about how the strange case of an illicit casino-turned-marijuana stash house/psilocybin mushroom-growing location that eventually led police to find an Arcadia mansion filled with 15 children, most of whom were born to surrogates.
The conjurers have decided to stay put at Hollywood’s Magic Castle.
In a membership vote of the Academy of Magical Arts that concluded Monday, members say that about 92% of those voting endorsed a reorganization plan designed to give control over the castle’s operations and revenue to a company owned by Magic Castle landlord Randy Pitchford.
As part of the deal, AMA members can continue to use the castle as their clubhouse. The AMA, a nonprofit group, would continue to promote magic, running educational efforts and awards programs.
If the magicians had voted no, they would have needed to find a new venue at the expiration of their lease on Dec. 31, 2028.
Members said they received results by email from the academy Tuesday morning, with tallies showing a 1,038-89 vote to approve changes to AMA bylaws and a 1,043-84 vote to approve changes to AMA articles of incorporation. The vote “will provide a strong foundation for the future of the Academy of Magical Arts,” wrote Christopher Grant, president of the AMA board of directors, in an email to members. The Magic Castle remains open daily and leaders have vowed a swift transition to new management.
Leaders of the AMA and Magic Castle Enterprises — the Pitchford-owned company taking over operations — declined to comment on the results. An AMA spokesperson said “the AMA and MCE treat membership proceedings as private club matters and therefore refrain from public comment on internal processes.”
The AMA’s membership was recently put at 4,664, suggesting that most academy members didn’t vote.
In the run-up to voting, some members said they were not being told enough about what the AMA gets out of the deal. Several academy members said that moving from their historic home could deeply damage the AMA.
“We’ve given up a significant portion of self-governance for an undefined and indefinite occupancy,” said Ralph Shelton, a longtime AMA member and attorney who opposed the proposal.
Soon after reporting vote totals on Tuesday morning, AMA leadership sent another missive saying that veteran Magic Castle general manager Hervé Lévy was leaving his position, effective Tuesday. Lévy was not immediately available for comment.
The Magic Castle opened in 1963.
(Dania Maxwell / Los Angeles Times)
The Magic Castle, a 1909 Edwardian-style mansion, opened in 1963 as a clubhouse and performance venue for the Academy of Magical Arts, a nonprofit group founded by the Larsen family. The membership vote, conducted Sept. 8 through 29, follows several dramatic changes for Pitchford, the Magic Castle and the Academy of Magical Arts.
Despite trouble in 2020, when the pandemic shut it down and a Times investigation detailed allegations of sexual harassment and racism, the mansion reopened in 2021 amid a leadership overhaul.
Pitchford, 54, is a longtime academy member, having married his wife, Kristy Pitchford, in the castle in 1997. His Texas-based company, Gearbox Entertainment, created the popular Borderlands video game franchise. When he bought the Magic Castle building in 2022, he inherited a lease that allows the AMA to remain at the castle through December 2028. Rather than negotiating to extend that pact, Pitchford and his team MCE have been working on plans for a dramatic reorganization.
With the changes, Pitchford’s MCE is to gain control of castle operations, including its restaurant, bar, gift shop and valet parking. Also, MCE will get to nominate two members to the AMA board, which will shrink from nine members to five.
Some members expressed faith in Pitchford’s long history with the Magic Castle and noted that two members of academy’s pioneering Larsen family hold key positions with MCE. During the voting period, longtime AMA member Christopher Hart, who serves as chair of the academy’s board of trustees, said, “I think [Pitchford] has tried to do everything in his power to preserve the nature of this iconic place.”
It’s hard to narrow down the best of any category to only one favorite. That’s true whether we’re talking about the greatest football player of all time, the best actor, or the top musical artist.
Choosing the most outstanding artificial intelligence (AI) stock is difficult, too. What is the single best stock to buy for the AI revolution?
Image source: Getty Images.
Multiple worthy contenders
Answering that question isn’t easy because there are multiple worthy contenders. Nvidia(NVDA -0.77%) absolutely makes the list. It’s the largest company in the world based on market cap. Nvidia’s GPUs remain the gold standard for training and deploying AI systems. The company’s technology is also used in AI-powered robots and self-driving vehicles.
I like Microsoft(MSFT 0.26%), too. Its Azure is the second-largest cloud platform. The company has embedded generative AI into its software products that are used by millions of people across the world. Microsoft also arguably represents the best way to invest in ChatGPT developer and AI pioneer OpenAI, which doesn’t trade publicly at this point. The two companies are close partners, and Microsoft has invested in OpenAI.
If you’re thinking about the next frontiers for AI, Meta Platforms(META -2.29%) especially stands out. The Facebook and Instagram parent is going all-in on developing artificial superintelligence (ASI). Meta also leads the fast-growing AI glasses market.
Ark Invest’s Cathy Wood and Wedbush analyst Dan Ives think that Tesla(TSLA -1.41%) is the best AI stock. Tesla ranks as the largest holding in Wood’s Ark Invest portfolio. Ives views Tesla as the most undervalued AI stock on the market. Tesla is best known for its electric vehicles (which feature AI self-driving technology), but CEO Elon Musk predicts that its Optimus humanoid robots will be the company’s greatest growth driver in the future.
Checking off all the AI boxes
I think solid cases can be made for Nvidia, Microsoft, Meta, and Tesla as the single best AI stock to buy. However, my vote goes to another AI leader — Google parent Alphabet(GOOG -0.04%)(GOOGL -0.14%). This company checks off all the AI boxes, in my view.
Alphabet’s Google Cloud is the fastest-growing major cloud provider. The unit uses Nvidia’s GPUs, but has also developed Tensor Processing Units (TPUs) that can be more cost-effective in specific machine learning operations.
Like Microsoft, Alphabet has integrated generative AI into many of its products, including Google Search and Google Workspace productivity software. Its Google Gemini large language model (LLM) competes against OpenAI’s GPT-5. Google’s research into transformers (the “T” in GPT) paved the way for today’s LLMs, by the way.
Google DeepMind is actively working on artificial general intelligence (AGI), a critical stepping stone to ASI. Google Glasses were a predecessor to Meta’s AI glasses. Google teamed up with Warby Parker to develop smart glasses using the extended-reality operating system Android XR that will compete against Meta’s devices.
Alphabet’s Waymo unit has a solid head start on Tesla in the autonomous ride-hailing market. Google DeepMind is developing humanoid robots that use the Gemini 2.0 AI model. And, with apologies to Wedbush’s Ives, Alphabet’s stock appears to be more attractively valued than Tesla on every commonly used metric.
Is Alphabet the single best stock to buy for the AI revolution?
Are there risks for Alphabet? Absolutely. Rivals are hoping to chip away at Google Search’s market share. Some industry observers have even predicted that generative AI presents an existential threat to Google Search. Alphabet’s dominance in multiple arenas makes it a big target for regulatory agencies in the U.S. and Europe.
However, Google’s integration of generative AI into its search engine appears to be paying off so far. The regulatory threat against Alphabet also doesn’t seem nearly as concerning after a federal judge didn’t impose the worst-case penalties against the company in a recent decision in an antitrust case.
Multiple stocks will be big winners in the AI revolution, probably including all of the ones discussed earlier. However, if I had to pick the single best AI stock to buy, it would be Alphabet.
Keith Speights has positions in Alphabet, Meta Platforms, and Microsoft. The Motley Fool has positions in and recommends Alphabet, Meta Platforms, Microsoft, Nvidia, and Tesla. The Motley Fool recommends the following options: long January 2026 $395 calls on Microsoft and short January 2026 $405 calls on Microsoft. The Motley Fool has a disclosure policy.
Gov. Gavin Newsom on Friday signed into law a deal that will allow hundreds of thousands of rideshare drivers to unionize and bargain collectively while still being classified as independent contractors.
The legislation — a rare compromise between labor groups and Silicon Valley gig economy companies — grants collective bargaining rights to Uber and Lyft drivers, and follows years of political and legal battles over the job status of rideshare and delivery drivers.
The new law does not apply to other types of gig workers, including those who deliver food through apps like DoorDash.
Besides the collective bargaining deal, Newsom is also expected to sign a law backed by Uber and Lyft that would significantly reduce the companies’ insurance requirements.
Newsom, with his signing of the deal, drew a contrast with Trump’s posture towards workers and labor unions, with his administration banning collective bargaining at half a dozen federal agencies earlier this year.
“Donald Trump is holding the government hostage and stripping away worker protections. In California, we’re doing the opposite: proving government can deliver,” Newsom said in a statement. “That’s the difference between chaos and competence.”
Labor leaders from Service Employees International Union California, a powerful union that has been working for years to organize app-based drivers, say the deal is one of the largest expansions of private sector unions in 90 years, allowing hundreds of thousands of California gig drivers to gain a seat at the bargaining table.
It does so by exempting workers from the state and federal antitrust laws that normally prohibit collective action by independent contractors.
“The gig economy isn’t going away, but worker exploitation doesn’t have to be part of it.” David Green, SEIU 721 President and Executive Director.
Ramona Prieto, Uber’s Head of Public Policy for California, said in an emailed statement that the compromise “lowers costs for riders while creating stronger voices for drivers — demonstrating how industry, labor, and lawmakers can work together to deliver real solutions.”
Experts say the prospect of a union gives some gig workers their first-ever outlet to vent frustrations about workplace conditions. But how exactly does it work? And what are rideshare companies getting in return?
Here’s what you need to know:
What would it take for drivers to form a union?
Under federal law, employees in the U.S. can unionize by holding an election or reaching a voluntary agreement with their employers for a specific union to represent them.
The process for California Uber and Lyft drivers under the collective bargaining law, called Assembly Bill 1340, would be somewhat different.
A group can seek to be the bargaining representative for active drivers by collecting signatures from at least 10% of them. At that point, a group would be able to petition for access to names and contact information for all active drivers in California from the state’s Public Employment Relations Board, which is designated to oversee the unionization process.
With that contact list, the process of organizing drivers would in theory become easier. Once a group signs up 30% of active drivers, they could petition the board for union certification. If more than one organization is in the process of gathering signatures, an election would be held to determine which would represent drivers.
Assemblymember Buffy Wicks (D-Oakland), who co-authored the bill with Marc Berman (D-Menlo Park), said the new process means drivers will be able to”bargain for better pay and protections, and help build a future where the gig economy works for the people behind the wheel.”
The law outlines a formula as to which drivers qualify as “active” based on a median number of rides they completed during the prior six month period, which determines who would be eligible to vote in the election.
It’s unclear at this point how many active drivers California has, as the number fluctuates, and rideshare companies do not release the information. Uber and Lyft will be required to submit data on active drivers to the state labor board on a regular basis under the new law.
That path to collective bargaining mirrors a ballot initiative approved by Massachusetts voters last fall that was also backed by SEIU, which allows drivers to form a union after collecting signatures from at least 25% of active drivers in the state.
Drivers affiliated with SEIU who supported the California bill said they spend long hours on the road, as many as 10 to 12 a day, but are not given the same protections as other workers. They say the law gives them an opportunity to negotiate their pay and other terms of their agreements with the companies.
“Drivers have had no way to fight back against the gig companies taking more and more of the passenger fare, or to challenge unfair deactivations that cost us our livelihoods,” said Ana Barragan, a gig driver from Los Angeles in a statement. “We’ve worked long hours, faced disrespect, and had no voice, just silence on the other end of the app.”
Some driver advocates have worried the law may not be strong enough to ensure that drivers can reach a fair contract.
Veena Dubal, a law professor at UC Irvine who studies the effect of technology on workers, had said the legislation does not clarify whether drivers would be protected if they collectively protested or went on strike, and doesn’t require that the companies provide data about wages.
“These are the crux of what makes a union strong and the very, very bottom line of what members need and want,” Dubal said. “That they couldn’t achieve those things — that’s a win for Uber.”
Michael Reich, a professor of economics and co-chair of the Center on Wage and Employment Dynamics at the Institute for Research on Labor and Employment at UC Berkeley who has closely studied the gig economy and advised on driver-related legislation, called a potential driver union “a golden opportunity” and the pair of laws “a good deal for both sides.”
What did gig economy companies get out of the deal?
The insurance bill, backed by Uber and Lyft and introduced by state Sen. Christopher Cabaldon (D-Yolo), would reduce the amount of insurance that companies like Uber and Lyft are required to provide for rides.
Uber said in a blog posted to its website, that the law helps to address “one of the biggest hidden costs impacting rideshare passengers and drivers in California.”
Currently, the companies must carry $1 million in coverage per rideshare driver for accidents caused by other drivers who are uninsured or underinsured. The companies have argued that current insurance requirements are so high that they encourage litigation for insurance payouts and create higher costs for passengers.
But beginning next year, passenger trips will instead be covered by $60,000 in uninsured motorist coverage per rideshare driver and $300,000 per accident.
Uber said it will maintain $1 million in liability insurance to cover injuries or property damage in accidents caused by their rideshare drivers, as well as insurance that covers the cost to repair the driver’s car, regardless of who is at fault for the damage.
The companies are also required to maintain $1 million in occupational accident coverage under gig economy law Proposition 22, which is supposed to help drivers with medical bills if they’re injured while driving, no matter who is at fault, Uber said.
What led to this point and how does Prop. 22 factor in?
After the California Legislature in 2019 rewrote employment law in 2019, clarifying and limiting when businesses can classify workers as independent contractors, Uber and Lyft went to the ballot in California, bankrolling an initiative to exempt their drivers.
When California voters passed Proposition 22, the ballot measure the companies funded in 2020, drivers were classified as independent contractors who, under federal law, do not have the right to organize. Proposition 22 had language that explicitly barred drivers from collectively bargaining over their compensation, benefits and working conditions.
But SEIU California argued that court decisions over Prop. 22 left an opening for the state Legislature to create a process for drivers to unionize, setting the state for lawmakers to introduce the collective bargaining bill. Uber and Lyft initially opposed the bill, until a deal was hammered out and announced in August.
Times staff writer Laura Nelson contributed to this report.
CBS News will learn a lot about its future next week when Bari Weiss, founder of the upstart news site the Free Press, is expected to enter the hallowed halls where Walter Cronkite and Mike Wallace once roamed.
Weiss, 41, is joining CBS News in a new role of editor in chief, according to people familiar with the discussions who were not authorized to comment publicly. The appointment could be announced as soon as Monday.
David Ellison, 42, chairman and chief executive of CBS-owner Paramount, approached Weiss months ago, part of his campaign to shake things up. She will report to Ellison and work alongside CBS News President Tom Cibrowski, who joined the network in February.
Under the deal, Paramount has agreed to buy Weiss’ four-year-old digital media business, which offers newsletters, reported pieces, podcasts, and what it calls “sense-making columns,” for around $150 million in cash and stock. For months, her anticipated arrival at CBS News, an aging pillar of the press establishment, has been a hot topic in the news business.
The rapid rise of Weiss — a former newspaper opinion page staff editor — to a major role in shaping the coverage of a TV news organization with no previous experience in the medium is an extraordinary move that is likely to be highly scrutinized.
Will she remold the news division — which has been beset by management turnover and sustained pressure from President Trump — in her image? There will also be questions as to whether the founder of a relatively lean digital operation such as the Free Press will have a leadership role at a legacy TV news organization with more than 1,000 employees.
A shake-up is clearly on the agenda of new Paramount owner Skydance Media. When the company went through regulatory approval to complete its $8-billion merger, Federal Communications Chairman Brendan Carr said he welcomes Skydance’’s “commitment to make significant changes to the once storied CBS broadcast network.”
In order to clear a path for the deal, Paramount paid $16 million to settle Trump’s $20-billion lawsuit — deemed by legal experts to be spurious — over an interview he claimed was edited to help then-Vice President Kamala Harris, his opponent in the 2024 election. He has left the network alone ever since.
Skydance and the Free Press did not comment on the expected appointment of Weiss. When asked in August about her joining the network, Ellison — son of Oracle co-founder and Trump ally Larry Ellison — focused on how he wants the news division to speak to what he views as the 70% of Americans who consider themselves center left or center right politically.
In a crowded sea of political and cultural pundits, Weiss found her own lane as a gay Jewish woman who attacked what she called the excesses of the political left, often saying it was intolerant of opposing viewpoints. She called herself “a diversity hire” at the New York Times’ reliably liberal opinion section and gained a following through her appearances on HBO’s “Real Time With Bill Maher.”
When she quit the New York Times in 2020, she accused her former employer of failing to protect her from internal criticism by her colleagues. Her public resignation letter was shared on social media by Donald Trump Jr. and Sen. Ted Cruz (R-Texas), who used it to advance their case of institutional liberal bias in the media.
Described as a confident and skilled communicator, Weiss used her notoriety to attract investors for the Free Press, a digital media business offering newsletters, reported stories, opinion pieces and podcasts. Launched in 2021, it now ranks as the No. 1 best-selling politics platform on Substack.
The Free Press has made itself heard in the national conversation. A treatise on the left-wing leanings of NPR, written by a longtime editor at the radio service, generated massive attention and likely helped set the stage for eliminating federal funding to public media.
Last year, the Free Press also broke the story over the internal CBS News controversy surrounding “CBS Mornings” co-host Tony Dokoupil‘s aggressive questioning of author Ta-Nehisi Coates, who compared Israel’s treatment of Palestinians in the West Bank to the Jim Crow era of segregation in the U.S.
Dokoupil said Coates’ book on the Israeli-Palestinian conflict “would not be out of place in the backpack of an extremist.” After some staffers complained, Dokoupil was admonished by CBS News leadership on an editorial call that the Free Press posted online.
Weiss is extremely popular among corporate executives disdainful of high taxes and big government. Finance and private equity executives rave about Free Press missives against purportedly “woke” attitudes and DEI initiatives that they believe have made it more difficult to do business.
Newsrooms are typically suspicious of outsiders and change has never come easy at CBS News, which has a culture steeped in its storied past.
“A place like CBS News is so rooted in its traditions and in what it believes in,” said Tom Bettag, a veteran network news producer who is a lecturer for the Philip Merrill College of Journalism at the University of Maryland. “It’s got its own theology and an outsider has to win the confidence of the people inside.”
Even like-minded conservative commentators such as Megyn Kelly suggested that Weiss might face challenges in navigating such an entrenched institution.
“I’m worried they’re going to eat her alive, because CBS is among the worst when it comes to being insular,” Kelly said on her Sirius XM podcast last month. “Like you have to be raised by CBS to be respected by CBS people.”
A number of veterans inside CBS News who were not authorized to speak publicly said they have a wait-and-see attitude over the pending Weiss appointment, as they are uncertain on what her role will entail. They don’t believe Weiss will want to deal with day-to-day news coverage decisions such as how many correspondents and technical crews to send to cover a natural disaster.
David Ellison, Paramount Skydance chief executive officer
(Paramount/Skydance)
Having an opinion journalist in a leadership role may not sit well among a number of staffers. But with layoffs sweeping through the TV news business, an employee exodus predicted in some reports appears unlikely, according to one former CBS News executive.
One possible source of tension may be in international coverage, primarily the war in Gaza, which has been the subject of internal debate in many newsrooms.
Weiss, who once belonged to the Tree of Life Synagogue in Pittsburgh that was the site of a shooting massacre in 2018, is a staunch Israel supporter. She’s joining a company that, led by its new management, was the only studio to push back against a campaign gathering steam among Hollywood progressives to boycott Israeli film festivals and organizations.
But ideological newsroom flare-ups that spill into public view are rare. Managing a network TV news division largely consists of keeping an eye on costs, ratings and maintaining a pipeline of stories for dozens of hours of scheduled programming each week.
Despite its well-documented troubles, CBS still has two of the most successful news programs on television in “60 Minutes” and “CBS Sunday Morning.”
Even after the gauntlet “60 Minutes” went through earlier this year, viewers showed up when it returned for its 58th season Sunday with a season premiere that drew 10 million viewers, making it the most-watched non-sports show of the week, according to Nielsen data.
Bettag noted that even though former Paramount majority shareholder Shari Redstone was updated on “60 Minutes” stories amid the legal battle earlier this year, he believes the program retained its editorial rigor and independence.
“If anything, it stiffened spines,” Bettag said.
“CBS Sunday Morning” remains the most watched weekend morning program and increased its share of the TV audience last season, averaging close to 5 million viewers weekly.
While those two programs still attract large, loyal audiences, CBS News is faced with declining ratings and revenue, as viewers continue to move away from traditional TV to digital video offerings. CBS News has long operated a 24-hour streaming channel, but it doesn’t attract the same audience levels or ad rates as the network.
The CBS Broadcast Center in New York City on April 20, 2023.
(Ted Shaffrey / Associated Press)
CBS News also has to regain the trust of the audience that has listened to right-wing pundits pound away at the credibility of mainstream press.
It’s hardly a new development as conservative North Carolina Sen. Jesse Helms tried to lead a takeover CBS in the mid-1980s so he could “become Dan Rather’s boss.” But social media have amplified those bias allegations, driving MAGA-supporting viewers to Fox News and other conservative-leaning outlets.
Bettag believes CBS News has to do a better job of getting the public to understand the editorial process and how it strives for accuracy and fairness to counter the right-wing narrative of media bias.
“If Bari Weiss can come in and explain what they’re doing and why they’re doing it then I think she can be successful,” he said.
Veteran TV news executives warn that any overt attempt to woo disaffected conservatives risks alienating the millions of viewers who are still watching CBS News programs. CNN’s attempt to try to cater to right-leaning consumers — at the behest of parent company Warner Bros. Discovery — led to a decline in audience that has not bounced back.
One idea circulating at Paramount is having the Free Press remain as an independent entity within the company, providing contributors and commentators to its special coverage, the Sunday round table program “Face the Nation” and streaming channel.
While the Free Press has been embraced by conservatives, Weiss has been fluid in her political leanings, at least in the voting booth. Her recent votes for president were Mitt Romney in 2012, Hillary Clinton in 2016 and Joe Biden in 2020.
In a video posted last fall, Weiss said the Free Press staff was split three ways between Trump, Harris and undecided in their 2024 vote. She called it a reflection of the nation.
Weiss is pro abortion rights and favors pro-gun control and LGBTQ rights (Weiss is married to Nellie Bowles, a former New York Times journalist who also works at the Free Press).
She has said she was among the many who cried at their desks when Trump was first elected in 2016. But she told Fox News in early 2024 that her view of the president had moderated since, as she approved of his handling of Israel and the economy during his first term.
“I’m the first to admit that I was a sufferer of what conservatives at the time would have called TDS, Trump Derangement Syndrome,” Weiss said.
But the Free Press does not give Trump a free pass as other right-wing outlets have. One of the current lead stories on the site is a highly critical take on Defense Secretary Pete Hegseth’s speech on warrior ethos given to military leadership on Tuesday.
Staff writer Meg James contributed to this report.
YouTube became the latest media and tech company to settle one of President Trump’s lawsuits.
On Monday, YouTube became the latest media and tech company to settle one of President Trump’s lawsuits.
The Google-owned streamer agreed to pay $24.5 million to settle a lawsuit Trump filed after his account was banned following the Jan. 6, 2021, riots at the U.S. Capitol. That brings Trump’s haul from media and tech companies to more than $90 million in the last year.
Some of these suits deal with conflicts the president has experienced with news networks such as ABC and CBS. Others confront the fallout from the attack on the U.S. Capitol.
Some of the settlement money will pay for renovations to a presidential library Trump is building on 2.6 acres of waterfront property in Miami. Other funds will go to the nonprofit Trust for the National Mall, with the intention of building a Mar-a-Lago-style ballroom, which is expected to cost $200 million overall.
Here’s a rundown of the payouts:
YouTube: $24.5 million
After the Jan. 6 attack on the U.S. Capitol, YouTube suspended the president’s account on the platform because of Trump’s alleged role in the insurrection. At the time, the company had cited “concerns about the ongoing potential for violence” and violation of its “policies for inciting violence.”
Trump’s lawsuit, filed in 2021 at the U.S. District Court in Northern California, argued the account’s suspension was “censorship.” Before the case was settled, YouTube had already lifted its suspension on Trump in March 2023, in light of the then-upcoming presidential race.
In court documents filed Monday, Alphabet, the parent company of YouTube and Google, did not admit any wrongdoing in the matter. The company did not agree to make any policy or product changes in the deal.
Of the $24.5 million, $22 million is going to Trump, who will contribute the money to the Trust for the National Mall, which is “dedicated to restoring, preserving, and elevating the National Mall” as well as supporting the construction of the White House State Ballroom, according to the filing.
Alphabet will also have to pay an additional $2.5 million to other plaintiffs in the case, including the American Conservative Union and writer Naomi Wolf.
Social media platforms Facebook (now Meta) and Twitter (now X) had suspended Trump’s accounts over Jan. 6, 2021. At the time, Twitter put out a statement, saying that recent tweets from his “account and the context around them — specifically how they are being received and interpreted on and off Twitter” had to be suspended to avoid “the risk of further incitement of violence.”
Mark Zuckerberg of Meta also posted a statement on Facebook after banning Trump’s Meta accounts. He wrote, “We believe the risks of allowing the President to continue to use our service during this period are simply too great.”
In July of that year, Trump sued the companies for “censorship.”
By January 2023, Meta had reinstated Trump’s Facebook and Instagram accounts, as had X in 2022.
Shortly before Trump was going to take office for his second term, in January 2025, Meta decided to pay the incoming president $25 million to settle the lawsuit. Elon Musk, who had purchased Twitter and renamed it “X” in the interim, agreed to pay $10 million to settle its Trump case.
Paramount Global: $16 million
Paramount Global agreed to pay $16 million to resolve Trump’s legal salvo against “60 Minutes” over the editing of an interview with his 2024 opponent, then-Vice President Kamala Harris.
Trump claimed “60 Minutes” edited an interview with Harris to make her look better and bolster her chances in the election. CBS denied the claims, saying the edits were standard and the case was viewed as frivolous by 1st Amendment experts.
Trump wrote on Truth Social that CBS “did everything possible to illegally elect Kamala, including completely and corruptly changing major answers to Interview questions, but it just didn’t work for them.”
Last May, CBS offered $16 million to settle the civil suit filed in Texas. The lump sum included the president’s legal fees and an agreement that “60 Minutes” will release transcripts of interviews with future presidential candidates.
Less than a month after the settlement, the FCC approved Skydance Media’s acquisition of Paramount, which owns CBS.
Disney: $16 million
Earlier this year, ABC news anchor George Stephanopoulos appeared on the network’s “This Week” news program and asserted that Trump was found liable for raping writer E. Jean Carroll. In May 2023, a jury in New York declined to find Trump liable for rape, but did find him liable for sexual abuse of Carroll.
Trump responded to the on-air comments with a defamation lawsuit filed in federal court in Florida. The lawsuit was settled by ABC News, owned by Disney, last December. Disney agreed to pay $15 million toward Trump’s presidential library and $1 million of Trump’s legal fees.
The settlement also included an editor’s note, posted on the ABC News website, expressing regret for Stephanopoulos’ comments.
Times staff writer Stephen Battaglio contributed to this report.
SACRAMENTO — Gov. Gavin Newsom signed a bill Monday that will create new transparency measures for large AI companies, including public disclosure of security protocols and reports of critical safety incidents.
Sen. Scott Wiener (D-San Francisco) said Senate Bill 53 will create “commonsense guardrails” to ensure groundbreaking innovations don’t sacrifice safety and transparency amid the rapid growth of AI technologies. Newsom said the bill strikes the right balance of working with the artificial intellegence companies, while not “submitting to industry.”
“AI is the new frontier in innovation, and California is not only here for it – but stands strong as a national leader by enacting the first-in-the-national frontier AI safety legislation that builds public trust as this emerging technology rapidly evolves,” Newsom said in a statement.
The bill was introduced this year after Newsom vetoed a broader bill last year, which was also authored by Wiener. That bill, SB 1047, was supported by Elon Musk and prominent AI researchers, but opposed by Meta and OpenAI.
In his lengthy veto message last year, Newsom called SB 1047 “well-intentioned” but added that it was not the “best approach to protecting the public from real threats posed by the technology.” In punting the measure last year, Newsom announced that his administration would convene a working group of AI leaders and experts to develop more workable protections that became the basis for SB 53.
The new law will require companies to disclose their safety and security protocols and risk evaluations. It mandates reporting of critical incidents — such as cyberattacks or unsafe behavior by autonomous AI systems — to the state’s Office of Emergency Services.
Cal OES would begin publishing annual reports in 2027 that anonymize and aggregate critical safety incidents it receives. SB 53 also strengthens whistleblower protections for employees who report violations.
The Attorney General in California will be able to bring civil penalties of up to $1 million against companies who violate the new law.
“With a technology as transformative as AI, we have a responsibility to support that innovation while putting in place commonsense guardrails to understand and reduce risk,” Wiener said in a statement.
The bill was opposed by the California Chamber of Commerce and the Chamber of Progress, a tech industry association.
“This exhaustive approach compels developers to allocate significant time and resources toward preparing for hypothetical risks rather than addressing actual, demonstrable harms,” wrote the Chamber of Progress.
Kawhi Leonard mumbled his way through a few answers to questions Monday about his endorsement deal with Aspiration Partners that has triggered an NBA investigation into whether the Clippers circumvented the league salary cap.
The Clippers allowed only two reporters to ask about the deal during media day at Intuit Dome, refusing to give the microphone to additional reporters — including one from The Times — who raised their hands to ask questions. Leonard was ushered off the dais and out of sight.
“The NBA is going to do their job,” Leonard said. “None of us did no wrongdoing and, yeah, that’s it. We invite the investigation.”
Asked about his understanding of the endorsement deal and whether he performed any services, Leonard replied, “I understand the full contract and services that I had to do. Like I said, I don’t deal with conspiracies or the click-bait analysts or journalism that’s going on.
“I don’t think it’s accurate” that he provided no endorsement services to Aspiration, he said. “It’s old. This is all new to you guys. But the company went bankrupt a while ago, so we already knew this was going to happen.”
He added that he wasn’t paid all the money due to him, saying “I’m not sure [how much I’m owed]. I’ve got to go back and look at the books. … The company went belly up and it was fine.”
Clippers forward Kawhi Leonard speaks during media day at the Intuit Dome on Monday.
(Eric Thayer / Associated Press)
Lawrence Frank, Clippers president of basketball operations, was insistent that the investigation will exonerate owner Steve Ballmer and the franchise.
“We appreciate that there will be a clear-eyed look at these allegations,” Frank said. “And we are eager for the truth to come out.
“The assumptions and conclusions that have been made are disappointing and upsetting. And we expect the investigation will show that these allegations are wrong.”
The salary cap limits what teams can spend on player payroll to ensure parity and prevent the wealthiest teams from outspending smaller-market teams to acquire the best player. NBA Commissioner Adam Silver has called attempts to circumvent it a “cardinal sin.”
In this case, Leonard agreed to a $28-million contract for endorsement and marketing work for Aspiration, which went out of business in March. Players are allowed to have separate endorsement and other business deals. At issue in this case is whether the Clippers participated in arranging the side deal beyond simply introducing Aspiration executives to Leonard.
The most painful penalties the NBA could impose would be suspending Ballmer for a maximum of one year and docking the Clippers their first-round draft picks for up to five years. The team already is without a first-round pick in 2026 and 2028, having traded them away. Forfeiting the remaining picks through 2032 would make it harder for the Clippers to compete for their first-ever NBA championship.
“I hurt for Steve,” Frank said. “He’s one of the best people, most honorable people I’ve met. He does things the right way for the right reasons. And he constantly reminds us to stay on the right side of the rules.
“I also hurt for our players, our staff and fans. And, on a larger level, as I’ve learned about this over the past month, I feel bad for all the people defrauded by [Aspiration].”
Frank said a partition exists between team executives and companies that signed players for endorsements.
“Endorsement contracts are completely separate from player contracts,” he said. “So what a player makes, Kawhi, or any of our other players, in endorsement contracts, I have no idea.”
Ballmer, however, had a 2-3% ownership share in Aspiration and made separate investments of $50 million and $10 million in the company. Whether that same partition applied to him is something NBA investigators will examine, according to Michael McCann, a visiting professor of law at Harvard who has followed the situation closely.
Frank emphasized that the Clippers front office takes the salary cap rules seriously.
“The salary cap governs everything we do,” he said. “Our mission every day is to build the best team we can under the constraints of the cap. There is no gray area. There are no secret shortcuts. It’s clear what we are and are not allowed to do.”
Whether Leonard was as clear about the rules remains unknown. The forward who is under contract for two more seasons and $100 million said the upcoming season is all he’s thinking about.
“I’m not getting into any conspiracy theories or anything like that,” he said. “It’s about the season and what we’ve got ahead of us right now.”
A historically inexpensive trillion-dollar business has the necessary catalysts to leapfrog the likes of Nvidia, Apple, and Microsoft by the turn of the decade.
For much of the last 16 years, the stock market has been unstoppable. With the exception of the five-week COVID-19 crash in February-March 2020, and the roughly nine-month bear market in 2022, the bulls have been in firm control on Wall Street.
The catalyst for this ongoing outperformance primarily rests with Wall Street’s trillion-dollar businesses. Think Nvidia(NVDA 0.27%) and Apple, as well as newer trillion-dollar club members Broadcom and Taiwan Semiconductor Manufacturing, which is also known as TSMC.
All told, just 11 publicly traded companies have ever reached a $1 trillion market cap, not accounting for the effects of inflation, and 10 trade on U.S. exchanges. This includes all members of the “Magnificent Seven,” along with Broadcom, TSMC, and billionaire Warren Buffett’s company, Berkshire Hathaway.
Image source: Getty Images.
While Nvidia appears to have the inside path to retaining its current title as Wall Street’s most valuable public company by the turn of the decade, another Mag Seven member is ideally positioned to dethrone Nvidia and leapfrog the likes of Apple and Microsoft along the way.
Despite its AI dominance, Nvidia’s spot atop the trillion-dollar pedestal is far from secure
As of the closing bell on Sept. 24, artificial intelligence (AI) titan Nvidia clocked in with a market cap north of $4.3 trillion. It’s the first public company to have reached the $4 trillion mark, and is believed to have a chance to surpass a $6 trillion valuation, based on the price targets of Wall Street’s most optimistic analysts.
This optimism stems from Nvidia’s dominant position as the leader in AI graphics processing units (GPUs) deployed in enterprise data centers. Three generations of advanced AI chips — Hopper (H100), Blackwell, and now Blackwell Ultra — have enjoyed insatiable demand and extensive order backlogs.
Aside from clear-cut compute advantages, Nvidia’s AI hardware benefits from a persistent lack of AI GPU supply. As long as enterprise demand overwhelms available hardware, Nvidia is going to have no trouble charging a premium for its GPUs and netting a gross margin in excess of 70%.
While these competitive edges would imply that Nvidia’s spot atop the trillion-dollar pedestal is secure, historical precedent would beg to differ.
One of the prime threats to Wall Street’s largest public company is that every next-big-thing trend dating back more than three decades has eventually navigated its way through a bubble-bursting event early in its expansion. This is to say that investors consistently overestimate the early adoption and real-world utility of next-big-thing innovations. Though AI has undeniable long-term applications, most businesses are nowhere close to optimizing these solutions at present, or have yet to net a positive return on their AI investments.
Competition is something that can’t be ignored, either. Even with external competitors lagging Nvidia in compute ability, there’s a very real possibility of Wall Street’s AI darling losing out on valuable data center real estate and/or being undermined by delayed AI GPU upgrade cycles.
Many of Nvidia’s largest customers by net sales are developing AI GPUs to deploy in their data centers. Though these chips won’t be competing with Nvidia’s hardware externally, they’re considerably cheaper to build and more readily accessible. It’s a recipe for Nvidia’s competitive edge to dwindle in the coming years, and for Wall Street’s AI kingpin to cede its title as the most valuable public company.
Image source: Amazon.
This will be Wall Street’s most valuable public company come 2030
Although Apple or Microsoft would seem to be logical choices to reclaim the top spot that both companies have previously held, dual-industry leader Amazon(AMZN 0.78%) is the trillion-dollar stock that looks to have the best chance to become Wall Street’s most valuable company by 2030.
The operating segment that typically introduces consumers to Amazon is its online marketplace. According to estimates from Analyzify, Amazon’s e-commerce segment accounts for a 37.6% share of U.S. online retail sales. Amazon’s spot as the leading e-commerce giant isn’t threatened — although its operating margin associated with online retail sales tends to be razor thin.
While Amazon’s retail operations provide a face for the company, it’s a trio of considerably higher-margin ancillary segments that’ll be responsible for bulking up the company’s operating cash flow in the years to come.
Nothing has more bearing on Amazon’s long-term success than cloud infrastructure platform Amazon Web Services (AWS). Tech analysis firm Canalys pegged its share of worldwide cloud infrastructure spend at 32% during the second quarter, which is nearly as much as Microsoft’s Azure and Alphabet‘s Google Cloud on a combined basis.
AWS has been growing by a high-teens percentage on a year-over-year basis, excluding currency movements. The thinking here is that the inclusion of generative AI solutions and large language model capabilities for AWS clients will only enhance the growth rate for AWS.
As of the June-ended quarter, AWS was pacing more than $123 billion in annual run-rate revenue. Most importantly, AWS is responsible for almost 58% of Amazon’s operating income through the first half of 2025 despite accounting for less than 19% of net sales. Even if an AI bubble forms and bursts, application providers like AWS can weather the storm.
The other pieces of the puzzle for Amazon are advertising services and subscription services. When you’re drawing billions of people to your site monthly, it’s not difficult to command exceptional ad-pricing power.
It also doesn’t hurt that Amazon has landed exclusive streaming partnerships with the National Football League and National Basketball Association. When coupled with e-commerce shipping perks and exclusive shopping events, Amazon has plenty of pricing power with its Prime subscription.
Finally, Amazon is historically inexpensive. From 2010 to 2019, Amazon closed out each year between 23 and 37 times trailing-12-month cash flow. Based on Wall Street’s consensus, Amazon’s cash flow per share is forecast to grow from a reported $11.04 in 2024 to $27.52 in 2029.
In other words, Amazon is valued at only 8 times projected cash flow in 2029, which means it can reasonably add $2.5 trillion to $4 trillion in market value from here and still be trading at a significant discount to its average cash flow multiple during the 2010s.
Sean Williams has positions in Alphabet and Amazon. The Motley Fool has positions in and recommends Alphabet, Amazon, Apple, Berkshire Hathaway, Microsoft, Nvidia, and Taiwan Semiconductor Manufacturing. The Motley Fool recommends Broadcom and recommends the following options: long January 2026 $395 calls on Microsoft and short January 2026 $405 calls on Microsoft. The Motley Fool has a disclosure policy.
Artificial intelligence and its invasiveness in our everyday lives might be endlessly discussed among academics, government officials and social media provocateurs, but Los Angeles Comic Con has injected a dose of gamma radiation and showmanship into that debate.
Stan Lee has entered the chat.
L.A. Comic Con is introducing its Stan Lee Experience, a 1,500-square-foot booth in Aisle 200 that features an AI-powered holographic image of the late comic book legend that interacts with attendees. Curious fans can ask questions of “Stan Lee” and probe dozens of years’ worth of comic book and comic book-related data that’s been fed into the AI, which has been drawn from footage, conversations and even Stan Lee’s Soapbox — where Lee would expand on happenings of the day or riff on comic book goings-on in the back pages of Marvel comics from 1967 through 1980.
Chris DeMoulin, chief executive and general manager of L.A. Comic Con parent Comikaze Entertainment Inc., says the Stan Lee AI project took months of planning and years of being connected to the parties involved.
“For me, personally, one of the most thrilling things of my entire life was getting to work with Stan Lee when this was Stan Lee’s Comic Con and Stan Lee’s Comikaze Expo before that. What was such a joy was watching him interact with fans. Old fans and then people that were bringing their 8-year-old kid who had just read their first Spider-Man comic book,” said DeMoulin, who has collected comics from an early age.
“This avatar, to us, is an entry point into the world of storytelling that he created. We wanted to create something which can be part of maintaining and expanding on that legacy so that Stan’s role in creating a lot of this is acknowledged.”
The hologram, at least the one on the show floor, is not really a hologram. With a box built by Proto Inc., the company that also launched an interactive mirror from “The Conjuring,” and Hyperreal, a company whose chief executive Remington Scott helped bring Gollum and Smeagol to life for Peter Jackson’s “The Lord of the Rings” movies and creates realistic avatars, it is an interactive Stan Lee image that processes questions and formulates responses.
“Hologram is a technology that’s different than this. This is more of an avatar presence, or a telepresence, if you will. Unlike ChatGPT, this is not a web crawler. This is a large language model which has got guardrails on it,” says George Johnson, a member of the Hyperreal technical team.
“It’s specifically Stan’s words. Red carpet interviews, everything he wrote, like Stan’s Soapbox, but with guardrails. Meaning, if you ask him sports questions or politics questions, he’s not going to answer those. But the Stan Lee Universe is feeding us more and more stuff that we can add to the model.”
David Nussbaum, Proto Inc. founder and chairman, knows that Stan Lee is only the first step for this technology.
“Any Proto device can have any piece of content in it, and we also beam people in live. So if you’re interviewing someone in Japan, you could beam there and appear like you are physically among them,” Nussbaum said. “These are great for classrooms, museums, labs, retail.”
Proto technology is also HIPAA-compliant, he said, meaning doctors and patients can use it to have “in-person” consultations without being in a room together.
As it learns, it can — as AI does — go a bit off script. While folks behind the scenes said they didn’t want Stan Lee to be used as an advertising gimmick, its makers had asked it so many questions about Coca-Cola, it had changed its answer from a generic “I don’t deal with that kind of thing” to a thoughtful answer where, at the end, Lee says, “Who wouldn’t want to be in business with the company that been quenching thirsts for a hundred years?”
That was Stan — ever the showman.
The Stan Lee Experience costs $15 plus service fees with tickets available for purchase via the L.A. Comic Con website. The pop culture gathering runs through Sunday at the Los Angeles Convention Center.
A group of Walt Disney Co. shareholders is demanding the company release information related to the suspension of late-night host Jimmy Kimmel, according to a recent letter.
The letter, dated Wednesday and sent by the American Federation of Teachers union and press freedom group Reporters Without Borders, said the groups want transparency into Disney’s decision last week to indefinitely suspend the show “Jimmy Kimmel Live!” following comments he made in his monologue about the shooter who killed conservative activist Charlie Kirk.
Disney reinstated Kimmel’s show Tuesday, saying in a statement that the initial decision was made to “avoid further inflaming a tense situation at an emotional moment for our country” and calling some of his comments “ill-timed and thus insensitive.”
The late-night host’s suspension set off a political firestorm and nationwide debate about free speech. Protesters demonstrated outside the El Capitan Theatre in Hollywood as well as Disney’s Burbank headquarters. More than 400 celebrities signed an open letter decrying attempts at government censorship. Some called for consumers to cancel their Disney+ streaming subscriptions.
“Disney shareholders deserve the truth about exactly what went down inside the company after Brendan Carr’s threat to punish ABC unless action was taken against Jimmy Kimmel,” American Federation of Teachers President Randi Weingarten said in a statement. “The Disney board has a legal responsibility to act in the best interests of its shareholders — and we are seeking answers to discover if that bond was broken to kowtow to the Trump administration.”
Prior to the initial suspension decision, Federal Communications Commission Chairman Brendan Carr had called for Disney to take action against Kimmel during a podcast interview that aired last week. Carr said there could be consequences for the TV stations that carry his show. Shortly before Disney announced Kimmel’s initial suspension, TV station groups Nexstar Media Group and Sinclair Broadcast Group each said they would preempt the show and have said they will not bring it back.
The letter calls for Disney to provide records, including any meeting minutes or written materials, related to the suspension or return of Kimmel’s show.
“There is a credible basis to suspect that the Board and executives may have breached their fiduciary duties of loyalty, care, and good faith by placing improper political or affiliate considerations above the best interests of the Company and its stockholders,” the letter said.
Disney did not respond to a request for comment.
Times staff writer Meg James contributed to this report.
President Trump on Thursday signed an executive order that would allow hugely popular social video app TikTok to continue to operate in the United States.
TikTok’s parent company, ByteDance, had been under pressure to divest its ownership in the app’s U.S. operations or face a nationwide ban, due to security concerns over the company’s ties to China.
Congress passed legislation calling for a TikTok ban to go into effect in January, but Trump has repeatedly signed orders that have allowed TikTok to keep operating in the country.
Under an agreement that Trump said was approved by China’s President Xi Jinping, TikTok’s U.S. operations will be operated through a joint venture run by a majority-American investor group. ByteDance and its affiliates would hold less than 20% ownership in the venture.
About 170 million Americans use TikTok, known for its viral entertaining videos.
“These safeguards would protect the American people from the misuse of their data and the influence of a foreign adversary, while also allowing the millions of American viewers, creators, and businesses that rely on the TikTok application to continue using it,” Trump stated in his executive order.
Trump, who years ago led the push to ban TikTok from the U.S., said at a press event that he feels the deal satisfies security concerns.
“The biggest reason is that it’s owned by Americans … and people that love the country and very smart Americans, so they don’t want anything like that to happen,” Trump said.
Trump said on Thursday that people involved in the deal include Oracle co-founder Larry Ellison, Dell Technologies Chief Executive Michael Dell and media mogul Rupert Murdoch. Vice President JD Vance said the new entity controlling TikTok’s U.S. operations would have a value of around $14 billion.
Murdoch’s involvement would probably entail Fox Corp. investing in the deal, a source familiar with the matter who was not authorized to comment publicly told The Times. Fox Corp. owns Fox News, whose opinion hosts are vocally supportive of Trump.
The algorithms and code would be under control of the joint venture. The order requires the storage of sensitive U.S. user data to be under a U.S. cloud computing company.
White House Press Secretary Karoline Leavitt told Fox News last Saturday that the app’s data and privacy in the U.S. would be led by Oracle.
Ellison is a Trump ally who is the world’s second-richest person, according to Forbes.
TikTok already works with Oracle. Since October 2022, “all new protected U.S. user data has been stored in the secure Oracle infrastructure, not on TikTok or ByteDance servers,” TikTok says on its website.
Ellison is also preparing a bid for Warner Bros. Discovery, the media company that owns HBO, TNT and CNN, after already completing a takeover of Paramount, one of Hollywood’s original studios.
“The most important thing is it does protect Americans’ data security,” Vance said at a press gathering on Thursday. “What this deal ensures is that the American entity and the American investors will actually control the algorithm. We don’t want this used as a propaganda tool by any foreign government.”
TikTok, which has a large presence in Los Angeles, did not respond to a request for comment.
Terms of the deal are still unclear. Trump discussed the TikTok deal with China’s Xi Jinping in an extended phone call last week. Chinese and U.S. officials have until Dec. 16 to finalize the details.
The company behind the wildly popular Pokémon franchise says it doesn’t want its characters used for propaganda.
The Department of Homeland Security uploaded a Pokémon-themed montage of various ICE raids to social media earlier this week.
The connection to the beloved franchise was clear, as the recognizable theme song played, the original animation appeared and even its signature blue and yellow text materialized.
The video angered many fans. The Japanese gaming company said the federal agency was not authorized to use its original content.
“We are aware of a recent video posted by the Department of Homeland Security that includes imagery and language associated with our brand,” wrote the Pokémon Company International in a statement to The Times. “Our company was not involved in the creation or distribution of this content, and permission was not granted for the use of our intellectual property.”
The posted video included the anime theme song, with the lyrics “Gotta catch ‘em all,” playing over segments of federal agents handcuffing people and imagery of a Pokémon character and the Pokéballs used to capture monsters in the game.
It concluded with several mock-ups of Pokémon playing cards with photographs of detainees, which included their full names, crimes they have committed and details about their convictions and sentencing.
The DHS’ social media feeds are full of provocative imagery and videos that borrow from popular media.
It used Jay-Z’s “Public Service Announcement” last month. It reportedly received a copyright violation complaint and had to be taken down.
In July, the DHS X account posted a video montage, which used audio from 2022’s “The Batman” and displayed a Bible verse onscreen. Paintings, from artists like Thomas Kinkade, Morgan Weistling and John Gast have also been utilized by the federal agency.
Comedian Theo Von recently complained about being used in one of these videos. DHS used a video of him saying, “Heard you got deported, dude,” as he nods his head in disappointment, in one of their video edits.
On Tuesday, he posted on X, saying, “And please take this down and please keep me out of your ‘banger’ deportation videos. When it comes to immigration my thoughts and heart are a lot more nuanced than this video allows. Bye!”
“House of Guinness,” as in the famous Dublin brewery, begins with the disclaimer “inspired by true facts,” which is another way of saying, “Don’t believe everything you’ll see.” Or, in “Dragnet”-speak, “Names have not been changed, and we have no desire or obligation to protect the innocent. This is a drama, and anyway, you can’t libel the dead.” The framing may be sound, but the portraits are imaginary.
The unchanged names in the series, which premieres Thursday on Netflix, belong to the four children of Benjamin Lee Guinness, whose grandfather created the signature porter in 1778. They are Arthur (Anthony Boyle), Edward (Louis Partridge), Anne (Emily Fairn) and Benjamin (Fionn O’Shea). As we begin, it is 1868 and Benjamin Lee, just deceased, has left the brewery in equal shares to Arthur, who has been away in London for five years losing his accent and finding peace, and Edward, who has been pretty much running the place. Anne, only a woman, and a married one, is basically skipped over; and Benjamin, who has problems with drink and gambling, is given a small allowance, because, as expressed in his late father’s will, “I feel it wise not to burden Benjamin with the temptations that come with fortune.”
As seen here, neither Arthur nor Edward, whose professional expertise is mostly represented by signing papers and occasionally walking around his factory — you won’t learn anything about how Guinness is made — seems capable of running a brewery. But all that really matters to the show is that each is a tortured romantic and will have to find a way to thrive in their uneasy, unasked-for partnership.
Indeed, as a viewer in search of entertainment rather than enlightenment, it’s best to treat these characters, however much attached they are to the real people whose names they bear, as entirely fictional. There are also, of course, characters mixed up in this business who have no factual counterparts, and by virtue of their fates not being written in books or Wikipedia pages, are subject to the whims of series creator Steven Knight (“Peaky Blinders,” “A Thousand Blows,”), creating opportunities for suspense that might otherwise be lacking.
Prime among these creations are Sean Rafferty (James Norton), the Guinness family fixer, a handsome brute whom the ladies like, and the beautiful, brilliant Ellen Cochrane (Niamh McCormack), a Catholic firebrand who sees a better way toward Irish independence than throwing rocks at old man Guinness’ hearse or setting beer barrels on fire; for some reason, the Fenians, epitomized by Ellen’s “bonehead” brother Patrick (Seamus O’Hara), a grating presence and no advertisement for the movement, have decided that targeting Guinness (rich, Protestant) is going to get them somewhere.
James Norton as Sean Rafferty in “House of Guinness.”
(Ben Blackall / Netflix)
Apart from the politics, the family squabbles and the not particularly worrying fortunes of the family business — I mean, you can still order a Guinness — the main concerns of this historical melodrama, this stout opera, if you will, are beating hearts and heaving breasts. Skeptically accepting a meeting with Edward in the spirit of detente, Ellen feels electricity sparking between them, and vice versa. (More acceptably, Edward also has eyes for his cousin Adelaide Guinness, played by Ann Skelly, who has none for him.) Ben, meanwhile, is beloved by Lady Christine O’Madden (Jessica Reynolds), who foolishly believes she can reform him. Well, we’ve all seen that story.
But wait, there’s more! In this telling, at least, Arthur is gay, which is a problem for him as a person living in a super-religious country in the late 19th century and as a representative of the family and their eponymous product. If his orientation becomes known, it is suggested, the world will cease drinking his beer, and the family will be forced to subsist on the millions of pounds they have in the bank and whatever they can scrape off the several estates they own around the country. (Whenever contemporary figures are mentioned, screen-filling subtitles translate the sum into its 2025 equivalent, just so you realize how freaking rich these people were. The budget of the series is not sufficient to make that readily apparent.)
Arthur’s “complication,” which is no secret among his nonjudgmental siblings, has made him A) a target for blackmail, and B) a person in immediate need of a wife, especially as he’s about to stand for his late father’s seat in parliament. Enter Aunt Agnes Guinness (Dervla Kirwan), the story’s yenta, and marriage prospect Lady Olivia Hedges (Danielle Galligan), who is quite happy to settle for a maximum of freedom and a modicum of responsibility, and who curses in a most unladylike fashion. (But, really, the F-words and the Sh-words fly everywhere in this show.)
And what about Anne, saddled with a degenerative disease and a less-than-sexy cleric husband? She’ll sublimate her own romantic heartache in urban renewal and other good works. (Factually, the family had a philanthropic bent, and the company was so far ahead of its time in treating its workers well, including pensions beginning in the 1880s — that gets a moment here — and providing medical care to staff and their families, that much of this country still hasn’t caught up. They were less evolved, however, for many years, when it came to hiring Catholics.)
What else? There’s a curious Hobbit of a character named Byron Hedges (Jack Gleeson), an illegitimate cousin who arrives to sell himself as the man to represent their interests in America, into which Edward is keen to expand; we get some scenes set in New York. There’s Potter (Michael McElhatton), the droll, dry butler, who looks askance upon the younger Guinnesses but stays loyal, like butlers do. And Bonnie Champion (David Wilmot), a charismatic crime lord who’s also involved in the company’s export business.
There’s nothing subtle about “House of Guinness,” which makes its points in declarative sentences — sometimes gussied up with Irish-y prose — and gives its characters hardly a moment to relax and enjoy their porter, swelling the soundtrack with aggressive modern Irish rock and rap to make it exciting to the people of 2025. The show can border on the cornball; the characters are the sort you might have seen in the sort of dramas popular in 1868. But the actors inhabit their roles with commitment, so that even the bad company is good company. Good craic, as they say over there.
Walt Disney Studios released a new teaser for its upcoming “Star Wars” film on Monday, offering a first look at the Mandalorian Din Djarin and his charge Grogu’s next adventure. The movie is a spin-off of TV’s “The Mandalorian” and picks up after the events in the Disney+ series’ third season, which aired in 2023.
The trailer includes plenty of footage of the fan-favorite Force-wielding toddler being his usual adorable self as he flips switches on a spaceship, eats snacks and hangs out with Anzellans — the diminutive alien species who are often droidsmiths. It also shows Mando (potrayed by Pedro Pascal) and Grogu blowing up an AT-AT, taking in an event at a Hutt arena and meeting up with Sigourney Weaver’s character, a New Republic colonel named Ward. Ward seems unimpressed with Grogu’s attempts to help himself to her bar snacks.
The trailer was released amid the heightened scrutiny of Disney after its suspension of late-night host Jimmy Kimmel. Last week, the company’s broadcast network ABC announced it was dropping “Jimmy Kimmel Live!” indefinitely following remarks the host made in the aftermath of right-wing influencer Charlie Kirk’s killing that drew the ire of Federal Communications Commission Chairman Brendan Carr as well as affiliate-station owners Nexstar Media Group and Sinclair Broadcast Group. According to the Hollywood Reporter, “The Mandalorian and Grogu” teaser release had been planned for last week.
Among the backlash to ABC’s decision were calls for a boycott and to cancel subscriptions to Disney-owned services such as Hulu and Disney+. So it’s no surprise that folks online — including those in the comments section on the trailer’s YouTube video — had called out the new trailer as a distraction from Disney’s current troubles. The company has since announced “Jimmy Kimmel Live!” will return Tuesday.
Directed by “The Mandalorian” creator Jon Favreau, “Star Wars: The Mandalorian and Grogu” will be the first movie set in the galaxy far, far away to hit theaters since “Star Wars: Episode IX — The Rise of Skywalker” in 2019. The new movie is slated for a May 22 release.
President Trump’s new sky-high visa fees have shaken Silicon Valley’s tech giants as they contemplate a surge in the cost of hiring global talent and a new tactic the White House can use to keep Silicon Valley in line.
The tech industry was already navigating an economy with higher and unpredictable tariffs, when last week the Trump administration threw another curveball aimed directly at its bottom line: a $100,000 fee for the visas used to hire certain skilled foreign workers. The industry relies heavily on the H-1B visa program to bring in a wide range of engineers, coders, and other top talent to the United States.
The rollout has sparked confusion among businesses, immigration lawyers and current H-1B visa holders.
Over the weekend, the Trump administration clarified that the new fee will apply to new visas, isn’t annual and doesn’t prevent current H-1B visa holders from traveling in and outside of the country. Companies would have to pay the fee with any new H-1B visa petitions submitted after a specific time on Sept. 21, the White House said.
On Monday, the Trump administration also clarified that certain professions, such as doctors, may be exempt from the fee. Some observers are concerned that a selective application of the fee could be a way the White House can reward its friends and punish its detractors.
Meta, Apple, Google, Amazon and Microsoft have been strengthening their ties with the Trump administration by committing to invest hundreds of billions of dollars in the United States.
Still, immigration has long been a contentious issue between the Trump administration and tech executives, some of whom were on a H-1B visa before they co-founded or led some of the world’s largest tech companies.
One of the most vocal supporters of the H-1B visas: Elon Musk, who backed Trump but has publicly sparred with him after he led the federal government’s efforts to slash spending. Musk, who runs multiple companies, including Tesla, SpaceX and xAI, is a naturalized U.S. citizen born in South Africa and has held an H-1B visa.
Tech executives have said the H-1B visa program has been crucial for hiring skilled workers. Competition to attract the world’s best talent has been intensifying since the popularity of OpenAI’s ChatGPT sparked a fierce race to rapidly advance artificial intelligence.
The new fee could slow California’s development and the United States’ position in the AI race by making it tougher for companies — especially startups with less money — to bring in international employees, experts said.
So far this fiscal year, more than 7,500 companies in Californiahave applied forH-1B visas and 61,841 have been approved, data from the U.S. Citizenship and Immigration Services shows.
Tech companies use the visa program to hire computer scientists and engineers because the U.S. isn’t producing enough workers with the skills needed, said Darrell West, a senior fellow in the Center for Technology Innovation at the Brookings Institution.
Trump “likes to talk tough on immigration, but he fails to recognize how important immigrants are to our economy,” he said. “Companies in technology, agriculture, hotels, restaurants and construction rely heavily on immigrants, and slowing that flow is going to be devastating for companies in those areas.”
In his executive order, the Trump administration noted that some companies, such as information technology firms, have allegedly misused the program, citing mass layoffs in the tech industry and the difficulty young college graduates face in landing jobs.
“President Trump promised to put American workers first, and this commonsense action does just that by discouraging companies from spamming the system and driving down American wages,” Taylor Rogers, a White House spokesperson, said in a statement.
Economists and tech executives, though, have pointed to other factors affecting hiring, including economic uncertainty from tariffs, a shift in investments and the rise of AI tools that could complete tasks typically filled by entry-level workers.
California’s unemployment rate of 5.5% in August was higher than the U.S. unemployment rate of 4.3%, according to the U.S. Bureau of Labor Statistics.
The rollout of the new changes has been “extremely chaotic,” and while the White House has tried to clear up some of the confusion, tech companies still have a lot of questions about how the fee would work, said Adam Kovacevich, chief executive of the Chamber of Progress, a center-left tech industry policy coalition.
“You never know what you’re gonna end up with the final policy in Trump world,” he said. “Somebody within the administration drives an announcement, there’s blowback, and then they end up modifying their plans.”
Tech companies have been trying to navigate a fine line in their relationship with Trump.
During Trump’s first term, high-profile tech executives, including those from Meta, Amazon, Google and Apple, spoke out about his administration’s order to restrict travel from several majority-Muslim countries. But in his second term, those same executives have cozied up to the Trump administration as they seek to influence AI policy and strike lucrative partnerships with the government.
They’ve contributed to his inauguration fund, appeared at high-profile press events, and attended a White House dinner, where Trump asked them how much they’re investing in the United States.
Microsoft declined to comment. Meta, Google and Apple didn’t immediately respond to a request for comment.
Changes to the H-1B program could also worsen relations with other countries, such as India, that send skilled tech workers to the U.S., experts said.
Indian nationals are the largest beneficiaries of the H-1B visa program, accounting for 71% of approved petitions, followed by those from China, at approximately 12%.
Some Indian venture capitalists and research institutes see a silver lining in this murky future. On social media, some have posted that the uncertainty surrounding H-1B visa rules could encourage talented engineers to return home to build startups, thereby fueling India’s tech sector. That would mean more competition for U.S. tech companies.
Kunal Bahl, an Indian tech investor and entrepreneur, posted “Come, build in India!” on social media. His firm, Titan Capital, launched a seed funding and mentorship program aimed at attracting students and professionals rethinking their future in the U.S. after the visa troubles.
Global tech companies might also consider opening more centers abroad where workers can work remotely and not have to move to the U.S., said Phil Fersht, the founder and chief executive of HFS Research.
“The more the U.S. makes itself a less attractive place to bring in talent,” he said, “the more it is going to harm its economy.”
