The display of might outside was unmistakable, as was the soft power inside the building.
President Donald J. Trump signed into law his nearly 900-page “Big Beautiful Bill” of tax breaks and spending cuts, affecting millions of Medicaid recipients while growing the Immigration and Customs Enforcement agency by thousands of workers.
Now that the bill is in effect, it’s a good time to review what’s actually inside.
Times and Associated Press reporters broke down what the passage of the bill means for the country.
Tax cuts take center stage
The BBB contains roughly $4.5 trillion in tax cuts, according to the Associated Press, and solidified the ones from Trump’s first term.
On the teeter-totter of benefits, the wealthiest families will enjoy an average of $12,000 in tax savings, while the poorest people will have to pay an additional $1,600 a year, on average, mainly due to reductions in Medicaid and food aid.
That analysis of the House version of the bill is is according to the nonpartisan Congressional Budget Office.
While temporarily adding new tax deductions on tips, overtime and auto loans, the bill also adds a $6,000 deduction for older adults making less than $75,000 a year.
The child tax credit is bumped from $2,000 to $2,200, though millions of lower income families will still be unable to get the full credit.
Caps for state and local tax deductions, known as SALT, will quadruple to $40,000 for five years, offering some benefits to residents of higher-taxed states like California.
Businesses will get a break because they will immediately be able to write off 100% of the cost of equipment and research, which some experts say will boost economic growth.
Deportations, a border wall and missile defense
Another $350 billion is being allocated for border and national security, which includes spending on the U.S.-Mexico border and 100,000 migrant detention beds.
ICE will receive funding to offer $10,000 signing bonuses to new employees, with the aim of hiring 10,000 officers and agents.
Immigrants will fund some of these projects by paying new or increased fees, including when they apply for asylum.
In total, the Department of Defense will receive roughly $1 billion in new funding for border security.
Another $25 billion is being set aside for the U.S. to develop its own Israel-type of Iron Dome missile defense system, called the “Golden Dome.”
Clean energy gets pummeled
Previous tax breaks meant to create incentives for wind and solar energy are being hacked dramatically.
One incentive that will soon disappear is the electric vehicle tax break of $7,500 for new vehicles and $4,000 for used ones.
That was supposed to initially expire in 2032. Instead, the credit sunsets on Sept. 30.
How is this being paid for?
Republicans are cutting back on Medicaid and food assistance programs for those below the poverty line.
Many adults receiving Medicaid and food stamps, including those up to age 65, will now have to fulfill an 80-hour-a-month work requirement.
Medicaid patients will also have a new $35 co-payment to contend with.
About 71 million Americans use Medicaid, and 40 million benefit from the Supplemental Nutrition Assistance Program, or SNAP, commonly known as food stamps.
The CBO estimates that 11.8 million Americans will become uninsured by 2034, and 3 million more will not qualify for SNAP due to the changes.
The $145-million global opening of Apple’s “F1 The Movie” came as a relief — both for the iPhone maker itself and theater operators hoping for an original hit during this sequel-dominated summer of blockbusters.
The expensive Brad Pitt action sports drama, directed by Joseph Kosinski (“Top Gun: Maverick”) and produced by Jerry Bruckheimer, was a high-stakes gamble by the Cupertino-based tech giant, which until now has enjoyed little success at cinemas.
In the U.S. and Canada, the film did better than expected, generating $57 million in ticket sales through Sunday, according to studio estimates. Analysts were projecting $40 million to $50 million, based on prerelease tracking. Warner Bros. Pictures, which is on a much-needed hot streak, distributed “F1” in partnership with Apple.
Because the movie cost at least $200 million to make (and perhaps far more, according to some reports) after tax breaks and before significant marketing costs, the picture is still far from profitable. But with strong reviews from audiences and critics — an “A” CinemaScore, 83% “fresh” on the Tomatometer and 97% approval from moviegoers on Rotten Tomatoes — the film should continue to perform well in the coming weeks.
It’ll face some serious competition, with Universal Pictures’ “Jurassic World: Rebirth” arriving in theaters Wednesday for the Fourth of July holiday weekend and Warner Bros.’ “Superman” from James Gunn coming shortly afterward.
Nonetheless, “F1” has the all-important Imax screens locked down until “Superman,” and that should be an advantage, given that the movie plays like both an old-school blockbuster and a thrill ride.
The question now: What does this mean for Apple’s film business and how the company approaches theatrical releases in the future?
Since Apple got into Hollywood six years ago with the launch of Apple TV+, the movie slate has struggled to come up with a big-screen success, despite huge spending on prestigious projects and big-name talent.
Its Sundance acquisition “CODA” won the 2022 best picture Oscar, albeit in a weird year, in a first for a streaming company.
But Martin Scorsese’s “Killers of the Flower Moon” and Ridley Scott’s “Napoleon” weren’t commercial hits. “Argylle” and “Fly Me to the Moon” flopped, and “Wolfs” was scaled back from its planned theatrical release. The Miles Teller–Anya Taylor-Joy feature “The Gorge” went straight to streaming.
Analysts and movie industry insiders have speculated that the performance of “F1” would heavily influence whether Apple dove further into blockbuster filmmaking or abandoned theaters altogether. Apple certainly treated it like a high-stakes release, having Chief Executive Tim Cook give an interview with Variety and promoting the film through various parts of the company, including its retail stores and its music, fitness, maps and podcast apps.
Apple lacks an in-house theatrical distribution arm and instead enlists traditional studios for those duties. Burbank-based Warner Bros. worked with Apple on the marketing side while also contributing financially to the campaign, according to people close to the studios.
As of now, it’s unclear what Apple’s ambitions are for the multiplex.
Spike Lee’s Denzel Washington-starring thriller “Highest 2 Lowest,” a reimagining of the 1963 Akira Kurosawa classic “High and Low,” is getting a miniature theatrical window from A24 ahead of its September streaming release on Apple TV+. Apple has already inked a deal for another upcoming Kosinski-Bruckheimer collaboration, about UFOs.
An Apple spokeswoman did not respond to a question about future movie plans.
Theater owners want to see more from Apple at a time when they’re often struggling with a lack of compelling material, especially for grown-ups. With “F1,” they saw a glimpse of hope.
“F1” is a racing movie with throwback vibes, which is no guarantee of success. But the F1 brand is strong, especially internationally, where the movie is doing particularly well ($88.4 million so far). The companies sold the movie as a sort of “Top Gun: Maverick” on wheels, an approach that resonated with audiences. People familiar with the data say the film is drawing in audiences who don’t typically go to theaters, which the theaters desperately need.
The box office performance bodes well for the title’s eventual streaming release on Apple TV+.
With the exception of Netflix, which remains set against doing a true traditional theatrical business, film studios say movies that open in theaters do better on streaming than if they’re simply dumped onto a crowded service. Amazon has again committed to theaters since acquiring MGM Studios after slinking away from the business model years ago.
On the other hand, theatrical releases are risky, especially for a company that cares about its reputation the way Apple does. Flops are embarrassing, even for a company that’s worth $3 trillion and can afford to subsidize a filmmaker’s vision.
In both movies and TV, Apple has been selective with its programming strategy.
It doesn’t have a vast library or a deluge of new releases to keep people interested the way Netflix does. Thus, its subscriber counts have lagged the bigger rivals with more voluminous offerings, according to analysts. (Apple doesn’t disclose subscriber numbers.)
Ask anyone in Hollywood why, exactly, Apple is in the movie business at all and you’ll get varied answers.
Of course, the company wants to grow Apple TV+, which Apple views as part of a larger play to boost its services business. Having a hit movie, in theory, should help with that. People who work with Apple will often argue that the company is more interested in the branding glow that comes with a great movie than whether any particular title makes money.
The company has developed a reputation for quality, especially with buzzy TV projects including Jon Hamm’s “Your Friends & Neighbors,” Seth Rogen’s “The Studio” and, more recently, “Stick” starring Owen Wilson.
“We studied it for years before we decided to do [Apple TV+],” Cook told Variety. “I know there’s a lot of different views out there about why we’re into it. We’re into it to tell great stories, and we want it to be a great business as well. That’s why we’re into it, just plain and simple.”
For Apple, the question of whether to commit to the blockbuster business is a billion-dollar component of a $3-trillion car.
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California legislators voted Friday to more than double the amount allocated each year to the state’s film and television tax credit program, raising that cap to $750 million from $330 million.
The increase is a win for the studios, producers, unions and industry workers who have lobbied state legislators for months on the issue, Samantha Masunaga reported.
Gov. Gavin Newsom proposed the increase to help lure productions back to the state at a time when local film and TV employment is sparse.
But other states have not given up the arms race.
New York recently upped its film tax credit cap to $800 million. Texas is also ramping up its incentive program to compete with regional rivals.
WHO chief Tedros says ‘all hypotheses must remain on the table’ after critical information not provided to investigators.
The World Health Organization (WHO) says efforts to uncover the origin of the COVID-19 pandemic are still ongoing and incomplete, as critical information has “not been provided”.
WHO chief Tedros Adhanom Ghebreyesus said “all hypotheses must remain on the table” to determine the cause of the virus, also known as SARS-CoV-2, after an expert group investigating its origins reached an unsatisfying conclusion in its final report released on Friday.
“We continue to appeal to China and any other country that has information about the origins of COVID-19 to share that information openly, in the interests of protecting the world from future pandemics,” Tedros said.
The global pandemic, which began in 2020, killed millions worldwide, with countries enforcing lockdowns in an attempt to stop the spread of the virus. With the first cases detected in Wuhan, China, in late 2019, information from the country is seen as key to preventing future pandemics.
In 2021, Tedros launched the WHO Scientific Advisory Group for the Origins of Novel Pathogens (SAGO), a panel of 27 independent international experts.
Marietjie Venter, the group’s chair, said on Friday that most scientific data supports the hypothesis that the new coronavirus jumped to humans from animals.
But she added that after more than three years of work, SAGO was unable to get the necessary data to evaluate whether or not COVID was the result of a lab accident, despite repeated requests for detailed information made to the Chinese government.
“Therefore, this hypothesis could not be investigated or excluded,” she said, however adding, “It was deemed to be very speculative, based on political opinions and not backed up by science.”
Venter also said there was no evidence to prove that COVID had been manipulated in a lab, nor was there any indication that the virus had been spreading before December 2019 anywhere outside of China.
Pfizer-BioNTech and Moderna COVID-19 vaccines sit in boxes at Borinquen Health Care Center on May 29, 2025, in Miami, Florida [Joe Raedle/Getty Images via AFP]
‘Remains inconclusive’
In 2021, a group of experts from the WHO first travelled to Wuhan to examine the origins of the virus with their Chinese counterparts.
By March of that year, their joint report found that the most likely hypothesis was from bats to humans via an intermediate animal.
They said at the time that a lab leak was “extremely unlikely”.
However, that investigation faced backlash for lacking transparency and access, and not taking the lab-leak theory seriously.
After that, SAGO was launched.
According to the SAGO report, “the weight of available evidence … suggests zoonotic [a disease spread between animals to humans] spillover … either directly from bats or through an intermediate host”.
“Until more scientific data becomes available, the origins of how SARS-CoV-2 entered human populations will remain inconclusive,” Venter said.
“Understanding the origins of SARS-CoV-2 and how it sparked a pandemic is needed to help prevent future pandemics, save lives and livelihoods, and reduce global suffering,” she added.
Tedros said it was a “moral imperative” to determine how COVID began, noting that the virus killed at least 20 million people, wiped at least $10tn from the global economy and upended the lives of billions.
GRADUATES are facing the toughest jobs market in eight years but some industries are bucking the trend and paying big.
New data from the Indeed Hiring Lab reveals graduate job ads are down 12% compared to last year and even worse than during the pandemic.
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Research shows there are sectors hiring which offer some seriously high wages
In fact, grad roles are now at their lowest point since at least 2018, as employers hold onto staff and cut back on new hires.
But it’s not all doom and gloom. Indeed’s mid-year labour market update shows there are sectors hiring and they’re paying some seriously high wages, with top jobs offering up to £200,000 a year.
Expert Jack Kennedy, senior economist at Indeed, said: “The UK labour market started 2025 with serious headwinds but rather than crash, it’s seen a gradual softening.
“While hiring appetite is weak, job losses have remained modest. The big challenge now is for new entrants like graduates, who are finding it tough to get a foot in the door.
“But sectors like education and real estate are still hiring in big numbers and roles offering flexibility, like hybrid or remote jobs, are holding up too.”
Here, we reveal the fastest-growing job sectors in the UK right now and the top salaries workers could earn.
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Education & instruction – up 49%
The education sector has seen the biggest increase in job postings, with demand up by 49% compared to pre-pandemic levels. Top earners in this field can make up to £77,250.
This surge is largely due to a national shortage of teachers, particularly in subjects like science, maths and special education.
With government initiatives encouraging more people to enter teaching, there are more opportunities than ever, not just for qualified teachers but also for teaching assistants and support staff.
Entry-level roles such as teaching assistants, cover supervisors, and graduate trainee teachers are also in high demand,
Sam Thompson’s huge new job revealed – and there’s an Ant and Dec link
Social science – up 48%
Closely following education, social science roles have grown by 48%. The top 1% of salaries reach £82,500, with many positions available in areas like policy research, community development, psychology, and criminology.
Graduates with degrees in sociology, psychology, and public policy are finding more roles in local government, charities and think tanks.
Real estate – up 45%
The real estate sector has posted a 45% rise in job listings. It’s a lucrative industry too, with top earners bringing in £109,513.
The UK property market remains resilient, with growth in both commercial and residential lettings.
Many graduates can break into the industry through roles like lettings negotiators, property administrators, and junior estate agents, where commissions can quickly boost take-home pay.
Legal – up 27%
Legal roles have seen a 27% increase in demand, with the best-paid positions offering up to £96,348.
This growth is being driven by a backlog of court cases and rising demand for legal advice in areas such as employment, family law, and corporate compliance.
Law graduates, paralegals and legal support staff are in demand across both private firms and public sector bodies.
The legal sector has also seen growth in remote roles, making it more accessible for early-career professionals.
Mechanical engineering – up 18%
Mechanical engineering continues to be a growth area, with a hiring increase of 18%. Top salaries in this field can reach £84,775.
As the UK focuses more on infrastructure, robotics, and renewable energy projects, mechanical engineers are needed in sectors ranging from automotive to aerospace and manufacturing.
Those at the start of their careers might look at field service technician roles, control panel engineering, or graduate engineer positions, especially as the UK invests in EV infrastructure and smart grids.
Insurance – up 16%
Insurance roles have grown by 16%, with elite earners making around £106,125. The industry is modernising rapidly, with tech and data transforming how insurers assess risk and handle claims.
There’s strong demand for underwriters, analysts, and customer service professionals.
In particular, graduates with business, finance or maths degrees are in high demand in this sector, which offers clear career progression and high long-term earning potential.
And while that figure might be reserved for senior underwriters and actuaries, graduates can start out as claims handlers, underwriting assistants, or admin support staff, with many firms offering structured progression and paid qualifications.
Electrical engineering – up 16%
Also seeing a 16% growth in hiring, electrical engineering is a thriving sector thanks to the UK’s transition to smart technologies and renewable energy.
The best-paid roles can command salaries of £79,832. This field is vital to the roll-out of electric vehicle infrastructure, energy storage systems and smart homes.
Engineers with experience in circuit design, automation or grid systems are particularly sought after, making it a smart career move for STEM graduates.
Dental – up 14%
The dental profession has surged by 14%, and it tops the salary chart with the highest pay of any occupation listed: £200,726 for the top 1%.
Both NHS and private practices are struggling to recruit and retain dentists, dental nurses and hygienists due to a backlog of patients and a shortage of qualified staff.
This shortage has turned dentistry into one of the most lucrative and in-demand fields in the country right now.
There are also entry-level routes such as dental nurse apprenticeships, receptionist roles, and dental technician traineeships, especially in larger NHS or private clinics.
Physicians & surgeons – up 13%
Medical professionals are also in high demand, with physician and surgeon roles up 13% compared to pre-pandemic levels.
These roles offer some of the highest salaries, with top professionals earning up to £175,181.
This field remains highly competitive and requires years of training, but the financial and societal rewards are significant.
Installation & maintenance – up 13%
Installation and maintenance roles are booming, with postings up 13% and top salaries reaching £191,100.
This includes jobs in facilities management, HVAC systems, smart home installation, and more. As buildings become more complex and technology-driven, skilled tradespeople are crucial.
Production & manufacturing – up 12%
The production and manufacturing sector has grown by 12%, although it offers lower top salaries, maxing out at £56,965.
Still, it remains an essential part of the UK economy, especially with the rise of local manufacturing and automation.
There are growing opportunities in logistics, factory management and machine operation.
Cleaning & sanitation – up 10%
Although it may not be the highest paying sector, with top salaries around £31,607, cleaning and sanitation have seen a 10% rise in job postings.
Hygiene has become a permanent priority in the post-Covid world, driving consistent demand across hospitals, offices, schools and transportation.
These roles are often stable and provide entry-level access to the workforce.
Loading & stocking – up 7%
Loading and stocking jobs have increased by 7%, with top salaries reaching £35,604.
Warehouses and logistics centres are scaling up operations, especially with the continued growth in online shopping.
These roles are essential for ensuring supply chains run smoothly and are often available with minimal qualifications.
Construction – up 5%
Construction hiring is up 5%, and top earners can make around £54,508.
While this is a smaller increase than in other sectors, the construction industry remains key to the UK’s infrastructure goals, including new housing and public transport projects.
Tradespeople, site managers and qualified builders remain in steady demand.
Industrial engineering – Up 1%
Industrial engineering has only seen a 1% increase in job postings but still boasts high potential salaries, with the top 1% earning £152,152.
This field involves optimising systems and processes in industries like manufacturing, logistics and energy. It’s a niche but highly specialised career path that tends to reward experience and technical expertise significantly.
Where the jobs are drying up
Not every sector is faring as well. Graduate jobs in media, marketing, and nursing are way down, with job ads in those fields dropping as much as 66% since before Covid hit.
The fall in nursing roles is particularly stark, which is likely a result of tough working conditions and recruitment struggles within the NHS.
Likewise, industries with strong remote-working potential like media and marketing have seen some of the sharpest declines.
Across the UK, there were 818,000 job vacancies between September and November 2024, but fewer of those are entry-level.
The ratio of unemployed people to vacancies has more than doubled in the last two years, from 1 in 2022 to 2.2 per vacancy as of April 2025.
London and the South East have seen the biggest drops, with job ads down 29% and 32% from pre-pandemic levels.
Going to uni now costs an eye-watering £68,000, and the average grad in England leaves with £43,700 of debt.
Many students will be paying their loans back for up to 40 years under the new Plan 5 and Plan 2 schemes.
And while some degrees can lead to six-figure careers, others lead to average pay of just £19,000 – meaning graduates may struggle to get on the property ladder or start a family.
Recent research by Adzuna found that some of the highest-paying roles in 2025, including air traffic controllers, train drivers and project managers can pay over £77,000 a year without a degree.
Employment specialist Indeed gives the following advice for negotiating a better salary
Calculate your value: Determine how much your qualifications and experience are worth
Research the market: Look at similar roles to give an idea of salary expectations
Prepare your reasons: Be ready to justify every argument you give for having a better salary.
Rehearse your negotiation pitch: The more prepared you are the better.
Explain your work-related expenses: Part of your pitch could be that you are asking for more money to make up for expenses.
Be flexible: An employer might offer you a different salary package with more holiday or better working hours if they can’t directly raise the amount you’re paid
Don’t be afraid to walk away: You might have to think about walking away or pausing negotiations to consider your position.
Thank the employer for their time: This professional courtesy shows respect and maintains a positive working relationship
U.S. Immigration and Customs Enforcement officers have ramped up raids throughout Southern California in the last couple of weeks.
Some areas such as MacArthur Park, the Garment District, downtown’s produce market and areas of the Eastside have seen heavily reduced traffic and commercial activity due to fear from immigrant communities.
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Some cities have taken preventive actions. Pasadena, for example, canceled weekend swimming lessons and other recreational activities.
Throughout this time, pressure has slowly mounted on one of Los Angeles’ most cherished institutions to make a statement.
On Friday, the World Series champion Los Angeles Dodgers announced they have committed $1 million toward assistance for families of immigrants affected by the recent raids, as well as plans for further initiatives that are to be unveiled in the coming days.
“What’s happening in Los Angeles has reverberated among thousands upon thousands of people, and we have heard the calls for us to take a leading role on behalf of those affected,” team president Stan Kasten said in a statement. “We believe that by committing resources and taking action, we will continue to support and uplift the communities of Greater Los Angeles.”
Who has spoken up while the Dodgers remained silent
On Friday morning, more than 50 community and religious leaders from around Los Angeles signed a petition that called on the Dodgers “to take a public stand against the indiscriminate ICE raids which are causing immense terror in our communities, hurting businesses, and separating families.”
By Friday afternoon, the team finally started to put some public plans into action.
“This is the moment for the Dodgers to stand with the families whom masked agents are tearing apart,” read the letter, which was signed by religious officials, labor leaders and immigrant-rights activists, and addressed to Dodgers owner Mark Walter.
“If these truly are OUR beloved Los Angeles Dodgers, we need you, more than ever, to stand with us, immigrants and non-immigrants alike. Stand with all of us.”
And then immigration officials tried to visit Dodger Stadium
The petition, which was organized by faith-based community organizing network PICO California, came a day after the Dodgers initially postponed their planned financial assistance announcement.
The club decided to delay its announcement for assistance after immigration agents showed up at Dodger Stadium on Thursday morning, attempting to access the ballpark’s parking lots in an apparent effort to use them as a processing site for people who had been arrested in a nearby immigration raid.
The Dodgers denied the agents entry to the grounds, according to the team, but pushed their announcement to Friday afternoon — when they detailed that their $1 million in financial resources will be made in partnership with the city of Los Angeles.
“The Dodgers and the City of Los Angeles have a proven ability to get financial resources to those in critical need, most recently seen in their efforts to aid victims of the January wildfires,” the Dodgers said. “Through our support of the city’s efforts, the Dodgers will encourage those organizations in a similar position to use their resources to directly support the families and workers who have suffered economic hardship.”
The team said more initiatives with local community and labor organizations will be announced in the coming days.
After the Dodgers’ announcement, the Rev. Zach Hoover from LA Voice, a member federation of PICO California, released another statement.
“The Dodgers have taken a meaningful step toward addressing the fear in our communities. By committing real resources to immigrant families, they’re showing that moral courage and civic leadership still matter in Los Angeles, and that we can heal the wounds of hate with the power of love. We pray this is just the beginning — because dignity demands more than silence, and faith calls us to act.”
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It was only a matter of time before the major Hollywood studios started taking the fight to the artificial intelligence industry over its alleged abuse of intellectual property.
Last week, Walt Disney Co. and Universal Pictures sued AI firm Midjourney in U.S. District Court in Los Angeles, accusing the popular image generator of blatantly copying and profiting from copyrighted images of characters from franchises such as “Star Wars,” “Minions,” “Cars,” Marvel, “The Simpsons” and “Shrek.”
The complaint cited numerous examples, illustrated with dozens of striking photos, of San Francisco-based Midjourney’s technology being used to generate virtually indistinguishable copies of Darth Vader, Iron Man, Bart, Woody and Elsa, sometimes in frames quite similar to scenes from the actual movies and TV shows.
The lawsuit says Midjourney employed such images to promote its subscription service and encourage the use of its image generator. The companies are seeking unspecified monetary compensation, as well as a court order to stop Midjourney from further infringement, including by using studio-owned material to train its upcoming video tool.
“Midjourney is the quintessential copyright free-rider and a bottomless pit of plagiarism,” Disney and Universal’s lawyers wrote in the 110-page complaint. “Piracy is piracy, and whether an infringing image or video is made with AI or another technology does not make it any less infringing.”
The stakes of this battle are high, according to the studios. The AI company’s misuse of Disney and Universal’s intellectual property “threatens to upend the bedrock incentives of U.S. copyright law that drive American leadership in movies, television, and other creative arts,” the court document said.
Midjourney has not responded to requests for comment.
AI companies have typically argued that they are protected by “fair use” doctrine, which allows for the limited reproduction of material without permission from the copyright holder.
Midjourney founder David Holz in 2022 told Forbes that the company did not seek permission from copyright holders, saying “there isn’t really a way to get a hundred million images and know where they’re coming from.”
This battle is a long time coming.
Artists — including screenwriters, animators, illustrators and other entertainment industry workers — have been raising the alarm for years about the threat of AI, not just to their actual jobs but to the work they create. AI models are trained on anything and everything that’s publicly available on the internet, which includes copyrighted material owned by studios or the artists themselves, they argue.
The Writers Guild of America last year called on the big entertainment companies to take legal action against tech giants and startups in order to put a stop to such “theft.” But this is the first time any of the major film studios have gone after an AI company for copyright infringement. They may not be the last.
The studios are following the lead of the New York Times and other publishers, who sued OpenAI and its backer Microsoft over alleged plagiarism. The major music labels have also taken AI firms to court over the use of copyrighted music. Studios are in an awkward position because they’re weighing the possibility of licensing their content to AI firms or using the technology for their own purposes.
Reid Southen, a Michigan-based film concept artist whose research on AI was cited at length in the lawsuit, said he hopes Disney and Universal’s complaint encourages others to take a similar stance.
“Hopefully, I think other studios are looking at what’s going on with Disney and Universal now, and considering, ‘Hey, what about our properties?’” said Southen, who has worked on studio films including “The Matrix Resurrections,” “The Hunger Games” and “Blue Beetle.” “If Universal and Disney think they have a strong enough case to pursue this, I would hope other studios would take note of that and maybe pursue it as well.”
Southen became part of the story in December 2023, after the release of Midjourney v6 started making waves online. He saw someone use the tech to generate an image of Joaquin Phoenix as the Joker, and he started messing around with it himself to see what kinds of copyrighted material he could prompt it to rip off. He posted the results on social media, which led AI researcher Gary Marcus to reach out.
Marcus and Southen published an in-depth article for IEEE Spectrum in January 2024, making the case that Midjourney and other well-funded AI firms were training their models on copyrighted work without their permission or compensation and spitting out images nearly identical to the studios’ own material.
That article illustrated how simple prompts could produce nearly exact replicas of famous film and TV characters.
The prompts didn’t necessarily need to ask for a particular character by name.
The researchers were able to coax uncanny images from AI with prompts as basic as “animated toys” (resulting in pictures of “Toy Story” characters) and “videogame plumber” (which turned up versions of Mario from “Super Mario”). According to Marcus and Southen, all it took was the phrase “popular movie screencap” to evoke a picture similar to an actual frame from “Batman v. Superman: Dawn of Justice” or “The Dark Knight.”
“It shows that they are very clearly trained on hundreds, if not thousands, of movies and YouTube videos and screen caps and all this stuff, because I was able to find matching screen caps and images, not just from trailers, but from deep in movies themselves,” Southen said.
The Midjourney examples were the most egregious, Southen said, but the company was not the only offender. For instance, OpenAI’s image generation technology DALL-E was also capable of producing “plagiaristic” images of copyrighted characters without prompting them specifically by name, Southen said, echoing the findings of his and Marcus’ IEEE Spectrum article.
OpenAI did not respond to a request for comment. The Disney and Universal lawsuit did not name OpenAI, which is also responsible for the video generator Sora that is trying to take the film business by storm.
Many chatbots and text-to-image tools have guardrails around intellectual property, but they clearly have limitations. Ask ChatGPT to create an image of Kermit the Frog, and it will flatly reject the request. However, for example, I was recently able to request a picture of a Muppet-like female pig character, and the result was not unlike Miss Piggy, though I wouldn’t quite say it was a one-for-one copy.
Southen argues that this is a sign of a serious flaw in large language model training — the fact that they’ve already been fed on so much publicly available data. “Sometimes it’s not giving you something that’s spot-on, but it’s giving you enough that you know that it knows what it’s doing,” he said. “Like, you know where it’s pulling from.”
In public comments, studio executives have made it clear that they’re not against AI as a whole. “We are bullish on the promise of AI technology and optimistic about how it can be used responsibly as a tool to further human creativity,” said Horacio Gutierrez, Disney’s chief legal and compliance officer, in a statement on the lawsuit.
As media industry expert Peter Csathy put it in a recent newsletter, there’s a right way and a wrong way to do AI.
But even doing it the right way will be disruptive. Use of AI for storyboarding and pre-visualization could save millions of dollars, which translates to more job losses in the entertainment industry. Lionsgate and AMC Networks have announced deals to use AI to streamline operations and processes.
For artists like Southen, that’s a troubling reality. He said he has seen his annual income shrink in half since generative AI technology came on the scene.
“You can point at things like the strikes and other stuff going on, but the story is the same for most of the people that I know — that their income since all this stuff came has been dramatically impacted,” he said. “Work that was otherwise very steady for me for a long time is just nowhere to be found anymore.”
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Streaming just notched a significant milestone.
The technology’s share of total television usage overtook the combined viewership of broadcast and cable for the first time, according to Nielsen.
Streaming represented 44.8% of TV viewership in May 2025, the data firm said, marking a record, while broadcast clocked in at 20.1% and cable garnered 24.1% for a combined 44.2% going to linear viewing.
Nielsen cautioned that rankings may fluctuate because broadcast networks still command a tremendous share of eyeballs, particularly when NFL football airs.
Finally …
I caught some stellar acts at the Hollywood’s Bowl’s Blue Note Jazz Festival on Saturday. Shout-out to saxophonist Lakecia Benjamin and bassist Derrick Hodge. Here’s Benjamin’s Tiny Desk Concert performance for NPR.
Meredith Hayden, a New York-based social media influencer and cookbook author, didn’t start out wanting to create comforting content.
But that’s exactly what resonated with audiences.
She went viral a few years ago by posting about her “day in the life” as a private chef in the Hamptons. Now she has a large following on YouTube for her Wishbone Kitchen brand and her “Dinner With Friends” video series, where she shows herself setting up relaxing dinner parties, making French-style hot chocolate and re-creating a cozy coffee shop at home.
You might see her online wearing pajamas or in bed with her dog while talking to the camera. She doesn’t edit out the parts where she messes up the recipe, saying her fans appreciate the flubs. Hayden, who recently completed a tour for “The Wishbone Kitchen Cookbook,” said she isn’t necessarily going for a vibe, at least not intentionally, despite the clear Ina Garten influence.
“This is really just how I live my life,” Hayden, 29, said by phone. “I am glad it comes across as comforting, because I’m definitely someone who gravitates more towards ‘comfort content’ myself.”
“I’m not planning on watching ‘Severance,’” she added, saying she gravitates toward more wholesome, grounded content, such as home makeover shows of the non-competitive variety.
That personal preference aligns with a broader trend among young adult viewers, according to recent data from United Talent Agency, the Beverly Hills representation firm. The company’s data and insights group, UTA IQ, compiled stats suggesting that many younger consumers are leaning toward material that soothes the nerves and acts as a warm blanket, rather than ratcheting up the anxiety.
“Comfort content” is like popping a Lorazepam (though not in the excessive dose Parker Posey’s character takes in “The White Lotus”) or CBD gummy at the end of the day. The trend is playing out across TV, streaming, literature and social media, said UTA IQ executive Abby Bailey.
She sees it in the rise of #CleanTok videos (totaling 49 billion views last year), in which people do mundane household chores, as well as robust streaming viewership of nostalgic low-intensity sitcoms including “Brooklyn Nine-Nine” and the successful February debut of a new CBS soap opera, “Beyond the Gates.”
“Somber themes, intellectual depth, cultural satires — those have always defined prestige entertainment, and it’s left many to discount the value and the viewership of this more lighthearted, comforting programming,” Bailey told The Times. “But as audiences are prioritizing their well-being and taking brain-breaks from the weight of the world, the definition of what’s capital ‘I’ important in entertainment is shifting.”
The changing attitudes are particularly noticeable in the young adult entertainment space, which several years ago was dominated by postapocalyptic teen dramas such as “The Hunger Games” and the “Divergent” series.
More than half (58%) of U.S. adults ages 18 to 30 say TV shows and movies depicting young adults have become too dark and heavy, according to UTA IQ’s April poll of more than 1,000 people. More than 70% said they want to see lighter and more joyful TV shows with young people.
That’s not to say that the upcoming season of the dark and sexually explicit “Euphoria” won’t be successful or that the next “Hunger Games” film won’t work at the box office. That type of content still has its place, even as tastes evolve. But studios and streamers appear to be noticing the audience’s shifting habits.
Examples are popping up in the young adult space on streaming services, including Tubi’s 2024 sports romance movie “Sidelined: The QB & Me,” which is getting a sequel. The Netflix teen drama “My Life With the Walter Boys” was recently renewed for a third season, ahead of its Season 2 premiere.
There are plenty of other opportunities now for young people to take mental breaks on the couch, from the rise of “cozy gaming” to the crossover appeal of “healing fiction,” a genre of whimsical books from Japan and Korea that have taken off elsewhere. Olympic diver Tom Daley, who went viral when he was photographed knitting between his events in Tokyo, created a competition show called “Game of Wool” that will debut on Channel 4 in the U.K.
Some millennial parents have turned to gentler, less overstimulating TV shows from decades ago — think “Arthur” and “Clifford the Big Red Dog” — to co-view with their young children.
Comfort content is certainly nothing new. The term brings to mind the idyllic autumnal walkways of Stars Hollow, the fictional small town from “Gilmore Girls,” as well as just about anything on the Hallmark Channel, which has enough of a following to justify its own $8-a-month subscription streaming service.
But there may be a reason the category is finding renewed purchase in trying times. Bailey hears that theme from consumers who just aren’t in the mood for any more nail-biters. “Time and time again, I get people saying, ‘I just can’t bring myself to watch anything serious,’” Bailey said. “‘Like, all I want to do is watch Bravo.’”
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Studio splitsville
As expected, Warner Bros. Discovery will split into two companies, separating its streaming and studios businesses from the struggling television networks business, the New York-based media giant said Monday.
The Streaming & Studios company will consist of the film and TV studios as well as HBO and HBO Max. The Global Networks company (which is taking on much of the debt) will have CNN, Discovery and other channels.
The divorce is aimed to be completed by mid-2026. Afterward, Warner Bros. Discovery Chief Executive David Zaslav will be CEO of the streaming and studios group, while Chief Financial Officer Gunnar Wiedenfels will run the networks.
The firm previously foreshadowed this move by restructuring its operations along similar lines.
Warner Bros. Discovery thus joins Comcast’s NBCUniversal, which is sweeping basic cable networks, including MSNBC and USA, into a new separate entity called Versant. It’s widely speculated that Paramount Global — if and when the Skydance deal happens — will also eventually unload declining legacy networks.
The breakups reflect an ongoing reality — linear television is in big trouble. The struggles of the cable bundle have continued to weigh on studio finances, with customers moving rapidly to on-demand services.
Indeed, if anyone thought the entertainment business’ bloodletting was over after last year’s series of layoffs, Walt Disney Co. and Warner Bros. Discovery disabused them of that notion in recent days.
Disney slashed several hundred employees on June 2. An actual number was not disclosed, but the cuts are significant, coming after Bob Iger embarked on a plan to reduce staff by 8,000 two years ago following his return as chief executive.
The latest layoffs hit film and television marketing teams, television publicity, casting and development as well as corporate financial operations. The cuts happen to land as the company is celebrating huge box office results from “Lilo & Stitch.”
The new downsizing comes amid Disney’s efforts to pare down its production pipeline after binge-spending during the streaming wars. The reduction corresponds to Disney’s efforts to focus on quality over quantity while also cutting costs.
A couple days after Disney’s layoffs, Warner Bros. Discovery cut staff from its cable television channels business. Those Warner Bros. Discovery reductions were smaller in scale (eliminating fewer than 100 roles), but the message to the industry couldn’t be clearer. Comcast’s NBCUniversal has also undergone layoffs.
The question is: What comes next? Many expect the cast-off Warner and NBCUniversal networks to merge at some point, with Paramount channels perhaps joining them one day.
Finally …
Listen: Turnstile’s new album “Never Enough” is out. Also, The Beths have a new tune. Sabrina Carpenter’s latest has already been declared the “song of the summer.”
India has reported a sudden rise in COVID cases, starting from late May. Authorities said the number of active cases of the disease has surpassed 5,000.
India is the latest of a number of countries to report an uptick in COVID cases this year as, more than five years after the virus was declared a global pandemic, waves of new strains continue to emerge.
Here is what we know about the new variant of COVID and where it has spread:
How many COVID cases are there in India?
As of Thursday this week, there are 5,364 active cases in India, according to India’s Ministry of Health and Family Welfare. Since January 1, more than 4,700 people have recovered from COVID in India, while 55 people have died from the virus.
Which variants are causing new cases and where?
The main coronavirus variant causing a new spread of the disease is known as NB.1.8.1. Cases caused by this variant have been reported in the United Kingdom, the United States, Australia, Thailand, China and Hong Kong, among other countries. It is now the dominant variant in China and Hong Kong.
A second variant, LF.7, is also responsible for some of the cases in India.
The UK Health Security Agency (UKHSA) said it had recorded 13 cases of the NB.1.8.1 variant in England, with “small numbers” detected across the UK.
By late April, NB.1.8.1 comprised about 10.7 percent of submitted sequences globally, according to the World Health Organization (WHO). This rose from just 2.5 percent one month before.
What do we know about the NB.1.8.1 variant?
The Omicron variant NB.1.8.1 was first detected in January this year.
It is a “recombinant” variant, which means it has arisen from the genetic mixing of two or more existing variants.
On May 23, 2025, the WHO declared the NB.1.8.1 strain a “variant under monitoring” (VUM).
According to a 2023 definition by the WHO, a VUM is a variant which has undergone genetic changes that scientists believe could potentially affect the behaviour of the virus; early data suggests that this variant can grow faster or spread more easily than others, but this has not yet been confirmed.
The evidence of the variant’s impact on health, immunity or transmission is still unclear.
Why are there so many new cases?
While the NB.1.8.1 strain is still being researched, the evidence so far suggests that the strain may spread more easily, virologist Lara Herrero wrote for The Conversation on May 28.
Researchers using lab-based models have found that of several variants tested, the new strain had the strongest ability to bind to human cell receptors. This suggests that the strain may “infect cells more efficiently than earlier strains”, Herrero wrote.
“It is more transmissible,” Subhash Verma, a professor of microbiology and immunology at the University of Nevada, Reno School of Medicine, told CBS News.
What are the symptoms?
Common symptoms of the NB.1.8.1 strain include a sore throat, cough, muscle aches, fever and nasal congestion.
It can also cause gastrointestinal symptoms such as nausea and diarrhoea.
Are COVID vaccines effective against the new strain?
Vaccines remain a powerful defence against COVID infections, severe sickness, hospitalisation and death, clinicians say.
However, virologist Herrero wrote that besides spreading more easily, NB.1.8.1 may “partially sidestep” immunity gained from the vaccines or prior infection.
For now, health authorities say current COVID jabs are expected to be effective against this coronavirus variant and protect people from severe illness.
Should we be concerned?
Health experts worldwide say there is no evidence that the new strain of the coronavirus is more severe or deadly than any previous strain. However, it does appear to spread more easily.
Since COVID spreads through airborne particles and droplets, the spread of the virus can be prevented by getting tested if symptoms show, wearing a mask and social distancing, clinicians have advised.
The PG rating has made a major comeback in Hollywood.
It’s strange to remember now, but during the height of the COVID-19 pandemic — when studios were sending many of their family-friendly movies straight to streaming services — there were serious conversations in the movie business about whether youngsters and their parents would ever return to theaters in full force.
Streaming was just too convenient and affordable, compared with a Saturday outing of two parents and 2 1/2 kids, the logic went.
But in recent years, the family audience has proved to be a bulwark for the theatrical movie business.
Disney’s live-action “Lilo & Stitch” topped the domestic box office again over the weekend with $63 million in ticket sales, for a total of $280 million so far. It beat the latest “Mission: Impossible” and the new “Karate Kid: Legends,” both rated PG-13. As of Sunday, “Lilo & Stitch” had crossed $610 million globally.
Warner Bros. and Legendary’s “A Minecraft Movie,” also rated PG, has amassed $423 million in the U.S. and Canada, the best of the year so far. Adding international grosses, its global tally is $947 million.
Nine PG-rated movies have been released in more than 2,000 locations this year, up from six during the same period in 2024, according to industry estimates. Those movies have accounted for 41% of ticketing revenue in the U.S. and Canada this year, compared with 21% a year ago. (The Pixar megahit “Inside Out 2” was released in mid-June of 2024.)
Family films are a boon to studios and theaters at a time when other categories — such as comic book films and one-off dramas and comedies — have been less reliable than they were in the past.
And there’s more to come, including Universal’s “How to Train Your Dragon” remake, Pixar’s “Elio” and DreamWorks Animation’s “The Bad Guys 2.”
Importantly, many of these movies are coming one after the other, which is essential if the industry hopes to re-create the moviegoing habit for current and future generations, especially as social media, YouTube and video games claim more of young people’s attention.
“One of the things that I think the industry has struggled with over the last number of years is just having a regular cadence of movies in the theater,” said Michael O’Leary, head of the trade group Cinema United (formerly the National Assn. of Theatre Owners). “If you’re a young person, and there’s a six-month gap between movies, there’s a lot of things going on, and your attention wanes.”
The focus on PG-rated content stands in contrast with a few years ago, when the PG-13 rating was widely seen as the way to include a broad, “four-quadrant” audience: men, women, old and young. A PG rating tagged a new release as more of a kids movie. PG-13, the label for Marvel and DC movies, had more of a cool factor for teens and young adults.
O’Leary has a theory for why things have shifted, and it has to do with the media consumption habits of today’s very young, known as Generation Alpha, or those who came after Gen Z.
Kids now are more than just digitally native.
They’re aware of new movies and TV shows coming out, in part because of exposure to social media at an earlier age compared with past generations of children. Parents will naturally be more comfortable taking their 7- and 8-year-olds to something like “Minecraft,” because they’re less likely to be presented with objectionable content.
The Motion Picture Assn.’s rating system, though sometimes fraught and misunderstood, is meant as a guide for parents.
“Younger people are inundated with more and more content at an earlier age, and they’ve become, in some ways, more discriminating connoisseurs of what they want to see,” O’Leary said.
Surely there are some parents who take their kids to the movies less often now after the pandemic with the proliferation of at-home entertainment options. But overall, family movies are leading the industry. If the pandemic proved anything, it’s that if you’re a parent, you really can’t spend all your time in the house.
Gen Z — now anywhere from 13 to 28 years old — is clearly doing its part. According to a recent NRG survey, 37% of Gen Zers say they go to the movies more than six times a year, up from 29% who agreed with that statement in February 2023.
Adults, too, might be interested in seeing more PG content in theaters, particularly in the American heartland.
Angel Studios’ animated Jesus film “The King of Kings” performed well (though somewhat ironically, most of Angel’s live action movies are PG-13).
The post-pandemic recovery of the family audience hit a big milestone in 2023 with Illumination’s “The Super Mario Bros. Movie,” which grossed more than $1.36 billion worldwide. That was followed by the success of 2024 sequels such as “Inside Out 2,” “Moana 2,” “Despicable Me 4” and “Mufasa: The Lion King,” which all benefited from multigenerational appeal.
The blockbuster Broadway adaptation “Wicked” was also rated PG, which helped make it a family moviegoing event.
Now, the category is again on a hot streak. Industry analyst David A. Gross declared in a recent edition of his FranchiseRe newsletter, “the production pipeline is full and any loss of audience to streaming during the pandemic is over.”
What hasn’t come back as strongly? Most notably, superhero pictures — one of the pillars of moviegoing for the last couple decades. Before the pandemic, the industry averaged seven superhero movies a year, and those would drive billions of dollars in global revenue, Gross said. Lately, the genre has been significantly thinner and far less consistent.
R-rated horror movies are thriving (look at “Sinners” and “Final Destination Bloodlines”), but other adult-oriented movies are hit and miss.
Increasingly, when studios want to draw a mass audience, that means going younger.
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What’s the magic number that will allow Paramount’s $8-billion merger with Skydance to go through?
The Wall Street Journal reported that Paramount was willing to part with $15 million to settle President Trump’s lawsuit against the company over edits to its pre-election “60 Minutes” interview with Kamala Harris.
No surprise, that’s apparently not enough. Trump’s team wants more, the Journal reported. The president wants $25 million and an apology from CBS News, a source told the paper.
Trump’s critics, journalists and 1st Amendment experts say the lawsuit is basically a shakedown. Some anti-Trump lawmakers say a settlement by Paramount could amount to an illegal bribe.
Paramount is awaiting merger approval from the FCC, which is tasked with reviewing the transfer of broadcast licenses. Sources have told my colleague Meg James that the FCC approval process has been bogged down.
The company stresses that it sees the legal dispute and the FCC review as separate issues. No one believes Trump sees them that way.
On Monday, Paramount said it would add three new board members.
Finally …
There’s been an unreal amount of good TV on lately. I’ve been catching up on Nathan Fielder’s “The Rehearsal,” and often can’t believe what I’m seeing.
Also, Marc Maron is ending his podcast after 16 years. I’ve linked to various episodes in this newsletter. Here’s one I’m looking forward to catching up with.
When filmmakers say they’re experimenting with artificial intelligence, that news is typically received online as if they had just declared their allegiance to Skynet.
And so it was when Darren Aronofsky — director of button-pushing movies including “The Whale” and “Black Swan” — last week announced a partnership with Google AI arm DeepMind to use the tech giant’s capabilities in storytelling.
Aronofsky’s AI-focused studio Primordial Soup is producing three short movies from emerging filmmakers using Google tools, including the text-to-video model Veo. The first film, “Ancestra,” directed by Eliza McNitt, will premiere at the Tribeca Festival on June 13, the Mountain View-based search giant said.
Google’s promotional materials take pains to show that “Ancestra” is a live-action film made by humans and with real actors, though it’s bolstered with effects and imagery — including a tiny baby holding a mother’s finger — that were created with AI.
The partnership was touted during Google’s I/O developer event, where the company showed off the new Veo 3, which allows users to create videos that include sound effects, ambient noise and speech (a step up from OpenAI-owned competitor, Sora). The company also introduced its new Flow film creation tool, essentially editing software using Google AI functions.
Google’s push to court creative types coincides with a separate initiative to help AI technology overcome its massive public relations problem.
As my colleague Wendy Lee wrote recently, the company is working with filmmakers including Sean Douglas and his famous father Michael Keaton to create shorts that aren’t made with AI, but instead portray the technology in a less apocalyptic light than Hollywood is used to.
Simply put, much of the public sees AI as a foe that will steal jobs, rip off your intellectual property, ruin your childhood, destroy the environment and possibly kill us all, like in “The Terminator,” “2001: A Space Odyssey” and the most recent “Mission: Impossible” movies. And Google, which is making a big bet by investing in AI, has a lot riding on changing that perception.
There’s a ways to go, including in the entertainment industry.
Despite the allure of cost-savings, traditional studios haven’t exactly dived headfirst into the AI revolution. They’re worried about the legal implications of using models trained on troves of copyrighted material, and they don’t want to anger the entertainment worker unions, which went on strike partly over AI fears just a couple years ago. The New York Times and others have sued OpenAI and its investor Microsoft, alleging copyright theft. Tech giants claim they are protected by “fair use.”
AI-curious studios are walking into a wild, uncharted legal landscape because of the amount of copyrighted material being mined to teach the models, said Dan Neely, co-founder of startup Vermillio, which helps companies and individuals protect their intellectual property.
“The major studios and most people are going to be challenged using this product when it comes to the output content that you can and cannot use or own,” Neely said by phone. “Given that it contains vast quantities of copyrighted material, and you can get it to replicate that stuff pretty easily, that creates chaos for someone who’s creating with it.”
But while the legacy entertainment business remains largely skeptical of AI, many newer, digitally-native studios and creators are embracing it, whether their goals are to become the next Pixar or the next Mr. Beast.
The New York Times recently profiled the animation startup Toonstar, which says it uses AI throughout its production process, including when sharpening storylines and lip-syncing. John Attanasio, a Toonstar founder, told the paper that leaning into the tech would make animation “80 percent faster and 90 percent cheaper than industry norms.”
Jeffrey Katzenberg, the former leader of DreamWorks Animation, has given a similar estimate of the potential cost-savings for Hollywood cartoons.
Anyone working in the traditional computer animation business would have to gulp at those projections, whether they turn out to be accurate or not. U.S. animation jobs have already been hammered by outsourcing. Now here comes automation to finish the job. (Disney’s animated features cost well over $100 million to produce because they’re made by real-life animators in America.)
Proponents of AI will sometimes argue that the new technology isn’t a replacement for human workers, but rather a tool to enhance creativity. Some are more blunt: Stop worrying about these jobs and embrace the future of uninhibited creation. For obvious reasons, workers are reluctant to buy into that line of thinking.
More broadly, it’s still unclear whether all the spending on the AI arms race will ultimately be worth the cost. Goldman Sachs, in a 2024 report, estimated that companies would invest $1 trillion in AI infrastructure — including data centers, chips and the power grid — in the coming years.
But that same report raised questions about AI’s ultimate utility.
To be worth the gargantuan investment, the technology would have to be capable of solving far more complex problems than it does now, said one Goldman analyst in the report. In recent weeks, the flaws in the technology have crossed over into absurd territory: For example, by generating a summer reading list of fake books and legal documents polluted with serious errors and fabrications.
Big spending and experimentation doesn’t always pan out. Look at virtual reality, the metaverse and the blockchain.
But some entertainment companies are experimenting with the tools and finding applications. Meta has partnered with horror studio Blumhouse and James Cameron’s venture Lightstorm Vision on AI-related initiatives. AI firm Runway is working with Lionsgate. At a time when the movie industry is troubled in part due to the high cost of special effects, production companies are motivated to stay on top of advancing tech.
One of the most common arguments in favor of giving in to AI is that the technology will unshackle the next generation of creative minds.
Some AI-enhanced content is promising. But so far AI video tools have produced a remarkable amount of content that looks the same, with its oddly dreamlike sheen of unreality. That’s partly because the models are trained on color-corrected imagery available on the open internet or on YouTube. Licensing from the studios could help with that problem.
The idea of democratizing filmmaking through AI may sound good in theory. However, there are countless examples in movie history — including “Star Wars” and “Jaws” — of how having physical and budgetary restrictions are actually good for art, however painful and frustrating they may have been during production.
Even within the universe of AI-assisted material, the quality will vary dramatically depending on the talent and skill of people using it.
“Ultimately, it’s really hard to tell good stories,” Neely said. “The creativity that defines what you prompt the machine to do is still human genius — the best will rise to the top.”
Like other innovations, the technology will improve with time, as the new Google tools show. Both Veo 3 and Flow showcase how AI is becoming better and easier to use, though they are still not quite mass-market products. For its highest tier, Google is charging $250 a month for its suite of tools.
Maybe the next Spielberg will find their way through AI-assisted video, published for free on YouTube. Perhaps Sora and Veo will have a moment that propels them to mainstream acceptance in filmmaking, as “The Jazz Singer” did for talkies.
But those milestones still feel a long way off.
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The Memorial Day weekend box office achieved record revenue (not adjusting for inflation) of $329.8 million in the U.S. and Canada, thanks to the popularity of Walt Disney Co.’s “Lilo & Stitch” and Paramount’s “Mission: Impossible — The Final Reckoning.”
Disney’s live-action remake generated $183 million in domestic ticket sales, exceeding pre-release analyst expectations, while the latest Tom Cruise superspy spectacle opened with $77 million. The weekend was a continuation of a strong spring rebound for theaters. Revenue so far this year is now up 22% versus 2024, according to Comscore.
This doesn’t mean the movie business is saved, but it does show that having a mix of different kinds of movies for multiple audiences is healthy for cinemas. Upcoming releases include “Karate Kid: Legends,” “Ballerina,” “How to Train Your Dragon” and a Pixar original, “Elio.”
“Lilo & Stitch” is particularly notable, coming after Disney’s previous live-action redo, “Snow White,” bombed in theaters. While Snow White has an important place in Disney history, Stitch — the chaotic blue alien — has quietly become a hugely important character for the company, driving enormous merchandise sales over the years.
The 2002 original wasn’t a huge blockbuster, coming during an awkward era for Walt Disney Animation, but the remake certainly is.
WASHINGTON — Asylum seekers under the Trump-era “Remain in Mexico” policy whose cases were closed — many for reasons beyond their control, including kidnappings and court rulings against the government — will now be able to come into the U.S. to pursue asylum claims, the Biden administration said Tuesday.
The administration on Wednesday will begin to allow the first of thousands with closed cases to pursue their asylum claims within the United States, the Department of Homeland Security announced. More than 30,000 migrants could potentially be eligible, according to government data.
“As part of our continued effort to restore safe, orderly, and humane processing at the Southwest Border, DHS will expand the pool” of asylum seekers eligible for processing, the department said in a statement, including those “who had their cases terminated or were ordered removed in absentia.”
But when President Biden took office and began winding down the policy that he sharply criticized, his administration allowed only asylum seekers under Remain in Mexico — formally known as Migrant Protection Protocols — whose immigration cases remained open to enter the United States.
Since February, the Biden administration has permitted entry to some 12,000 asylum seekers with pending Migrant Protection Protocols cases, according to the United Nations refugee agency, the primary organization processing them. At the same time, Biden officials have urged patience from those whose cases were closed, promising a second phase.
Advocates and experts welcomed the move to begin admitting those asylum seekers, but criticized the administration’s slowness on restoring access.
“A delay of that kind would have to be driven by political considerations, not legal or purely administrative ones,” said Austin Kocher, an assistant professor at Syracuse University. “It flags a larger question: Is the Biden administration serious about following its national and international obligations to asylum law?”
For many asylum seekers, it is too late. From January 2019, when the Trump administration first implemented the policy in Southern California, to when Biden froze the program on his first day in office, roughly 70,000 migrants were sent by U.S. officials to wait in some of the world’s most dangerous cities just south of the border.
More than 1,500 of them suffered rape, kidnapping and assault, according to Human Rights First. And those numbers have continued to rise during Biden’s presidency, through a combination of policies that have left tens of thousands stuck on the southern side of the border.
“Why it’s taken so long is obviously of concern, because those people who are still in Mexico are still suffering and in dangerous situations,” said Judy Rabinovitz of the American Civil Liberties Union, which sued then-President Trump over the policy.
Biden administration officials have acknowledged this grim toll, even as they continue to send asylum seekers — some with Migrant Protection Protocols cases — to Mexico again, invoking a Trump-era coronavirus policy. Citing Title 42, an obscure 1944 public health law, border officials have summarily expelled more than 850,000 migrants, including asylum seekers, this time without a court date or due process.
“Having Title 42 still in place at the same time that the administration is claiming to try and fix cases in Remain in Mexico presents the administration with a fundamental contradiction between what they claim to be doing and the way that border control is actually working on the ground,” said Kocher.
Biden froze Migrant Protection Protocols on his first day in office, though it had already largely been supplanted by Trump’s coronavirus expulsions policy. But the Biden administration did not formally end Remain in Mexico until June 1.
In the memo ending the policy, Homeland Security Secretary Alejandro N. Mayorkas said it had further strained department resources and added to a record backlog in immigration court proceedings.
More than 25% of those subjected to the policy were apprehended by border officials when they attempted to enter again, Mayorkas said, and roughly 44% of cases were completed by judges’ orders to remove asylum seekers who missed their hearings.
That raised questions about whether the program provided them “adequate opportunity” to appear, he said, “and whether conditions faced by some MPP enrollees in Mexico, including the lack of stable access to housing, income, and safety, resulted in the abandonment of potentially meritorious protection claims.”
Advocates argue that migrants subjected to Migrant Protection Protocols who received final decisions from immigration judges denying their asylum claims also deserve to be given another opportunity to seek asylum in accordance with U.S. law.
On Tuesday, the Homeland Security Department statement reiterated that others who may be eligible to enter in the future “should stay where they are currently located and register online” through a system administered by the United Nations.
“This is what they wanted, and this is what they got: People couldn’t get asylum,” Rabinovitz said of Trump administration officials. Now with Biden in the White House, she continued, “we’re saying no — in order to unwind it, you need to give people a new opportunity to apply for asylum, free of that taint.”
U.S. border officials frequently committed errors while administering the Remain in Mexico policy, The Times found. That included serving asylum seekers paperwork in languages they did not speak, or writing the phrase “domicilio conocido” — “known address” — or simply “Tijuana” — a Mexican border city of some 2 million people — on their paperwork, instead of a legally required address. That made it nearly impossible for applicants to be notified of changes to their cases or court dates.
These missteps by U.S. border officials also fueled federal judges’ rulings against the policy.
In one ruling, a 9th Circuit Court of Appeals judge said Homeland Security’s procedures for implementing the policy were “so ill-suited to achieving that stated goal as to render them arbitrary and capricious.”
But the Supreme Court never ultimately ruled on the legality of Migrant Protection Protocols. In early February, the Biden administration asked the nation’s highest court to cancel arguments on the policy. Opponents in several states sued, arguing that the Biden administration cannot end it.
On Monday, the Supreme Court rejected that effort, ordering: “The motion to intervene is dismissed as moot.”
BBC host Laura Kuenssberg has revealed the interview that “sticks” with her the most is when Michelle Mone confessed to being a liar.
Scots bra tycoon Mone spent two years fiercely denying through an army of lawyers any involvement with the firm PPE Medro, which had earned over £200million worth of Government contracts to supply face masks and surgical gowns during the Covid pandemic.
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Lady Mone of Mayfair taking her place in the House of Lords as a Tory life peer.
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Married couple Doug Barrowman and Michelle Mone has been accused of wrongdoing.
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BBC presenter Laura Kuenssberg says her interview with Mone is one that “sticks” with her.
But in 2023 it was revealed that the Tory life peer and her three adult children had received £29million from the company via her second husband Doug Barrowman.
That led to a “Prince Andrew-style” TV showdown with the politics presenter on her weekly show Sunday with Laura Kuenssberg.
Appearing alongside Barrowman, 60, Baroness Mone, 53, made the jaw-dropping confession: “I can’t see what we’ve done wrong. Lying to the press is not a crime.”
Now in a two-part BBC documentary The Rise and Fall of Michelle Mone to be shown next week, Laura, 48, said: “In the end they were bizarrely quite honest about not having told the truth. Which is quite a strange experience.
“Then as she so memorably said, ‘But Laura, it’s not a crime to lie’ That’s a phrase that will always stick with me.”
The controversy started when Lady Mone had used her government links to access a VIP Lane for fast track PPE procurement.
But the former owner of bra company Ultimo then aggressively denied for three years that she and Barrowman had any connections to the company PPE Medro.
When it was revealed that Mone and her family had personally benefitted from the contracts she announced she was stepping down from the House of Lords.
Questions were then asked in parliament by the then leader of the opposition Sir Keir Starmer about how nearly £30million had ended up in the bank account of the Scottish businesswoman.
Recalling before the build-up to the car-crash interview, Laura said: “They obviously knew they had been lying at the beginning of it. So they felt they were in this trap.
Carol Vorderman finally reveals real reason she ended friendship with Michelle Mone
“On the day (of the interview) the whole experience was eerily calm. There’s no question Michelle Mone and Doug Barrowman became the pantomime villains in the story of the huge shambles of what went wrong with PPE.
“For Michelle, being able to grab public attention was always something she had in spades during her business career but things went wrong for her and you can’t turn that attention off.”
Mone and Barrowman are currently being investigated by the National Crime Agency.
The couple continue to deny any wrongdoing.
*The Rise and Fall of Michelle Mone begins on BBC Scotland on Monday May 26 at 10pm and BBC Two on May 28 at 9pm. Both episodes are available on BBC iPlayer from Monday.
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Michelle Mone during one of her Ultimo bra launches.
If you want to understand what’s going on in the streaming business, go find Elmo and Cookie Monster.
Netflix’s recent deal to stream the upcoming season of “Sesame Street” is, on its own, a major step in the entertainment giant’s effort to become a go-to destination for preschooler programming. At the same time, it’s a useful way to understand one of the media industry’s other big stories of the last week — Warner Bros. Discovery’s re-rebranding of its streaming service back to HBO Max.
First, the deal itself.
Los Gatos, Calif.-based Netflix will begin streaming the beloved children’s show’s upcoming 56th season, along with 90 hours of older episodes, later this year. New “Sesame Street” episodes will continue to air in the U.S. on PBS’ stations and digital platforms, the nonprofit Sesame Workshop’s longtime TV partner (which could use a win amid Congress’ efforts to defund public broadcasting). Episodes will premiere the same day on PBS and Netflix.
The new season will be released in three batches, and will include some format changes and the return of popular segments such as “Elmo’s World” and “Cookie Monster’s Foodie Truck.” Episodes will now be built around one 11-minute story, reflecting the shorter attention spans of younger viewers. The partnership includes a new animated segment, “Tales from 123.” Additionally, Netflix will be able to develop “Sesame Street” video games.
Netflix is welcoming “Sesame Street” to its block after HBO parent company Warner Bros. Discovery opted not to re-up its deal for new episodes, citing a shift in corporate priorities during a period of harsh cost-cutting.
HBO — and by extension, the streaming service known until recently as Max — had been the home of “Sesame Street” for years. The company then called Time Warner inked its deal with Sesame Workshop a decade ago, before AT&T or David Zaslav and his Discovery empire entered the picture.
Having Big Bird appear on the exclusive and adult-skewing “Game of Thrones” network never made much sense, but the deal was a lifeline for Sesame Workshop and kept the show alive, though it raised concerns among parent groups.
After AT&T took over, WarnerMedia launched HBO Max, a much reviled rebranding that was meant to make room for more populist content, including “Friends” and “The Big Bang Theory.” It also allowed for more kids’ programming, such as shows from Cartoon Network and Hanna-Barbera, along with “Sesame Street.”
Then came Zaslav, who stripped HBO from the streamer’s name entirely, leaving it as just Max. Part of the justification of the change was that the name HBO, while well known and respected among fancy people in New York and L.A., was a turnoff for Middle America and those who might otherwise sign up to binge-watch “Dr. Pimple Popper” and Guy Fieri.
The executives were also convinced that the HBO brand, known for “The Sopranos” and “Sex and the City,” was a deterrent for parents.
This was the era when streaming services were trying to be everything to everyone, and were losing billions of dollars trying to catch up to Netflix. Few companies other than Walt Disney Co. and HBO had distinct brands that made sense to people outside corporate conference rooms.
The decision to excise the HBO moniker was widely derided at the time as flawed managerial thinking.
Larry Vincent, a professor at USC Marshall School of Business and former UTA chief branding officer, called it a “classic case of right question, wrong answer” that will go down alongside New Coke in the annals of marketing blunders.
The name HBO has historically stood for quality, to the point that when people try to describe Apple TV+’s boutique streaming strategy, they compare it to early HBO. Last week, in an effective mea culpa during the media business’ big upfront week of presentations for advertisers, the company said the service would be called HBO Max again.
“It just violated everything we know about how you build a premium brand,” Vincent said of the earlier rebrand. “HBO has been at this for 50 years. It connotes a certain level of quality…. What we see now is that this is a reset to going back to the default position, because they realized this was silly.”
The backpedaling move drew howls from social media, journalists and rivals. Even Max’s own X account joined in on the fun. Warner Bros. Discovery executives were bracing for whatever John Oliver would say Sunday night during his show, and the comedian — never shy about bashing his own bosses — did not disappoint.
The decision was an admission of a couple things: First, that trying to be an “everything store” for entertainment was foolhardy when Netflix and Amazon both serve that exact purpose; and second, that it was a mistake to shy away from the brand that makes the streaming offering special.
Casey Bloys, chairman of HBO and Max content, said in a statement that returning to the old name “clearly states our implicit promise to deliver content that is recognized as unique and, to steal a line we always said at HBO, worth paying for.”
As my colleague Stephen Battaglio recently pointed out, when media companies put out new streaming services these days, there’s a tendency to avoid the now-cliche plus sign and stick with the brand name consumers already understand.
For example, Disney’s new $30 a month ESPN flagship service is simply called ESPN (ESPN+ is already taken by a more limited service).
Under Bloys, HBO has continued its tradition of highly regarded original series, with recent examples including the latest seasons of “The White Lotus,” “The Last of Us” and “The Righteous Gemstones.”
The brand confusion is still real, though. I’ve spoken with agents and read publications that should know better that mistakenly think “Hacks” and “The Pitt” are HBO shows, when they’re actually Max originals. That may not be important to consumers, but within the industry and for artists, it matters.
As for preschool-focused programming such as “Sesame Street,” that’s no longer a priority for Warner Bros. Discovery’s streaming strategy. The company has said it now wants to focus on “stories for adults and families.”
People who want shows for their toddlers can find them almost anywhere, including for free on YouTube. Disney+, of course, has troves of kids content, including Australia’s acclaimed and much-watched “Bluey.”
And, increasingly, kids are tuning into Netflix, which is now the land of “Ms. Rachel,” “CoComelon” and “Blippi,” all of which rose to popularity on YouTube. Kids and family programming now accounts for 15% of the platform’s viewership, according to the company. Netflix also has “Peppa Pig” and “Hot Wheels Let’s Race.”
Suffice to say, if you want or need to turn your little ones into couch zombies for a while, Netflix has an increasingly crowded ZIP Code of shows for you.
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Cable’s consolidation continues with Friday’s announcement that Charter and Cox will merge in a $34.5-billion deal, uniting Southern California’s two major cable TV and internet providers.
The Charter-Cox combination would have 38 million customer homes in the nation, a larger footprint than longtime cable leader Comcast.
Of the many interesting aspects of the deal, this one is particularly relevant to Los Angeles residents — if approved by Charter shareholders and regulators, the merger would end one of the longest TV sports blackouts, my colleague Meg James reports.
Cox customers in Rancho Palos Verdes, Rolling Hills Estates and Orange County would finally have the Dodgers’ TV channel available in their lineups. For more than a decade, Cox has refused to carry SportsNet LA because of its high cost.
New Line Cinema’s horror franchise revival “Final Destination: Bloodlines” won the weekend box office with $51 million in the U.S. and Canada (more than $100 million globally), exceeding pre-release analyst estimates.
The horror genre’s power to draw moviegoers is undeniable. The marketing was clever (complete with morbid 3D billboards), and this series has built-in nostalgic value. The new grisly supernatural teen movie comes 14 years after the previous one, “Final Destination 5.” The audience response has been generally positive.
With a reported production budget of $50 million, this was a no-brainer, and another win for Warner Bros. chiefs Michael De Luca and Pam Abdy coming after “Minecraft” and “Sinners.” All eyes are now on James Gunn’s “Superman,” coming in July.
Finally …
Listen: “Chaise Longue” rock band Wet Leg has new music on the way. Here’s a preview.
JOE Biden is facing fresh scrutiny over his health while in office amid his “aggressive” prostate cancer diagnosis.
The former president, 82, claimed to have had cancer in a speech he gave three years ago – which sparked fears for his health at the time.
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Joe Biden was speaking about oil-refineries in Delaware when he made a slip-upCredit: Reuters
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Biden at a news conference in 2023Credit: Getty
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Biden is facing fresh scrutiny over cancer comments in a 2022 speechCredit: Getty
Biden’s comments came during a speech about “cancer-causing” emissions from oil refineries near his childhood home in Delaware.
He said: “That’s why I and so damn many other people I grew up with have cancer and why for the longest time Delaware had the highest cancer rate in the nation.”
Biden’s use of the present tense led to speculations that the president was suffering from cancer.
But these were dismissed after it was suggested that the comments were a reference to “non-melanoma skin cancers”.
Before assuming the presidency, Biden had a number of “localized, non-melanoma skin cancers” removed by surgery.
In November 2021, Biden had a polyp removed from his colon that was a benign, but potentially pre-cancerous lesion.
And in February 2023, he had a skin lesion removed from his chest that was a basal cell carcinoma, a common form of skin cancer.
Non-melanoma skin cancer typically develops in the areas of the body most exposed to the sun such as the face, ears, hands, shoulders, upper chest, and back.
Trump ‘surprised public wasn’t told long ago’ about Biden’s prostate cancer as Don takes swipe at when ex-President knew
The US President cast doubt on the timeline of Biden’s diagnosis on Monday as he said it usually takes a “long time” to reach such an aggressive stage of cancer.
Dr Zeke Emanuel said: “He had it while he was President.
“He probably had it at the start of his presidency, in 2021.”
How could prostate cancer be missed?
By Sam Blanchard
It is likely that Joe Biden’s cancer started while he was still serving as president – as recently as January – but impossible to know how long he has had it.
Prostate cancer is widely regarded as the slowest growing form of cancer because it can take years for any sign of it to appear and many men never need treatment.
The former president’s office said his cancer is aggressive and has spread to his bones, further confusing the timeline.
PSA blood tests could indicate whether a patient is likely to have cancer but they become less accurate with age, and gold-standard tests involve taking biopsy tissue samples.
There is no guarantee that Mr Biden, 82, was tested during his presidency and, even if he was, the cancer is not certain to have been detected. It may have first formed a long time ago and only recently become aggressive, or started recently and grown very quickly.
Most cancers are found before they spread but a fast-growing one may be harder to catch in time.
Prostate cancers are well-known for not causing many symptoms in the early stages and the NHS says “there may be no signs for many years”.
The time it takes for a cancer to progress to stage four – known as metastatic, when it has spread to another body part – can vary from a number of months to many years.
Professor Suneil Jain, from Queen’s University Belfast, said: “Every prostate cancer is different and no-one from outside his direct team will have all the information to be specific about President Biden’s specific diagnosis or situation.
“In recent years there has been a lot of progress in the management of prostate cancer, with many new therapies becoming available.
“This has significantly extended the average life expectancy by a number of years.”
Prostate cancer is the most common form of cancer in males and one in eight men develop it at some stage in their life.
Biden announced his cancer diagnosis in an official statement from his personal office on Sunday.
The statement said that he was seen by doctors last week after suffering urinary symptoms, with a prostate nodule then being found.
He was then diagnosed with prostate cancer on Friday, with the cancer cells having spread to the bone.
The statement read: “Last week, President Joe Biden was seen for a new finding of a prostate nodule after experiencing increasing urinary symptoms.
“On Friday, he was diagnosed with prostate cancer, characterized by a Gleason score of 9 (Grade Group 5) with metastasis to the bone.
“While this represents a more aggressive form of the disease, the cancer appears to be hormone-sensitive which allows for effective management.
“The President and his family are reviewing treatment options with his physicians.”
A Gleason score of 9 means the cancerous cells “look very abnormal” and that the disease is “likely to grow quickly”, according to Cancer Research UK.
Biden served as US president from 2021 to 2025, with his term ending on January 20 when Donald Trump took office.
What are the symptoms every man needs to know?
In most cases, prostate cancer doesn’t have any symptoms until the growth is big enough to put pressure on the urethra – that tube you pee through.
Symptoms include:
Needing to urinate more often, especially at night
Needing to rush to the toilet
Difficulty in starting to pee
Weak flow
Straining and taking a long time while peeing
Feeling that your bladder hasn’t emptied fully
Many men’s prostates get larger as they age because of the non-cancerous conditions, prostate enlargement, and benign prostatic hyperplasia.
In fact, these two conditions are more common than prostate cancer – but that doesn’t mean the symptoms should be ignored.
The signs that cancer has SPREAD include bone, back, or testicular pain, loss of appetite, and unexplained weight loss.
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Joe Biden shared a touching image with his wife following the diagnosisCredit: Instagram
California invented the motel. More specifically: As automobile ownership skyrocketed in the 1920s and entrepreneurs rushed to open tourist camps and motor courts to house traveling families, a Pasadena architect named Arthur Heineman came up with the word motel — motor plus hotel, right? — and put up a mission-style lodging in San Luis Obispo, midway between Los Angeles and San Francisco. He did this in late 1925.
From these facts, The Times hatched a project to help California travelers plan their next road trip and recognize the motel centennial as an anniversary that resounds throughout pop culture.
After driving 2,500 miles and checking out dozens of places, I’ve come up with 34 lodgings to recommend at various price points. (These days, many prefer to call themselves inns or boutique hotels. Still, if their guest room doors open to the great outdoors and there’s a highway handy, I count them as part of the extended motel family.)
We’re also hoping to help all readers appreciate the up-and-down story of motels — how they soared in the midcentury years, then seeped into pop culture as hotbeds of sex and crime, slumped in the late 20th century and lately have entered a new era.
Today many are going luxurious or doubling down on nostalgia. Some are charging $1,000 a night. Others are sticking to their frugal roots and charging $100 a night. Several have been repurposed by government agencies to house people at risk of homelessness. And some don’t even take overnight guests anymore — they make their way by housing retail and restaurants and supplying all-American scenery for selfies and videos.
In Paso Robles, the River Lodge’s MOTEL sign rises high above the 101 like a rocket about to be launched from wine country.
In Palm Springs, the Trixie Motel has added new oomph to the phrase “over the top.”
In San Bernardino, the Wigwam Motel and its concrete teepees endure, now owned by a family with roots in India and the Inland Empire.
In San Francisco’s Castro District, a new generation runs Beck’s Motor Lodge for an audience the founders never imagined.
In Malibu, the Surfrider staff is standing by to lend you a surfboard or a Mini Cooper to cruise along PCH.
For travelers and admirers of midcentury design, the most welcome news may be that just about every week, another revived California roadside lodging reopens, many of them sporting the bold, space-age shapes and signage that midcentury design geeks know as Googie.
We’re also hoping these stories will help with your next road trip:
Happy traveling.
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The week’s biggest stories
Lyle Menendez, right, and brother Erik listen to a charge of murder conspiracy against them with Leslie Abramson, far left, attorney for Erik, Dec. 29, 1992, in Los Angeles.
(Chris Martinez / Associated Press)
Menendez brothers move closer to freedom
When a Los Angeles County judge resentenced Erik and Lyle on Tuesday, he offered the brothers a path to freedom for the first time since they were given life in prison for killing their parents with shotguns in 1989.
The brothers may be another step closer to freedom after Gov. Gavin Newsom withdrew his request for clemency investigations into their case, turning a hearing scheduled in June before the parole board into an opportunity for them to be granted early release.
L.A. council backs $30 minimum wage for hotels
Smokey Robinson under criminal investigation
More big stories
This week’s must reads
More must reads
For your weekend
The new “World of Color Happiness!” begins with a charming pre-show featuring the Muppets.
(Sean Teegarden / Disneyland Resort)
Going out
Staying in
Have a great weekend, from the Essential California team
