Marvel

The cuts in Hollywood just keep coming, following a sadly familiar script.

Last week it was Paramount, which laid off about 1,000 workers in the first wave of a deep staff reduction planned since tech scion David Ellison’s Skydance Media took over the storied media and entertainment company.

The cuts affected a wide swath of the company, from CBS and CBS News to Comedy Central, MTV and the historic Melrose Avenue film studio, my colleague Meg James and I reported. Another 1,000 layoffs are expected in the coming weeks.

But Paramount isn’t the only one in the media business that’s shedding jobs and payrolls.

Earlier, cable giant Charter Communications said it would lay off 1,200 people nationwide, as the company faces increased competition for its broadband internet packages. NBC News, too, laid off 150 employees last month amid declining TV ratings and lessening ad revenue.

Other recent media-adjacent layoffs included 100 cuts to Disneyland Resort’s Anaheim-based workforce and the massive 14,000 worker reduction at Amazon, including at the company’s gaming and film and TV studios.

And that doesn’t even include widespread job losses that happened earlier this year at companies such as Walt Disney Co., Warner Bros. Discovery, NBCUniversal and Six Flags Entertainment Corp.

It all adds up to a grim picture for Hollywood’s workers, who have faced a near endless marathon of economic hurdles for the last five years.

First it was the pandemic, followed by the dual writers’ and actors’ strikes in 2023, cutbacks in spending after studios splurged on streaming productions, and the outflow of production to the U.K. and other countries with lower costs than California.

Then, in January, nature struck a blow, with the fires in Altadena and the Pacific Palisades destroying many industry workers’ homes.

Topping it off, Saturday marked the first day that millions of low-income Americans lost federal food assistance due to the government shutdown that began Oct. 1. That has affected some 5.5 million Californians and probably some who work in the entertainment industry.

“It’s been one crisis after another, without enough time in between,” said Keith McNutt, western regional executive director of the Entertainment Community Fund, which provides social services for arts and entertainment professionals. “People are concerned and very worried and really trying very hard to figure out where they go from here.”

McNutt reports that the nonprofit group has already heard from some people who were recently laid off, and has experienced a sharp increase in demand for its services, particularly from those in the film and TV industry. The fund offers healthcare and financial counseling and operates a career center. It also provides emergency grants for those who qualify.

Clients include not only low-income people who are always hit hardest in downturns, but also veteran entertainment industry professionals who’ve worked in the business for 20 to 30 years.

Those who were lucky enough to have savings saw those wiped out by the pandemic, and then were unable to replenish their rainy-day funds after the strikes and industry contraction, said David Rambo, chair of the fund’s western council.

“It has been snowballing very slowly for about five years,” Rambo said.

Many in the industry are hopeful that California’s newly expanded film and television tax credit program will bring some production — and jobs — back to the Golden State. That’s what backers campaigned on when they lobbied Sacramento legislators to bolster the program. Dozens of TV shows and films have received credits so far under the revamped program, but it’ll take some time to see the results in filming data and employment numbers.

And that doesn’t help the workers who were just laid off last month. For those folks, McNutt suggests calling the fund’s health insurance team to make sure they understand their options and also to spend some time with career counselors to understand how Hollywood skills can be transferable to other employers, whether that’s on a short- or long-term basis. Most importantly, don’t isolate yourself.

“You’re not alone,” he said. “Nobody’s alone in this situation that the industry is finding itself in right now, and so reach out to your friends, reach out to your colleagues. If you’re not comfortable with that, reach out to the Entertainment Community Fund.”

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The Los Angeles Dodgers’ wild 11-inning win on Saturday over the Toronto Blue Jays notched nearly 26 million viewers, making it the most-watched World Series game since 2017, according to Nielsen data.

The 2017 Game 7 win by the Houston Astros over the Dodgers had an audience of 28.3 million.

The Dodgers are now the first Major League Baseball team to win back-to-back championships in 25 years. On Monday, thousands of Dodgers faithful turned out for the team’s victory parade through downtown L.A.

Finally …

You’ve no doubt heard of L.A.’s famous star tours. But what about a tour of a historic cemetery?

My colleague, Cerys Davies, wrote about local historian and guide Shmuel Gonzales — or as he calls himself, “Barrio Boychik” — and his walking tour of Boyle Heights’ Evergreen Cemetery.

The cemetery is the final resting place for many of L.A.’s early movers and shakers, including the Lankershims and the Hollenbecks, and it’s also a prime example of L.A.’s multicultural history.

Small screen giant Netflix has once again turned to the big screen, this time with the release of its latest buzzy film, “Frankenstein.”

Written and directed by Guillermo del Toro, the film opened last weekend with a limited release in 10 theaters in Los Angeles, New York and a few other cities, and will expand to more sites for a total theatrical run of three weeks. The film stars Oscar Isaac as the titular egomaniacal scientist and Jacob Elordi as the Creature (who, contrary to popular belief, is not named Frankenstein — you can thank my English major for that tidbit).

The film is getting some awards attention, particularly for the performance of the prosthetics-and-makeup-laden Elordi, and notched a solid 86% approval rating on aggregator Rotten Tomatoes. As of Sunday afternoon, Del Toro posted that the film had sold out at least 57 screenings. “Frankenstein” will debut on the streamer on Nov. 7.

Del Toro’s “Frankenstein” is just the latest in a long line of adaptations of the classic 1818 novel by Mary Shelley. From the first silent film short in 1910 to Boris Karloff’s famed turn as the monster in 1931 and the Kenneth Branagh-directed movie in 1994 that starred Robert De Niro as the creature (Branagh played Frankenstein and Helena Bonham Carter was Elizabeth Lavenza), the classic horror story has proved ripe for filmmakers’ commentary on humanity, science and nature.

In fact, “Frankenstein” has been a lifelong passion project for Del Toro, who has made an award-winning career out of analyzing and depicting monsters, from 2006’s “Pan’s Labyrinth” to 2017’s “The Shape of Water.”

For Netflix, it’s a reminder of why film remains an important, if unlikely, part of the streamer’s strategy.

It’s no secret that Netflix has built its reputation — and its streaming prowess — on the strength of its series, from “Orange Is the New Black” to “Stranger Things” and “Bridgerton.” After all, popular episodic shows keep viewers on the platform, rack up hours of engagement and help draw new subscribers to the service.

The Los Gatos, Calif., company’s embrace of movie theaters may seem surprising given its longstanding testy relationship with movie theater exhibitors and their distribution strategy.

In fact, Netflix has also long said its main goal is to offer subscribers first-run movies on its platform, directly undermining the traditional 90-day “window” between a film’s release in theaters and when it appears in the home.

Earlier this year, Netflix Co-Chief Executive Ted Sarandos poured salt on the wound when he called the theatrical business “outdated,” at a time when many chains are struggling to fill seats to pre-pandemic levels.

Yet, theaters are still important to Netflix, which releases about 30 films annually in cinemas.

One reason: the allure of Oscar glory.

For the last few years, Netflix has submitted dozens of movies for awards-qualifying runs.

It’s typical for those films to be in cinemas for about two to three weeks before showing up on the platform. (Sometimes, those theatrical showings are for marketing purposes, like the recent “KPop Demon Hunters” singalong screenings.)

Netflix has won numerous Academy Awards over the years, ranging from animated feature (Del Toro’s “Pinocchio” in 2023), supporting actress (Laura Dern for “Marriage Story” in 2020 and Zoe Saldaña for “Emilia Pérez” in 2025) and director (Alfonso Cuarón in 2019 for “Roma” and Jane Campion in 2022 for “The Power of the Dog”).

Best picture, however, has continued to elude the company.

Theatrical releases also help the streamer to attract filmmakers and build relations with key talent. For instance, Netflix’s upcoming “Narnia” film from Greta Gerwig will get a two-week Imax run next year. Netflix previously ran Del Toro’s well-received horror anthology series “Cabinet of Curiosities.”

And while serial narratives may reign supreme, to maintain subscribers, you need other kinds of content to keep it fresh. That’s where movies (and live events) come into play.

As consumers decide which streaming services they can’t live without, a platform that has a little bit of everything has an advantage.

“Having a good mix of movies and serial content is really important,” says Alicia Reese, senior vice president of equity research in media and entertainment at Wedbush Securities. “A lot of people use this as their one and only subscription.”

In other fronts, is the fight over OpenAI’s new Sora 2 dying down? Maybe not, but there are signs of easing tensions.

On Monday, United Talent Agency, SAG-AFTRA, Creative Artists Agency, Assn. of Talent Agents, actor Bryan Cranston and OpenAI released a joint statement noting that Cranston’s voice and likeness was able to be generated “in some outputs” without consent or compensation when the tool was launched two weeks ago in a limited release.

“While from the start it was OpenAI’s policy to require opt-in for the use of voice and likeness, OpenAI expressed regret for these unintentional generations,” the statement said. “OpenAI has strengthened guardrails around replication of voice and likeness when individuals do not opt-in.”

Cranston, who brought the issue to SAG-AFTRA’s attention, said he was “grateful” to OpenAI for improving its policies and “hope that they and all of the companies involved in this work, respect our personal and professional right to manage replication of our voice and likeness.”

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NBC News sent termination notices to 150 staffers last week, as the network struggles with declining TV ratings and ad revenue. Layoffs have been prevalent throughout the media landscape this year, but have been felt especially hard at broadcast news outlets, as audiences increasingly migrate to streaming platforms and cut the cord.

In addition to these issues, my colleague Stephen Battaglio reported that the NBC News layoffs were also attributed to the spin-off of cable networks MSNBC and CNBC. NBC News now no longer shares resources with those outlets, which will become part of a new company called Versant.

Affected employees were encouraged to apply for 140 open positions throughout the news group.

Finally …

I had to do it. With the Dodgers returning to the World Series, my colleague Jack Harris looks at the team’s season this year and how they fought through multiple injuries on the roster to eventually turn the ship around.

Pay TV providers have a new message for consumers: Your ex wants you back.

While the media industry watches the once massive number of subscribers to cable and satellite services diminish like a slow-melting iceberg as audiences move to streaming, the companies are aggressively developing ways to slow the trend and perhaps win some business back.

Spectrum and DirecTV have both recently held fancy press events in New York to tout their efforts to offer a more consumer-friendly experience and services that add value for the still substantial number of customers they serve. Giving consumers more choice and flexibility is their new mantra.

The latest evidence of this emerged last week when Spectrum introduced an app store, where customers can get subscriptions to the streaming platforms such as Disney+, Hulu, AMC+ and ESPN, and access them alongside the broadcast and cable channels that still carry the bulk of high-profile sports and live events.

The Stamford, Conn.-based company’s 31 million subscribers can now get ad-supported streaming apps as part of their TV packages, which would otherwise cost an additional $125 a month. Ad-free versions are also offered at a discounted price.

Over the last year, El Segundo-based DirecTV rolled out smaller packages of channels aimed at consumers who no longer want a big monthly bill for the panoply of networks that have accumulated in the pay TV bundle over the years. The satellite TV service now offers smaller “genre packages” of channels and streaming apps that cater to a particular interest available at a lower price — designed for news junkies, sports fans, kids and Spanish-language speakers. There is one for entertainment channels as well.

There are early indications consumers are responding. In the second quarter of this year, Spectrum reported a loss of 80,000 cable customers due to cord-cutting, a significant decline from the same period in 2024, when 408,000 homes ditched cable.

DirecTV does not disclose its subscriber numbers, but Vincent Torres, the company’s chief marketing officer, said the smaller and more bespoke channel packages are drawing younger consumers who have bypassed pay TV subscriptions up to now.

For Spectrum, the deal to get the Disney apps came out of an ugly carriage dispute in August 2023 that for 12 days left customers without programming, including the U.S. Open tennis tournament and the start of the college football season. The standoff followed comments by Walt Disney Co. Chief Executive Bob Iger that taking the company’s program services directly to the consumer and bypassing its traditional pay TV partners was inevitable.

Spectrum CEO Chris Winfrey suggested his company could get out of the video distribution business and stick to selling its far more profitable broadband internet services.

The dispute was a sharp example of the pressure on cable providers that have been asked to pay more to carry the channels from Disney and other media conglomerates as they feel the pressure of rising programming costs and sports rights fees. The costs are passed along to customers who are paying more for content that is available on streaming services. Spectrum insisted on a deal that made Disney’s streaming apps available to its customers at no additional cost.

The tensions subsided and, in June, Spectrum reopened and extended its contract with Disney before it was up — a rarity in the contentious arena of carriage negotiations that lead to channel blackouts.

DirecTV’s slimmer cable packages came after a similarly bruising dispute with Disney last September, with customers losing access to the channels for 13 days.

But there was a new spirit of unity on stage at Spectrum headquarters, where ESPN Chair Jimmy Pitaro, the architect of ESPN’s direct-to-consumer strategy, was among the guest speakers.

Although Pitaro has long hammered away at how ESPN needs to be accessible to sports fans wherever they are, he touted the value of the cable subscription and described the relationship with Spectrum as “the best it has ever been.”

Spectrum customers already get ESPN channels through their cable subscription, but adding the direct-to-consumer app allows them access to its features such as enhanced real-time stats during live games and a personalized “SportsCenter” that uses AI to create a custom highlight show for users.

Spectrum has enlisted the networks it carries to make promotional spots touting its new services. Speaking at the Spectrum event, Winfrey acknowledged it will take some time for consumers to get used to the idea of getting more from their cable provider at no additional cost.

“Our No. 1 issue is — and this may shock you — but customers don’t trust the cable company,” Winfrey said. “Maybe with good reason. For how many decades did the cable industry go out and say HBO is included for free? And it was for three months and then, $10 would show up on your bill. We’ve conditioned people to think it’s a free trial period.”

Torres notes that more consumers are experiencing what he calls “content rage” as the prices of individual streaming services such as Peacock and Disney+ continue to rise. As programming gets sliced and diced for the growing number of services, consumers are finding that more than one subscription is necessary, especially for fans of the NFL or NBA, which have spread their games over several services.

“You see a growing frustration that ‘I can never find what I want to find when I want to watch it,” Torres said. “The fragmentation of the content is creating customer dissatisfaction. They can’t always find what they’re looking for.”

Along with its slimmer channel packages, DirectTV recently introduced a new internet-connected device called Gemini that combines streaming apps with traditional TV channels.

Pay TV companies are also offering voice-controlled remotes to help consumers find what they want to watch, whether on streaming or a traditional channel.

Executives say more enhanced viewing experiences are coming to keep the pay TV customer connected.

Starting this season, Spectrum’s SportsNet channel will be offering its Los Angeles customers several Lakers games in an immersive video format that can be streamed through an Apple Vision Pro device. The technology will give users a courtside view of the game at Crypto.com Arena. All that’s missing is a seat next to Jack Nicholson, but as AI advances, who knows?

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Disney’s sci-fi sequel “Tron: Ares” got off to a weak start, opening with just $33.5 million in North American theaters.

The results were well below 2010’s “Tron: Legacy,” which opened to $44 million. The production budget for “Tron: Ares” was reportedly $180 million.

Still, Disney does have two potential box office hits later this year with “Avatar: Fire and Ash” and animated sequel “Zootopia 2.”

Finally …

Stacy Perman’s deeply reported piece on fake collectible movie props is a must read. Bonus points for an appearance by notorious movie and TV executive Jim Aubrey, known as “The Smiling Cobra.”

Taylor Swift has already conquered the music world and the concert business, so it’s no surprise that this weekend she reigned supreme over the box office — again.

Swift’s latest venture into theaters came in the form of a listening session/fan party of sorts for her latest album, “The Life of a Showgirl.”

The 89-minute movie, titled “The Official Release Party of a Showgirl,” featured the premiere of the Swift-directed “The Fate of Ophelia” music video, as well as behind-the-scenes footage and commentary from Swift about the inspiration for her new songs.

As expected with anything Swift, the film quickly rocketed to the top of a weekend box office that didn’t have a lot of new big-name releases. The one-weekend-only affair hauled in $34 million in the U.S. and Canada, AMC said Monday morning. Globally, it made more than $50 million. Paul Thomas Anderson’s “One Battle After Another” was the runner-up in its second outing this weekend, grossing about $11 million domestically.

But the lack of competition doesn’t dilute the impact Swift had — and has had — on the box office. Her three-day theatrical total beats opening weekend grosses for other recent, studio films such as the Leonardo DiCaprio-led “One Battle After Another” ($22 million), 22-year sequel “Freakier Friday” reuniting Lindsay Lohan and Jamie Lee Curtis ($28.6 million) and my personal favorite, “Downton Abbey: The Grand Finale” ($18.1 million).

I may not be a Swiftie, but I know plenty who made their way to theaters this weekend, with some dressing up for the occasion. My colleague, Malia Mendez, wrote about the Taylormania that took over AMC Century City, which screened the Swift film 21 times over three screens, just on Saturday.

There’s something to be said about harnessing the power of a fan base to drive people to theaters. Look at Swift’s last theatrical appearance — 2023’s “Taylor Swift: The Eras Tour” made about $180 million domestically and brought in more than $261 million worldwide, making it the highest-grossing concert film of all time.

As she did with the “Eras Tour” film, Swift bypassed the typical Hollywood system and worked directly with AMC Theatres Distribution to release “The Official Release Party of a Showgirl.” The film played at all of AMC’s 540 locations and also showed at other theaters such as Cinemark and Regal.

The unconventional release was welcome news for theaters, which have struggled to bring in crowds as they did before the pandemic

“On behalf of AMC Theatres and the entire theatrical exhibition industry, I extend our sincerest appreciation to the iconic Taylor Swift for bringing her brilliance and magic to movie theatres this weekend,” AMC Chief Executive Adam Aron said in a statement. “Her vision to add a cinematic element to her incredible album debut was nothing less than a triumph.”

The film’s success is another reminder of the value of nontraditional, alternative content for theaters at a time when they need to employ fresh strategies to lure younger audiences to the multiplex.

As the number of movies released by studios has decreased, theaters are on the hunt for content to put on their screens. Lately, that’s ranged from episodic streaming series like “The Chosen,” which chronicles the life of Jesus, to concert films, opera performances and anniversary screenings of hits such as “The Sound of Music,” “Jaws” or “Back to the Future.”

It’s a business that really took off after the pandemic. Distributor Fathom Entertainment has specialized in this kind of nontraditional content for more than 20 years, but it is now seeing increased interest in these types of titles, particularly anniversary screenings, which now tend to make up between 20% and 40% of the company’s annual revenue.

Providing these kinds of titles is a way to mitigate the uncertainty of the film business, where there can be highs driven by hotly anticipated releases and lows when there’s little in the lineup.

“Our bread and butter is, and has continued to be, the big studio releases,” said Daniel Fastlicht, chief operating officer of the Lot, a luxury dine-in theater chain based in La Jolla with four locations. “What we want to see more than anybody is more content. But if that doesn’t happen, we still need to fill our auditoriums with people.”

All of the Lot’s theaters had at least one or two screens showing the Swift film, and the atmosphere was light, with people singing and dressing up, including a few in Travis Kelce jerseys, said Marcos Sayd, director of operations. He noted that alternative content helps their theaters fill the less-scheduled holes in their calendar. In addition to the Swift release, the Lot also programs local documentaries and films, as well as one-off events such as the Newport Beach Film Festival to draw audiences in.

And they’re not alone. Other theaters have been looking to position themselves as gathering places for communal experiences, whether that’s to celebrate T-Swift fandom, sing and dance to “KPop Demon Hunters” or collectively scream at a horror movie. Will the post-pandemic zeal for connection repopulate theaters again? Only time will tell, but the popularity of Swift’s latest film is a positive sign.

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Last week, YouTube agreed to pay $24.5 million to settle a lawsuit President Trump filed after his account was banned by the Google-owned streamer following the Jan. 6, 2021, riots at the U.S. Capitol.

San Bruno-based YouTube is the latest tech and media company to settle one of Trump’s lawsuits. Meta, Twitter (now X), Paramount Global and Walt Disney Co.-owned ABC News have all paid multimillion dollar sums in settlements. Most of the YouTube settlement dollars will go to Trump, who plans to contribute it to the Trust for the National Mall, which is “dedicated to restoring, preserving, and elevating the National Mall” and will also fund construction of the White House State Ballroom, according to court documents.

Finally …

My colleagues, Matthew Ormseth and Summer Lin, wrote about how the strange case of an illicit casino-turned-marijuana stash house/psilocybin mushroom-growing location that eventually led police to find an Arcadia mansion filled with 15 children, most of whom were born to surrogates.

ACTOR Tom Holland was rushed to hospital after a stunt on the set of the latest Spider-Man blockbuster went wrong.

It is believed he cracked his head in a fall and was treated for concussion.

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A woman, thought to be a stunt double, was also taken to hospital in an ambulance.

Filming of £150million Spider-Man: Brand New Day was suspended at Leavesden Studios in Watford, Herts, on Friday and could be on hold for weeks.

British star Tom’s comedian dad Dominic, attending a charity dinner in Mayfair, confirmed his son would be away from filming “for a while”.

Tom, 29, was there too and even posed for pictures with co-star and fiancée Zendaya, 28.

However, he left early after feeling ill.

The fall could lead to an investigation by the Health and Safety Executive.

The film — Tom’s fourth standalone Spider-Man movie — is due out next July.

Leavesden Studios and Sony Pictures were contacted for comment.

An East of England Ambulance Service spokesman said: “We were called at 10.30am on Friday to attend to a patient who had sustained an injury at Leavesden Studios in Watford.

“An ambulance was sent to the scene, and the patient was transported to hospital for further care.”

The Ellison era of Paramount was barely a month old when another major potential Hollywood merger appeared on the horizon.

Last week the share prices of Paramount and Warner Bros. Discovery surged following reports that the former was preparing a bid to take over the latter with a mostly cash offer backed by the Larry Ellison family. This would come a remarkably short time after Skydance Media, the production company founded by Larry’s movie producer son David, combined with Paramount in an $8-billion deal.

A merger of Paramount and Warner Bros. Discovery would have profound ramifications for the media and entertainment industry.

It would consolidate two of Hollywood’s oldest studios, Paramount and Warner Bros., in the most significant movie business merger since Walt Disney Co. devoured the entertainment assets of 21st Century Fox in 2019. The film industry has still not recovered from having the 20th Century Fox studio effectively taken off the board.

Additionally, a merger would put two mass-market streaming services, Paramount+ and HBO Max, under the same roof, probably leading to the eventual melding of the two. The Ellison clan’s move would also bring Warner Bros. Discovery’s linear TV networks, including CNN, HGTV, Food Network and TNT, together with Paramount’s Comedy Central, MTV and BET.

All of this would lead to substantial “synergies,” meaning cuts and layoffs, at a time when the job market in entertainment and corporate media is already fraught as the industry reconfigures itself. Paramount is currently bracing for thousands of layoffs as the new owners seek $2 billion in cost savings.

That’s not to mention the changes that would likely come if CNN came under the control of Ellison.

Larry Ellison, the Oracle Corp. billionaire who, depending on the day, is one of the world’s two wealthiest people alongside Elon Musk, is known to be Trump-friendly. The effects of the Ellison reign are already being felt at Paramount’s CBS News, where a former conservative think tank leader was recently appointed as ombudsman and where center-right and staunchly pro-Israel journalist Bari Weiss is expected to have an influential role after Ellison buys her digital media startup the Free Press.

So why is all this happening now, and why so quickly?

After all, the Wall Street Journal first reported Ellison’s interest in Warner Bros. Discovery on Sept. 11, just weeks after the Paramount-Skydance combo closed on Aug. 7.

In a sense, this scenario is unsurprising. Wall Street has been practically begging for another wave of consolidation in the media business, as the audience for theatrical movies shrinks, cord-cutting guts TV profits and more of viewers’ attention turns to YouTube, Netflix and TikTok. Most of the legacy entertainment companies don’t have the streaming firepower to compete. They need to combine to measure up.

But the timing is unexpected, and the unavoidable political considerations are particularly interesting.

With Trump in the White House, the political winds are clearly blowing in the Ellisons’ direction, after the Skydance and RedBird Capital team that bid for Paramount placated federal regulators with promises to eliminate diversity, equity and inclusion initiatives and to make CBS News more balanced, at least in eyes of Trump-appointed FCC Chairman Brendan Carr.

Paramount paid $16 million to settle Trump’s lawsuit over a “60 Minutes” Kamala Harris interview. Ellison and his team want to make a Warner Bros. deal happen when a friendly administration is in power.

Paramount has lately upped its spending, acquiring the rights to UFC (run by Trump friend Dana White), locking down “South Park” for Paramount+ and announcing a deal with Activision to make a “Call of Duty” movie.

Also of note is that Ellison’s group is coming in with an offer for the whole company even as Warner Bros. Discovery Chief Executive David Zaslav prepares to split the media giant into two firms: one with the studios, HBO and streaming businesses, and the other with the TV networks. Putting in a bid now could dissuade other potential buyers that might be interested in just one part.

Apple and Amazon have long been seen as potential bidders for Warner Bros. (Amazon already owns MGM), but it’s unlikely they would want a bunch of TV channels that are on the brink of being orphaned. Analysts have speculated that one reason for the proposed split was to make the studio and streaming assets more attractive to buyers by uncoupling them from the challenged pay-TV business. That split is expected to take place sometime in mid-2026.

Paramount’s bid could also preempt those that may want to do a deal, but are firmly on the Trump administration’s bad side. NBCUniversal owner Comcast Corp.’s CEO Brian Roberts has been the subject of disparaging Trump missives. Comcast is liberal network MSNBC’s parent company (for now). A regulatory review involving a perceived Trump enemy would likely not go well.

Of course, competitive bids could emerge anyway, for example, if a private equity player such as Apollo Global decided to get into the mix after previously expressing interest in Paramount through an unsuccessful team-up with Sony.

Big mergers in media and entertainment often fail, and they’re always disruptive.

Warner Bros. itself was involved in some of the most disastrous deals ever: AT&T’s purchase of Time Warner, and before that, the media company’s ill-fated marriage with AOL. Warner Bros. is now on a box-office hot streak, but that has come after years of Zaslav taking heat for killing projects such as “Batgirl.”

Such deals result in mass layoffs. Movie theater owners will most likely see darker days ahead as they’ll be minus yet another big supplier of blockbusters. Journalist Richard Rushfield, of the Ankler newsletter, demanded that somebody do something to stop it. We’ll see.

An Oracle scion buying two studios one after the other probably wasn’t the tech takeover of Hollywood that many people envisioned. Analysts long assumed that Apple would be the one to buy an entertainment powerhouse — maybe even Disney — despite having not shown any particular inclination for doing so. But though it’s not the Silicon Valley roll-up people anticipated, it may be the one they’re going to get.

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An anime film slayed its Hollywood competition at the box office over the weekend.

“Demon Slayer: Kimetsu no Yaiba Infinity Castle,” already a big hit in Japan, was the highest-grossing movie domestically, beating new films “Downton Abbey: The Grand Finale,” “The Long Walk” and “Spinal Tap II: The End Continues.”

The film, distributed by Sony Pictures and Crunchyroll, opened with a better-than-expected $70 million in ticket sales from the U.S. and Canada, according to studio estimates, making it the biggest anime opening ever. It’s also the highest-grossing domestic debut of the year so far for an animated film.

Its global weekend for Sony, which owns the Crunchyroll anime brand and streaming service, totaled $132.1 million, which includes 49 international markets.

Including grosses from Japan, the movie’s worldwide tally has surpassed $450 million, according to Comscore.

The success of “Demon Slayer,” part of a long-running popular franchise and not to be confused with Netflix’s hit “KPop Demon Hunters,” is a relief to theater owners at a time when other genres are struggling, including superheroes, comedies and original animation. It’s the latest evidence of anime’s growing global clout.

Comedian Nate Bargatze didn’t shortchange the Boys & Girls Clubs of America, nor did he kill the Emmys telecast’s ratings on Sunday night.

The 77th Emmy Awards ceremony from the Peacock Theater in Los Angeles delivered an average of 7.42 million viewers on CBS, up 8% from last year’s audience for ABC.

Once among the most-watched live awards shows on television, the Emmy Awards audience declined dramatically over the last decade as most of the series celebrated no longer have the broad reach they did when traditional TV still dominated the culture, reports Stephen Battaglio.

But the audience level appears to have stabilized. Nielsen data shows that ratings for the Emmy Awards grew for the second consecutive year. The figure is the highest since 2021, when the telecast also aired on CBS.

HBO Max’s “The Pitt,” Apple TV+’s “The Studio” and Netflix’s “Adolescence” were big winners.

Film shoots

Finally …

Listen: The music of Le Tigre, just because it rocks. I just started the audiobook of Le Tigre and Bikini Kill frontwoman Kathleen Hanna’s memoir, “Rebel Girl.” Essential for punk rock fans.

“The Conjuring: Last Rites” gave movie theaters a needed jolt over the weekend with a much better than expected domestic opening of $84 million and a global take of $194 million, a franchise best and the latest success for Warner Bros. and its New Line Cinema banner.

But it will take more than supernatural scares to ease Hollywood’s jitters after a weak summer movie season that exposed more challenges facing the traditional film industry.

Ticket sales fell slightly from last year’s summer season, which for the movie business spans from the first weekend of May through Labor Day. Movies grossed $3.67 billion in the U.S. and Canada this summer, down 0.2% from the same period in 2024, according to data from Comscore. More importantly, it’s still down from the pre-pandemic norm of about $4 billion, a disappointing result given that summer typically accounts for about 40% of annual grosses.

If you account for inflation, it’s even worse. Adjusting for today’s dollars, summer revenue was down 34% from 2019, meaning theater attendance was weaker than the topline revenue stats suggest. With actual attendance still impaired compared with the days before COVID-19, there’s a growing sense that the industry’s fears have come true: Audience habits have changed, and they’re not going back.

The problem wasn’t a lack of movies compared with last year. The effects of the 2023 writers’ and actors’ strikes have dissipated by now.

Rather, the issue was a shortage of big studio movies that audiences really wanted to see. The biggest release was Disney’s “Lilo & Stitch” remake, which collected $424 million domestically. There was nothing like last summer’s “Inside Out 2” or “Deadpool & Wolverine,” which both generated more than $600 million in North America.

The problem of the shrinking overall audience could be due to multiple factors.

In particular, theater owners blame the shrinking of the theatrical window — the period of time a new movie is held back from home video after its big screen debut — to roughly 45 days from the previously standard 90 days. Audiences know they don’t have to wait long before a new movie becomes available in their living room. That encourages them to save their money for only the biggest, Imax-worthy spectacles. The growing influence of Imax and premium large format screening may exacerbate that trend, as audiences choose between paying extra for a better “experience,” or just waiting to see “F1 The Movie” on their couch.

There were plenty of sequels and reboots, but those often performed worse than prior installments, indicating that audiences were less enthusiastic about seeing another Marvel movie or rampaging dino feature. “Jurassic World: Rebirth” made $861 million globally, which was big, but still the series’ smallest outing since 2001’s “Jurassic Park III.” Warner Bros.’ “Superman” collected a healthy $614 million, but that was still less than 2013’s “Man of Steel” ($670 million).

Superheroes didn’t come flying to the rescue. Marvel’s “Thunderbolts” put up a modest $382 million while “The Fantastic Four: First Steps” opened strong but collapsed in subsequent weeks for a total of $511 million worldwide, a middling outcome for the Disney-owned comic book universe. No wonder studios are increasingly looking at video games as a source of intellectual property for movie adaptations, as my colleague Sam Masunaga recently wrote. After all, Generation Alpha’s list of favorite franchises is dominated by video game-related titles, according to a recent National Research Group report.

Another threat emerged as international audiences appeared to sour on some U.S. blockbusters. “Superman” and “Fantastic Four” grossed less abroad than they did at home, which is an unusual result for big-budget action flicks.

It’s not clear why, but some explanations have been floated. China is no longer the reliable source of revenue that it once was, as audiences increasingly favor local-language productions. Some speculate that America’s diminished standing abroad has contributed to audience fatigue. The quintessential Americanness of the Superman brand is also widely believed to be a factor in that film’s underperformance outside the U.S.

Original animation struggled, as Pixar fielded its worst opening weekend ever with “Elio.” To add insult to injury, Sony Pictures Animation’s “KPop Demon Hunters” became a cultural phenomenon, but only after first launching on Netflix.

The rest of the year has some major releases, but they’re not expected to bring the business back to full strength. September is usually a slow month for moviegoing, “Last Rites” notwithstanding. Disney’s “Zootopia 2,” Universal’s “Wicked: For Good” and James Cameron’s “Avatar: Fire and Ash” will probably do huge business. But while individual films can do well, the overall picture isn’t so rosy.

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Artificial intelligence company Anthropic agreed to pay $1.5 billion to authors and publishers to settle a lawsuit that accused the company of illegally using written work to train its chatbot Claude.

The topline figure is the largest known settlement for a copyright case, equating to $3,000 per work for an estimated 500,000 books, The Times’ Queenie Wong reported.

But the case was not an outright win for authors worried about AI being trained on their published material. Far from it.

U.S. District Judge William Alsup of San Francisco ruled in June that Anthropic’s use of the books to train the AI models constituted “fair use,” meaning it wasn’t illegal. Fair use is a doctrine that allows for the limited use of copyrighted materials without permission in certain cases, such as teaching, criticism and news reporting. It’s an essential part of AI companies’ defense against copyright infringement claims.

The real problem for Anthropic was that the startup had illegally downloaded millions of books through online libraries. So the piracy was the true sin in this case, not the training of AI on books without permission.

Anthropic pirated at least 7 million books from Books3, Library Genesis and Pirate Library Mirror, online libraries containing unauthorized copies of copyrighted books, to train its software, according to the judge. However, it also bought millions of print copies in bulk and scanned them into digital and machine-readable forms, which Alsup found to be in the bounds of fair use.

Film shoots

Finally …

Listen: Zach Top’s “Ain’t in It for My Health,” for throwback country goodness.

Read: Amy Nicholson’s review of “The Wizard of Oz” at Sphere in Las Vegas.

It was bound to happen sometime. This year, the most important Hollywood movie of the key summer season didn’t start its quest for world domination in movie theaters. It came out on Netflix.

“KPop Demon Hunters,” the cartoon musical about a girl group using catchy tunes to keep evil at bay, has become a viral phenomenon since it launched on the streamer June 20. With 210 million views globally so far, it’s the most watched animated movie ever on Netflix, and is expected to soon top “Red Notice” as the company’s most popular film.

That should be no surprise at this point. Unlike many previous widely watched Netflix movies, “KPop” — produced by Culver City-based Sony Pictures Animation — has penetrated the cultural zeitgeist, leading to gushing from millennial parents’ group chats including mine, chart-topping songs and, of course, memes galore.

To keep the momentum going, Netflix took the unusual step of putting the movie in theaters weeks after its streaming debut.

“KPop Demon Hunters” sing-along screenings played in more than 1,750 locations domestically to packed houses, with more than 1,150 sold-out showings, though it did not play in AMC cineplexes. It was the No. 1 movie in theaters, scoring in the ballpark of $18 million in ticket sales, according to industry sources, enough to top the third weekend of Zach Cregger’s horror hit “Weapons.” Netflix released the sing-along version of “KPop Demon Hunters” for streaming on Monday.

Netflix, as is its typical practice, did not report actual box office grosses, so the counts for its first No. 1 box office hit aren’t official. Nonetheless, theater operators were clearly relieved to have the movie, even if for only two days. The August box office doldrums are in full swing, with little to cheer about from the traditional studios.

The summer blockbuster season is expected to end with about $3.5 billion in total revenue from the first weekend of May through Labor Day, according to analysts, which would be either roughly flat or slightly down from last year’s thin slate. More than $4 billion is considered normal or healthy by pre-pandemic standards.

The biggest hit this summer was Disney’s “Lilo & Stitch,” a live-action remake that collected $422 million in the U.S. and Canada and more than $1 billion globally. Last summer, two movies topped $600 million: Pixar’s “Inside Out 2” and Marvel’s “Deadpool & Wolverine,” both of which were Disney titles.

Netflix has had a tense relationship with the theatrical business since it first got into making movies. The company puts movies in cinemas for limited runs as part of marketing efforts, awards campaigns and as a way to appease filmmakers who prefer the big-screen experience. Co-Chief Executive Ted Sarandos earlier this year called the theatrical business “outdated” for most people, citing weak box office numbers after the COVID-19 closures.

Indeed, theatrical attendance has shrunk even more than the top-line revenue figures suggest, with shortfalls partly papered over by increases in ticket prices over the years.

When Scott Stuber ran Netflix’s film business, he pushed the company to do more with theaters because auteur directors wanted it. The film side is now run by Dan Lin.

People who advocate for the multiplex keep hoping that some event will persuade Netflix that its theory is wrong — that something like the “KPop Demon Hunters” screenings or next year’s Imax rollout for Greta Gerwig’s upcoming “Narnia” project will prove that Sarandos is mistaken and theatrical windows will actually benefit Netflix beyond using them as promotional ploys.

Rivals say their movies do better on streaming services when they’re already theatrical hits, a theme repeated by the new owners of Paramount who are trying to grow their direct-to-consumer business.

But if anything, Netflix is digging in.

The company sees the success of “KPop,” along with the recent release of “Happy Gilmore 2,” as proof that movies can resonate culturally without theaters and the massive advertising budgets necessary to open a film on 4,000 domestic screens. The Adam Sandler-starring sequel scored 46.7 million views in its first three days on the service and set a Nielsen record for the most-watched streaming movie in a single week.

Netflix has long faced skepticism from Hollywood over its film business, which can put up big viewership with movies like “Red Notice” and “The Adam Project” that seem to vanish from audiences’ consciousness without a trace.

We kind of already knew that movies, particularly animated musicals aimed at kids, could find a big audience online without being a theatrical smash. “Encanto,” released in November 2021 during the pandemic and the Bob Chapek era, did paltry box office by modern Disney standards but became a phenomenon when its Lin-Manuel Miranda-penned songs took off on social media.

When kids latch onto something, they watch it repeatedly, and they don’t care if it’s been in theaters or not. If the movie is good and relevant to them, it can work regardless of the release strategy.

Would “KPop Demon Hunters” have worked if it had been released in theaters exclusively? Who knows. If it had opened to modest box office results, as animated original movies tend to do lately, it would have immediately been written off as a disappointment. Instead, it stayed on the Netflix top 10 lists for weeks and climbed the Nielsen rankings because of word of mouth.

Part of its success is that the movie feels very “now,” whereas animated films sometimes aim for timelessness. It’s culturally specific, with universal themes (friendship and young people’s need to belong) that have powered Disney blockbusters for decades. A colleague of mine aptly described it as a sort of “Buffy the Vampire Slayer” meets “Frozen.” Its music is current and rides the wave of everything influenced by South Korean pop culture.

Will it have the enduring influence of the “Frozen” franchise or “Moana,” movies that started primarily as properties for girls but became touchstones for a broader audience? Perhaps not, but it does give Netflix another data point to validate its streaming movie strategy.

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Even $3-trillion Apple isn’t immune to streaming inflation.

Apple TV+, home of series including “The Studio” and “Ted Lasso,” is raising its subscription price by $3 to $12.99 a month, following the lead of other streamers chasing better returns.

Finally …

Read: I’m listening to the audiobook of Blink-182 bassist Mark Hoppus’ “Fahrenheit-182.” A must for this San Diego native.

Movies from India’s prolific film industry have found success on the world stage before.

“RRR,” an over-the-top Telugu-language action film, energized audiences in the U.S. and elsewhere a few years ago, even scoring a history-making Oscar for its original song “Naatu Naatu.” Hindi screenings have long drawn crowds to American multiplexes.

But the filmmakers behind “Ramayana” — an upcoming two-part epic based on one of the most important ancient texts in Hinduism — have something more ambitious in mind.

The massive productions — each estimated to cost $200 million to $250 million — are aimed not merely at an Indian audience, nor are they meant to appeal primarily to Hindus, who number an estimated 1.2 billion globally, according to Pew Research Center.

Rather, the goal is to turn “Ramayana,” with its grand-scale adventure story and high-tech computer-generated effects, into a full-blown international blockbuster, filmed specifically for Imax’s giant screens in what is intended to be the largest-ever rollout for an Indian film, according to its backers.

Executive Namit Malhotra — who is financing and producing the project through his firm Prime Focus — set the bar high in a recent interview with The Times, comparing his film to the likes of James Cameron’s “Avatar,” Ridley Scott’s “Gladiator” and the movies of Christopher Nolan.

While Hollywood studio bosses talk about reaching all four demographic “quadrants” (men and women, young and old) with their tentpole movies, Malhotra wants to draw two additional categories: believer and nonbeliever. For such a so-called six-quadrant movie to work, to use Malhotra’s terminology, it would have to succeed in the U.S.

“In my mind, if people in the West don’t like it, I consider that as a failure,” Malhotra told The Times recently. “It is meant for the world. So if you don’t like it, shame on me. We should have done a better job.”

Poster art for the upcoming film ‘Ramayana.’

(DNEG)

It’s a major gamble for Malhotra, who founded Prime Focus in Mumbai in 1997. The firm expanded significantly when it acquired British effects house Double Negative, and rebranded as DNEG. Malhotra owns nearly 68% of the parent company, Prime Focus Ltd.

He’s going to great lengths to make sure his big bet pays off. DNEG, headquartered in London with offices in India, Los Angeles and elsewhere, is handling the visuals. The firm has produced special effects for global studio features for years, creating Oscar-winning work for such movies as Denis Villeneuve’s “Dune: Part Two” and Nolan’s “Tenet.”

“Ramayana” is directed by Nitesh Tiwari, the man behind 2016’s “Dangal,” the highest-grossing Bollywood film ever, including huge sales in China. Hans Zimmer and prolific Indian musician-composer A.R. Rahman (“Slumdog Millionaire”) are collaborating on the score, while the visual effects and production design team includes veterans from “Mad Max: Fury Road,” “Avengers: Endgame” and the “Lord of the Rings” franchise.

The success of “RRR,” which told the story of two Indian legends with larger-than-life abilities fighting British imperialism, is one reason Malhotra is confident that “Ramayana” might connect with Westerners more familiar with the Bible and “The Odyssey” (the subject of a much-hyped 2026 Nolan film) than with Hindu mythology. U.S. cinephiles have in the past embraced mythical Asia-set films such as Ang Lee’s “Crouching Tiger, Hidden Dragon” and “Life of Pi.”

So why not “Ramayana?”

After all, family, good vs. evil and personal striving are all key themes that transcend national borders.

“Emotions are universal,” said Tiwari in a video call. “If the audience connects with you emotionally, I think they will connect with the whole story. Emotions have powers to travel across boundaries.”

Filmed entirely on soundstages, the first part of “Ramayana” is scheduled to hit theaters next year, with a significant push from Imax. “Part 2,” currently in production, is planned for 2027. Each part is timed for Diwali, the Hindu festival of lights. The films do not yet have a U.S. distributor.

This comes as Imax has beefed up its clout as what is increasingly seen as a linchpin component for the release of big-screen movies, not just for Hollywood spectacles but also, lately, for local language films. Imax showcased just a handful of Indian movies on its screens in 2019, according to Chief Executive Richard Gelfond. Last year, the company played 15.

So far this year, international films made in their local language have accounted for more than 30% of Imax’s total global box office revenue, Gelfond said. Much of that tally came from “Ne Zha 2,” a Chinese-produced animated film that grossed roughly $2 billion worldwide, mostly from its home country.

As such, Gelfond has high hopes for “Ramayana.” “Judging from what we’ve seen, this has all the elements to be a global success,” Gelfond said.

At its core, “Ramayana,” based on the epic poem from thousands of years ago, tells the story of Hindu deity Rama, an incarnation of the god Vishnu, and his quest to rescue his love Sita from the demon king Ravana.

A three-minute teaser trailer introduced the concept, emphasizing the big names attached (including actors Ranbir Kapoor as Rama, Sai Pallavi as Sita and Yash as Ravana), displaying some “Game of Thrones” opening credits-style visuals and conveying the tale’s historical importance. “Our truth. Our history,” reads the onscreen text. The video has 9.4 million views on YouTube.

“Ramayana” is a quintessentially Indian story. It has been adapted for stage and screen before, perhaps most notably as a series for Indian TV in the late 1980s.

For the new version, Malhotra wants to eliminate any language barriers. DNEG is using syncing technology from its Brahma AI unit to seamlessly present the film in local languages for international audiences. In the U.S., for example, the movie will screen in English.

“It’s a global film from the day we start,” he said. “I’m not trying to make it to appease Indian people in India. … If you go and watch ‘Ramayana’ and your family watches it, and people in India watch it, what’s the difference? It should speak to you like any other film.”

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Airing election misinformation continues to be expensive for cable news networks.

Newsmax will pay $67 million to settle a defamation suit filed by Dominion Voting Systems over false claims about voter fraud in the 2020 election that aired on the right-wing news channel.

The network announced the settlement with the voting equipment maker Monday but did not apologize for its reporting.

Fox News settled a similar case with Dominion in 2023 for $787.5 million after it aired incorrect election claims. Newsmax is much smaller than Fox, which continues to battle a lawsuit from another voting machine company, Smartmatic.

Streaming is getting closer to another major milestone. According to Nielsen’s the Gauge report, streaming services accounted for 47.3% of U.S. TV usage in July, compared with 22% for cable and 18.4% for broadcast. That’s what happens when there’s new “Squid Game” on Netflix and there’s not much on regular TV.

Finally …

Listen: No Joy, “Bugland.” Excellent ’90s-style rock.

It’s been a dramatic couple of weeks in the wide world of sports rights, as media companies locked down a slew of deals that remake the way that fans watch their favorite athletic competitions.

On Monday came a big one: David Ellison, the new owner of Paramount, came into the ring punching hard with a $7.7-billion deal for the streaming and TV rights to UFC matches. In the seven-year pact with UFC owner TKO Group Holdings, the Ellison-led Paramount will pay an average of $1.1 billion annually — about twice what Walt Disney Co. was paying to air the mixed martial arts league on ESPN.

It’s a signal that Ellison is willing to spend big bucks on content that he and his fresh executive team think will make Paramount+ a more formidable competitor to Netflix, Amazon’s Prime Video, HBO Max and others. Paramount+ will have the rights to stream 13 marquee “numbered” UFC events and 30 fight nights, while certain numbered events will be simulcast on the company’s broadcast network, CBS.

Now those sightings of the tech scion-turned Hollywood mogul speaking with President Trump at UFC fights make even more sense, as do Ellison and Paramount’s recent peripheral dealings with superagent Ari Emanuel, TKO’s executive chair. In a key part of the deal, UFC will move away from showcasing fights through its pay-per-view model, which should dramatically increase the reach of a sport with strong appeal among young men.

The deal is also the latest sign that the streaming wars are far from over, at least when it comes to sports broadcasts. Last week, the NFL inked a deal to take a 10% stake in ESPN as part of a complex arrangement that will give Bob Iger-led Disney control of the NFL cable properties, including the NFL Network and the linear RedZone channel. The ESPN stake is estimated to be worth more than $2 billion.

This highly anticipated blockbuster deal further aligns the financial interests of the most powerful TV sports brand with what is by far the nation’s most popular sports league, which accounts for the vast majority of most-watched programs every year. The agreement is part of Iger and ESPN chair Jimmy Pitaro’s strategy to bulk up the content offering available through the network’s upcoming stand-alone streaming service, which will cost $30 a month when it launches later this month.

Separately, ESPN is staying in business with TKO, having agreed to pay $1.6 billion over five years to stream WWE events including WrestleMania, Royal Rumble and SummerSlam. Analysts say that should ease some of the pain of losing UFC to Ellison and Paramount. The WWE events are moving to ESPN’s service from their current streaming home, NBCUniversal’s Peacock. Disney’s fees will be nearly twice those of NBCUniversal.

Disney will use the new ESPN service to make its wider streaming offering more attractive, bundling it with Disney+ and Hulu.

All this is happening amid a broader overhauling of the sports media landscape in the streaming age that has made life more confusing for fans as fewer people subscribe to all-in-one cable and satellite TV bundles.

NFL games, for example, run on a broad array of streaming services, including Paramount+, Prime Video (for Thursday night games), and, in the case of Christmas Day matchups, Netflix. The league, which has significant leverage, is widely expected to exercise its option to renegotiate media rights deals starting in 2029.

Apple is expected to win the rights to Formula One racing telecasts, adding to its sports portfolio that includes MLB games and Major League Soccer. The NBA last year got itself a big pay bump, securing media rights deals with NBCUniversal, Amazon and Disney worth $77 billion over 11 years.

As these shifts take place, the media industry is about to go through a major test: How many people are willing to pay for a lot of — but not all — the sports content they want to watch, and what will they be willing to fork over?

The entertainment and media companies say they are aiming these services at cord-cutters and cord-nevers, people who don’t pay for a more-or-less traditional package of TV channels but still want to watch sports.

The question is whether such people actually exist.

Despite its branding power and its significant share of sports rights, ESPN’s direct-to-consumer app will have limited appeal. Many analysts estimate that the offering will attract 2 million subscribers in the short term.

For most of the kind of dedicated sports fans who might be interested in streaming ESPN, a digital bundle such as YouTube TV ($83 a month) probably makes more sense than cobbling together individual brands.

Recognizing the limitations, the media companies are taking another stab at consolidating their sports streaming offerings at a discount. On Monday, Disney and Fox Corp. said they would offer a bundle of the ESPN streamer and the new Fox One — which includes live sports, news and entertainment — for $40 a month. On its own, Fox One will be priced at $20 a month.

A previous attempt at a more inclusive offering — a proposed joint venture called Venu Sports from Disney, Fox and Warner Bros. Discovery — was abandoned after a federal judge granted a preliminary injunction against the media giants in an antitrust lawsuit from FuboTV. The saga ended up with Disney making a deal to take a 70% stake in Fubo and merge it with its Hulu Live TV service.

But the question for all services and mini-bundles remains the same: Who are they really for?

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Filmmaker Zach Cregger won the weekend with his acclaimed new horror movie “Weapons,” which topped expectations with $43.5 million in ticket sales through Sunday in the U.S. and Canada.

Cregger’s follow-up to his surprise hit “Barbarian” is the latest win for Warner Bros., marking six successful openings in a row (after “A Minecraft Movie,” “Sinners,” “Final Destination Bloodlines,” “F1 the Movie” and “Superman”). Not bad, considering the studio’s leaders were rumored to be on the chopping block earlier this year.

Doing solid business was Disney’s “Freakier Friday,” a body-swap comedy sequel reuniting Jamie Lee Curtis and Lindsay Lohan more than 20 years after the first one, itself a remake of a 1976 movie. The new installment opened with $28.6 million domestically.

After this and “The Naked Gun,” I’m certainly not going to declare that Hollywood big-screen comedies are back, but the genre is not completely lost either, as long as there’s intellectual property attached.

Finally …

Watch: Marc Maron has a new HBO stand-up special, “Panicked.” As always, it’s funny, acerbic, insightful and sometimes deep.

Listen: On Aug. 14, the estate of Woody Guthrie will release a collection of home recordings, including a version of “This Land Is Your Land” and his take on “Deportee.” Absolutely fascinating.

The Avengers will soon be assembling for a much younger demographic.

Disney Jr. plans to expand its collaboration with Marvel, announcing a new series launching in 2027 titled “Marvel’s Avengers: Mightiest Friends.” It’s a partnership that began in 2021 when Disney Jr. premiered “Spidey and His Amazing Friends,” the first full-length Marvel preschool series, and has expanded to include the upcoming “Iron Man and His Awesome Friends.”

“Disney Jr. are the pros at this age group,” says Brad Winderbaum, head of Marvel Studios television and animation. “‘Spidey and His Amazing Friends’ was our first shot at giving little kids a front-row seat to the Marvel Universe.”

Currently in its fourth season with two additional seasons already greenlit, “Spidey” has been wildly successful. It’s the first Disney Jr. series to run for more than five seasons and is the second most popular streaming series (after “Bluey”) for children ages 2 to 5, according to Nielsen.

“The success of ‘Spidey’ really confirmed we were onto something and proved the demand for superhero stories designed specifically for this age group,” says Alyssa Sapire, head of original programming and strategy at Disney Jr. “It fueled this broader strategy with Disney Jr. and Marvel.”

There’s the Marvel Cinematic Universe (MCU) and now there will be the Marvel Preschool Universe. “Marvel’s Avengers: Mightiest Friends” will feature kid versions of all the MCU characters including Spidey, Iron Man, Captain America, Hulk, Black Panther, Thor and, for the first time, Black Widow. “Avengers are the ultimate learning to play nice story,” Winderbaum says. “It’s endless fun to watch Thor, Widow, Hulk and Cap learn about teamwork. That’s always a fundamental lesson for that group whether it’s in the features or the animated shows.”

Young viewers will get a sneak peek of what’s to come with two “Marvel’s Spidey and Iron Man: Avengers Team Up!” specials. The first 22-minute special premieres Oct. 16 and finds Spidey, Iron Man and all the Avengers stopping Ultron and Green Goblin from their nefarious plans. Another special, this one Halloween-themed, will debut in fall 2026.

“These characters are so timeless and have appealed to audiences across generations,” says Harrison Wilcox, who executive produces all the Marvel preschool series. “What is most important to us is to tell fun, relatable, positive stories that families can enjoy together.”

To that end, next up for Disney Jr. and Marvel is “Iron Man and His Awesome Friends” which will premiere Aug. 11 on Disney Jr. and stream on Disney+ on Aug. 12. Tony Stark and his alter ego, Iron Man, were the natural choice for the next MCU character to get the preschool treatment. “‘Iron Man’ was the film that launched our studio,” Winderbaum says. “We love the idea that a young audience who wasn’t around in 2008 can be introduced to Marvel through a character at the core of Marvel history.”

This series finds Tony Stark (Iron Man) and his best friends Riri Williams (Ironheart) and Amadeus Cho (Iron Hulk) working together to solve problems, like a villain intent on stealing everyone’s toys.

“Tony Stark is very relatable and aspirational,” says Wilcox. “He didn’t stop until he found a way to protect the entire universe. We wanted three kids that were distinct from each other but also shared some certain qualities. They’re all very intelligent. They’re all tech savvy. They all want to use their brains to make the world better.”

The trio works out of Iron Quarters (IQ) with Vision as their de facto supervisor. “We thought it would be nice to have someone who could sort of act as the caretaker of our kids,” Wilcox says of including the beloved android in the series. “We wanted our audience to know that these characters were loved and supported. Even though they have superpowers, someone’s looking out for them.”

Each superhero also brings something new for the young audience to connect to. One thing that will separate the upcoming “Iron Man” series from “Spidey” is that Iron Man doesn’t have a secret identity. Everyone knows Tony Stark is Iron Man. “We saw there was this differentiation we could really lean into,” Sapire says. “They’re real kids who use their ingenuity and smarts for the good of the community.”

When bringing these characters to the under 5 set, every detail matters. “Even in this Marvel superhero space, we’re always tapping into that preschool experience,” Sapire says. “We take the responsibility to entertain naturally curious preschoolers very seriously. When we have their attention, we want to honor that time with them with stories that inspire their imaginations and bring that sense of joy and optimism.”

They approach the legendary Marvel villains with care as well. “Iron Man” features Ultron (voiced by Tony Hale), Swarm (Vanessa Bayer) and Absorbing Man (Talon Warburton). “You have to make sure the villain is not sympathetic,” Wilcox says. “But also not frightening. We rely heavily on our partners at Disney Jr. for that and their educational resource group, which provides us a lot of feedback to make sure our preschool audience is engaged in the story and they feel the stakes of the story, but they are still watching in a comfortable space.”

While all the series remain true to the overall MCU, they don’t get too tied up in what is and isn’t canon. “These shows are about what makes each character tick, more than the lore that surrounds them,” Winderbaum explains.

And, like in the movies, the superheroes will make mistakes. “Marvel does not put their characters up on a pedestal,” Wilcox says. “We want our characters to reflect real people in the real world. So that’s always been important to us is that there’s a certain level of relatability. Everyone can see a part of themselves in a Marvel hero and learn and grow just like our characters do.”

As a deep-pocketed producer, David Ellison helped breathe new life into Paramount franchises including “Mission: Impossible,” “Star Trek” and “Top Gun.”

But can the high-flying son of a billionaire make a full-fledged media company airworthy again? Can he use Silicon Valley money and movie business know-how to restore the legacy of one of the entertainment industry’s original studios, following a deal clinched through an act of political appeasement?

Those are the questions Hollywood talent, studio rivals and insiders will be asking as Ellison takes the controls of the new Paramount, after regulators finally approved the long-awaited $8-billion merger with his Santa Monica production company Skydance Media. The deal — two years in the making, and approved by the FCC only after a $16-million settlement with Trump and promises to mindwipe any trace of DEI from the company — is expected to close Aug. 7.

After that, Ellison, backed in large part by his father, Oracle Corp. co-founder Larry Ellison, will bring in his own team to face the daunting challenges.

Chris McCarthy, the architect of Paramount’s recent streaming strategy, is out. Paramount Pictures and Nickelodeon head Brian Robbins is also expected to exit while CBS chief George Cheeks is staying. The incoming management team includes former NBCUniversal Chief Executive Jeff Shell, who is currently a heavyweight at Ellison’s bidding partner RedBird Capital.

Skydance Chief Creative Officer Dana Goldberg will run the film studio, and former Netflix executive Cindy Holland will play a major role at the new company. Also joining is Sony Pictures movie executive Josh Greenstein.

This may be a different team from the one that labored under outgoing controlling shareholder Shari Redstone, but it’ll be contending with most of the same problems.

Paramount is dogged by issues buffeting all legacy media companies, including the decline of traditional TV ratings, the post-COVID-19 realignment of the theatrical box office and the escalating costs of sports rights, as my colleague Stephen Battaglio and I reported last week. Those difficulties were exacerbated at Paramount by chronic underinvestment and years of shambolic leadership, as corporate governance experts have long pointed out.

Ellison has direct experience with movies, having produced many of them, including some of Paramount’s biggest hits (as well as some notable flops). He’s less steeped in running TV channels and streaming services, which have urgent needs. The scion is also coming in to make good on a promise to investors: to find $2 billion in cost cutting, which will mean layoffs and disruption.

Paramount+ has been growing, thanks in part to the NFL, CBS shows and a run of original hits including “Landman,” “1923” and “Tulsa King.” But the service has lost money for years, and the app is clunky. (It’s expected to reach full-year U.S. profitability in 2025.) McCarthy spent big bucks on talent, including Taylor Sheridan and the creators of “South Park,” enough to make Matt Stone and Trey Parker billionaires, according to Forbes.

Analysts say the service will need substantial investment in content and technology to make it competitive while also partnering with other companies to increase its reach through discounted bundles and other initiatives.

The new owners will have to decide what to do with the cable channel business, which includes such eroding brands as MTV, BET and Comedy Central.

Many observers tend to assume Ellison will eventually spin those off, following the lead of NBCUniversal and Warner Bros. Discovery. In a sadly comical reminder of what can happen with a merger gone wrong, David Zaslav’s Warner Bros. Discovery on Monday announced that the two companies resulting from its pending breakup will be called — wait for it — Warner Bros. and Discovery Global.

TD Cowen analyst Doug Cruetz, in a recent note to clients, speculated that Ellison didn’t buy the Paramount assets just to “break it up for parts.”

We’ll see.

Another looming and potentially costly issue is the NFL’s relationship with CBS Sports. The change of control will trigger an early renegotiation of Paramount’s contract with the league once the transaction closes. That’s important because the NFL has significant leverage in dealmaking, considering that its games account for the vast majority of most-watched programming on television.

Ellison has promised to bring technological enhancements to Paramount. That would mean a more functional app for Paramount+ and an improved personalized recommendation system. It might mean using tech to make movies cheaper and faster. A year ago, Ellison noted a partnership between Skydance Animation and Oracle to build a so-called studio in the cloud. What technology can’t do is pick the movies people want to see, and that’s where the new leadership group will have to prove themselves.

But the biggest hurdle will be overcoming the stain covering the deal itself after the concessions required to get it over the finish line.

Paramount paid a substantial sum to make peace with President Trump, who had sued the company over CBS News’ “60 Minutes” interview with his 2024 election rival, then-Vice President Kamala Harris. The case was frivolous, 1st Amendment experts said. But the Redstone family and the Ellisons were desperate to get the deal done. As a result, the new company is starting off on a crooked foundation, as one Hollywood insider put it to me.

Stephen Colbert, speaking on “The Late Show,” called Paramount’s settlement a “big fat bribe.” Days later, he learned that his show would be ending in May. Even assuming the company told the truth in saying that the cancellation was a purely financial decision (i.e., the show was too expensive and it was losing money), the optics were bad.

Comedians responded the way comedians do. The “South Park” team, having secured a $1.5 billion deal to bring the long-running animated series to Paramount+, opened their 27th season with, effectively, a pair of middle fingers raised to Trump and their parent company.

The show depicted a flapping-headed cartoon Trump in bed with Satan, similar to its past portrayal of Saddam Hussein, and ended with an AI-generated PSA showing the president wandering the desert and stripping naked, revealing tiny, talking genitalia.

The Trump settlement cast a pall over whatever plans Ellison has. CBS News lost key figures in part due to Paramount’s push to reach a peace accord with the president (Tanya Simon being named to run “60 Minutes” is seen as a relief). But whatever you say about the corporate behind-the-scenes machinations that took place to make the deal happen, you can’t say the artists have lost their spine.

Stuff we wrote

Number of the week

In a return to form for Walt Disney Co.’s Marvel Studios, “The Fantastic Four: First Steps” opened with a robust $118 million in the U.S. and Canada and $218 million globally, according to studio estimates, slightly outperforming prerelease projections.

This comes after middling results and poor reviews for “Captain America: Brave New World” and tepid sales (but better reviews) for “Thunderbolts*.” Last summer’s “Deadpool & Wolverine” was a $1.34-billion hit.

Like Deadpool and Wolverine, the Fantastic Four — known as Marvel’s first family — came to Disney through the company’s acquisition of 21st Century Fox entertainment assets. Fox made three “Fantastic Four” movies, all bad. “First Steps” earned mostly positive reviews from critics and fans (88% on Rotten Tomatoes; “A-” from CinemaScore).

The $218-million global opening weekend was similar to that of James Gunn’s DC reboot “Superman,” released earlier this month. That film just crossed the $500 million box office milestone, with a strong $289 million domestically and a less-impressive $213 million overseas.

Theaters have been on a winning streak this summer. So far this year, ticket sales are up 12% from 2024, according to Comscore. But the rest of the season looks thin. Next weekend features Paramount’s “The Naked Gun,” Universal’s animated “Bad Guys 2” and Neon’s Sundance horror breakout “Together,” starring real-life couple Dave Franco and Alison Brie.

Finally …

One marker of a great artist is the number and diversity of musicians who take inspiration from their work. And Ozzy Osbourne, the Black Sabbath frontman who died last week, had plenty of admirers who covered his songs.

The Times’ Mikael Wood already rounded up the Prince of Darkness’ 10 essential tracks. Here are some of the best covers, with help from Rolling Stone and Loudwire.

SAN DIEGO — Over the years, Hall H at San Diego Comic-Con has built a reputation — and an expectation — as the room where Hollywood juggernauts in attendance at the annual pop culture extravaganza unveil exclusive footage, break news and share behind-the-scenes stories with devoted fans, who often spend hours in line just for a chance to make it through the doors.

It’s not surprising, then, that headlines going into this year’s Comic-Con, which concludes Sunday, carried an air of disappointment about the absence of Marvel and other major film studios from Hall H’s programming schedule — even if 2025 is not the first time Marvel and others have sat out Comic-Con for one reason or another.

But for many fans in attendance, the news merited little more than a shrug.

Hector Guzman, who along with his friend Joaquin Horas made the trip from Los Angeles, acknowledged that the Hall H slate “felt a little bit different this year” with no Marvel Studios panel.

But “there’s still a wide presence of Marvel,” he added. “The ‘Fantastic Four’ movie that just came out — we’ve been seeing a heavy push on that this year.”

Guzman and Horas had spent a little over an hour in the Hall H line Friday afternoon trying to make it to the “Tron: Ares” panel before bailing, but they said that in their three years of attending the event, Hall H usually isn’t on their itinerary.

“If it’s interesting to us, we’ll give it a shot, and if it’s not, then there’s always plenty of other events and stuff going around [the convention],” said Horas. He and Guzman explained that they are generally more interested in exclusive merchandise, custom works by artists and getting together with their friends in cosplay.

Other attendees like Jennifer Moore and Sam Moore of British Columbia, Canada, took advantage of the absence of popular Hall H mainstays to get into Friday presentations they were excited about, including for “Alien: Earth” and “The Long Walk.”

“Last year was my first time [in Hall H],” said Jennifer Moore, who said they’d been attending the event for 10 years.

“Now [that] there’s no Marvel thing or DC thing, it’s pretty easy to get in,” said Sam Moore. “We’ve just been doing walk-ins [for Hall H] this year.”

That’s not to say Hall H was entirely without spectacle: Highlights included an ensemble of bagpipers performing “Scotland the Brave,” a dazzling laser light show, the world premiere of the “Alien” franchise’s first ever television series and an appearance by “Star Wars” filmmaker George Lucas to promote the Lucas Museum of Narrative Art.

A look inside the “Tron: Ares” Hall H panel at Comic-Con.

(Richard Shotwell / Invision / AP)

And although the Comic-Con experience has grown beyond the walls of the San Diego Convention Center, with immersive experiences and pop-ups spilling into the city’s Gaslamp Quarter and the Embarcadero, Hall H remains a venerated programming space for panelists and attendees alike.

“I want to give people the experience that they bought their tickets for to come here,” said Noah Hawley, the creator of “Alien: Earth” before the upcoming FX series’ Hall H presentation on Friday. “I was surprised the first time I came to Comic-Con, how emotional it is for the people who attend. There’s a lot of people for whom [361] days a year, they have to pretend to be somebody else. These [four] days of the year, they get to be who they really feel like they are on the inside.”

The Moores were among those who were able to make it into Hall H without much of a wait on Friday morning. But by Friday afternoon, the line had grown much longer in anticipation for later panels, which included capacity crowds. Other big draws included anime franchise entry “Demon Slayer: Kimetsu no Yaiba Infinity Castle” and DC Studios co-chief James Gunn, who received an ovation for the success of his recent “Superman” reboot while presenting the second season of the John Cena series “Peacemaker.”

Even those who were attending Comic-Con to promote their own projects couldn’t hold in their excitement for anime juggernaut “Demon Slayer.” Besides the Hall H, panel ads promoting the upcoming movie — which has already broken attendance records in Japan — adorned a nearby hotel and the trains of the Trolley.

“There is a part of me that just wants to be out with the fans in my Tanjiro outfit with the earrings with my daughter,” said actor Babou Ceesay of “Alien: Earth,” referencing the young warrior with a gentle heart at the center of “Demon Slayer.”

The growth of anime and animation programming at Comic-Con and inside Hall H is a reminder that the convention is best understood as a reflection of ongoing shifts in nerd culture and fandom. Having evolved from a gathering primarily for comic book collectors to a broader celebration of pop culture where blockbuster movies once had a stranglehold, Comic-Con may now be witnessing the loosening of comic book superhero films’ grip on the zeitgeist as a whole. Indeed, television has steadily increased its Comic-Con footprint for years. Studios and streamers have also been organizing their own promotional events, such as Disney’s D23 and Netflix’s Tudum, to build up buzz on their terms, too.

Plus, as fan Robbie Weber of Los Angeles reiterated, Comic-Con is more than just what happens in Hall H. When he first attended the event 11 years ago he was among those that camped out overnight in order to get into the hall, but this time around he skipped it, opting to explore activations and other panels instead.

“We saw [comic book writer] Jonathan Hickman [on Thursday],” said Weber. “We saw a friend on the “Primitive War” panel [on Friday], which was really cool. It was the first time I’ve been able to see a friend do something like that.”

For many, Comic-Con’s main draw remains how fans can freely celebrate their passions.

“Alien: Earth” actor Alex Lawther said it was nice to hear the excitement of the people around him on his San Diego-bound train as they reminisced about their past experiences and shared photos of their cosplay.

“I really get that intense enjoyment of something to the point where you want to walk down the street wearing the costumes,” he said.

It was clobberin’ time this weekend, as Marvel’s “The Fantastic Four: First Steps” nabbed the top spot at the box office with a performance that returned the Walt Disney Co.-owned superhero franchise to form.

The movie hauled in $118 million in the U.S. and Canada and grossed $218 million globally in its opening weekend. The film, which stars Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn, is just the latest remake of the comic book property, though the first under Walt Disney Co.’s ownership.

Formerly owned by 21st Century Fox, “The Fantastic Four” is one of several key intellectual properties now under the umbrella of the House of Mouse after its $71.3-billion acquisition of that studio’s entertainment assets in 2019.

Disney has already capitalized on its ownership of the “Deadpool” and “X-Men” properties — its 2024 film, “Deadpool & Wolverine,” garnered more than $1 billion in global box office revenue.

Fox produced and released three “Fantastic Four” movies, none of which were well-received by audiences or critics. A 2015 reboot was particularly reviled.

Quality was not an issue this time. The movie notched a 88% approval rating on aggregator Rotten Tomatoes and an “A-” grade from audience polling firm CinemaScore.

The movie exceeded pre-release estimates. “First Steps” was expected to gross $100 million to $110 million in its debut weekend, on a reported budget of about $200 million.

The theatrical reception for “The Fantastic Four” is a relief for Disney and Marvel, which has struggled in recent years to reap the box office earnings it once did with its superhero films.

The Anthony Mackie-led “Captain America: Brave New World” received middling reviews from critics and brought in about $415 million in global box office revenue. Ensemble movie “Thunderbolts*” received strong reviews, but made only $382 million worldwide.

Disney Chief Executive Bob Iger said earlier this year that the company “lost a little focus” in its zeal to produce more shows and movies for the Disney+ streaming platform, acknowledging that “quantity does not necessarily beget quality.”

“By consolidating a bit and having Marvel focus much more on their films, we believe it will result in better quality,” he said during an earnings call with analysts in May.

Anticipation was high for “The Fantastic Four,” and Disney went all out with the marketing. The company hired a skywriter to craft encircled 4’s in the sky near downtown Los Angeles on the day of the premiere and featured a drone show outside the Dorothy Chandler Pavilion after the showing.

“While Marvel films have settled into a fairly predictable core audience after multiple under-cooked films and streaming series in the post-’Avengers: Endgame’ era, the brand remains sturdy when the right film comes along,” Shawn Robbins, director of movie analytics at Fandango and founder of site Box Office Theory, wrote in a weekend theatrical forecast published Wednesday.

Warner Bros.’ DC Studios’ “Superman” came in second at the box office this weekend with a domestic total of $24.9 million for a worldwide gross so far of $503 million.

This story contains spoilers for “The Fantastic Four: First Steps.”

Marvel’s First Family has finally made its formal MCU debut, which means it’s time to engage in everyone’s favorite tradition: breaking down the movie’s post-credits teases to suss out what’s next.

Directed by “WandaVision” helmer Matt Shakman, “The Fantastic Four: First Steps” introduces audiences to Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Ben Grimm (Ebon Moss-Bachrach) and Johnny Storm (Joseph Quinn). The movie, which officially opens Friday, pits the quartet of superpowered astronauts against Galactus (Ralph Ineson), a cosmic entity with an insatiable hunger for planets.

As the title teases, “First Steps” marks the beginning of Phase 6 of the Marvel Cinematic Universe, which will culminate with a pair of massive “Avengers” crossover films.

Like most MCU installments, “The Fantastic Four: First Steps” features multiple post-credits stingers. The first, which is shown midway through the end credits, sets up the superhero team’s next big adventure.

The mid-credits scene takes place four years after the Fantastic Four’s showdown with Galactus. It shows Sue sitting on a couch, reading a story to her and Reed’s son, Franklin Richards. After finishing the book, she steps away to grab another, turning down robo-assistant H.E.R.B.I.E.’s suggested title. Sensing something is wrong, Sue starts charging her powers. She rounds the corner to check on Franklin and finds a mysterious cloaked figure interacting with her child.

While his face is not shown, his green cloak and the mask he is holding make it clear to fans familiar with their Marvel lore that this is Doctor Doom.

This marks the first appearance of the iconic villain in the MCU. The character, also known as Victor von Doom, made his comic book debut in “Fantastic Four” No. 5 (1962) and has been a foe of Marvel’s First Family ever since. In the comics, the character is both a scientific genius and a sorcerer hailing from the fictional country of Latveria. (The name of the country is briefly shown in “Fantastic Four: First Steps.”)

Sue Storm (Vanessa Kirby) and her son, Franklin (Ada Scott), in “The Fantastic Four: First Steps.”

(Marvel Studios)

Doom’s introduction into the MCU has been highly anticipated since Marvel Studios’ presentation last year at San Diego Comic-Con. Among the major announcements was that the fifth “Avengers” film had been retitled “Avengers: Doomsday” and that “Iron Man” actor Robert Downey Jr. would be returning to the franchise as Doctor Doom.

While Doom’s exact interest in Franklin is not revealed, it’s easy to assume that the child’s powers would be appealing to a supervillain. This encounter also hints at the reason why the Fantastic Four eventually make their way to the universe where the rest of the MCU heroes reside.

“First Steps” is set on Earth-828 — a tribute to “Fantastic Four” co-creator Jack Kirby, who was born Aug. 28, 1917 — a retrofuturistic world in a separate corner of the Marvel multiverse. But the “Thunderbolts*” post-credits scene shows the Fantastic Four’s spacecraft Excelsior appearing in their world on Earth-616. Could Doom have kidnapped young Franklin and taken him to an alternate universe? Whatever the reason, Samuel Sterns’ warning from the “Captain America: Brave New World” post-credits scene was apt: The multiverse is coming.

Fans might wonder how the “Fantastic Four” post-credits scene might have played out had the studio not altered its original plans to feature Kang the Conqueror as the franchise’s next big bad. In the comics Kang and Franklin are part of the same family tree so it’s easy to imagine him as the surprise interloper Sue sees. Either way, a magical nanny might have been helpful. (Marvel Studios pivoted from its original plan after Kang actor Jonathan Majors was convicted on assault and harassment charges in 2023.)

The second “Fantastic Four: First Steps” credits scene is shown after the full credits roll and serves more as a fun bonus and tribute to the eponymous superhero team’s animated past.

“Avengers: Doomsday,” hitting theaters Dec. 18, 2026, will be a massive MCU crossover featuring members of the Fantastic Four, the Thunderbolts/New Avengers and more. Confirmed “Doomsday” cast members include veteran “Avengers” stars Chris Hemsworth (Thor), Anthony Mackie (Sam Wilson/Captain America), Sebastian Stan (Bucky Barnes), Paul Rudd (Scott Lang/Ant-Man) and Tom Hiddleston (Loki), as well as Florence Pugh (Yelena Belova), David Harbour (Alexei Shostakov/Red Guardian), Lewis Pullman (Bob Reynolds), Wyatt Russell (John Walker) and Hannah John-Kamen (Ava Starr/Ghost).

Up next for the MCU is “Wonder Man,” a series starring Yahya Abdul-Mateen II that will debut on Disney+ in December. The next Phase 6 film is Marvel and Sony’s “Spider-Man: Brand New Day,” slated for a July 2026 release.

Laguna Verde in Bolivia is a breathtaking natural wonder, but the emerald-green waters of the lake hide a deadly secret – it is one of the most poisonous lakes in the world

Nestled amidst the rugged landscapes of Bolivia, Laguna Verde is a captivating sight to behold. However, beneath its enchanting emerald-green waters lies a lethal secret – it’s one of the most toxic lakes in the world. Situated at the base of the majestic Licancabur volcano within the Eduardo Avaroa Andean Fauna National Reserve, this remarkable lake resides over 4,300 meters above sea level.

The lake is heavily polluted with high levels of arsenic, copper, and other minerals, creating an environment too hostile for life to thrive. The distinctive green tint of the lake is attributed to the high concentration of dissolved copper which, when combined with arsenic, makes the water highly poisonous.

Yet, despite its perilous nature, Laguna Verde continues to attract adrenaline junkies and photographers, lured by its alien-like landscape. Depending on wind conditions and mineral disturbances in the water, the lake’s ethereal colour oscillates between shades of turquoise and deep green.

The lake’s toxicity stems from natural geological processes. Beneath Licancabur, volcanic activity has resulted in mineral-rich deposits leaking into the lake, forming a deadly mix of arsenic, lead, and sulphur, reports the Daily Star.

These harmful elements inhibit the growth of any substantial aquatic life. Even birds, commonly seen wading in Andean lakes, steer clear of Laguna Verde’s waters.

Scientists have been studying the lake’s harsh environment to gain insights into how life could survive in similar conditions elsewhere, such as on Mars.

The region’s extreme climate, high UV radiation and unique chemical composition offer invaluable knowledge for astrobiologists researching alien environments.

Despite Laguna Verde’s dangers, it continues to attract travellers who journey through Bolivia’s remote Altiplano region to marvel at its captivating colours.

Visitors are urged to appreciate the lake from a safe distance as contact with the water can be dangerous. The high altitude also presents risks, with many tourists suffering from altitude sickness if they’re not properly acclimatised.

Bolivia is a land of towering heights, holding the title for the highest country in South America and boasting the world’s highest capital city, La Paz, with about a third of the nation nestled within the Andes Mountains.

Licancabur Volcano, straddling the Bolivia-Chile border, is topped by a 400-500 metre wide summit crater. It’s considered potentially active, but SERNAGEOMIN rates it as low-risk and ranked it as the 68th most dangerous volcano in Chile in 2023.

No surprise, 2025 has been an eventful year so far in Hollywood.

In addition to the megahits and epic bombs at the box office, the entertainment industry has been roiled by chaotic forces.

The second Trump administration. The ongoing Blake Lively–Justin Baldoni legal saga. The federal trial of Sean “Diddy” Combs, resulting in a mixed verdict in which the hip-hop mogul was acquitted of the most serious charges — racketeering and sex trafficking. And of course, the devastating wildfires that ravaged the Los Angeles area, particularly Pacific Palisades and Altadena, back in January.

But in terms of the actual business of movies, TV and streaming, there’s plenty of serious stuff to dig into that could shape the future of entertainment — from streaming’s continued ascent, to Disney and Universal’s lawsuit against Midjourney, to the race for state tax credits to save California’s beleaguered production economy.

Here’s our Wide Shot midyear review, by the numbers.

The box office has been on a roller-coaster ride since the COVID-19 pandemic, with the release schedule feeling the effects of the industry’s broader retrenchment. Although the 2023 strikes that thinned out the release schedule are in the rearview mirror, the uncertainty has very much continued.

After a brutal first quarter (ouch, “Snow White”), sales have rebounded thanks to hits including “Minecraft,” “Sinners” and “F1,” with grosses reaching $4.43 billion so far domestically, according to Comscore. That’s up 15% from the same period last year, but still down 26% from 2019. Attendance is up 6.5% from 2024 with about 350 million tickets sold, according to Steve Buck at EntTelligence.

The challenges remain the same.

Studios struggle to draw crowds with much other than the biggest blockbusters and whatever they can convince Gen Z is an “event” movie. And the films themselves are so expensive that even big numbers don’t guarantee that an action spectacle with a robust audience will break even during its theatrical run. Even horror movies aren’t really low-budget anymore (see “Final Destination: Bloodlines” and “28 Years Later”).

After years of shortened theatrical windows, audiences know they can wait to see a new movie at home, often after just a few weeks. That’s why theater owners at the industry convention CinemaCon called on studios to commit to a longer standard gap between a movie’s theatrical release and its availability for home viewing. Meanwhile, audiences face ever longer preshows, with ads now playing between the trailers at AMC. With so much debt, the chain sure needs the money.

The slate for the rest of the year is lumpy.

July is looking strong after “Jurassic World Rebirth’s” $147-million Fourth of July weekend opening, with Warner Bros. and DC’s “Superman” reboot, and Disney and Marvel’s “The Fantastic Four: First Steps” hoping to reinvigorate the superhero genre. Prerelease tracking for “Superman” is all over the place, but an opening of $125 million is a fair target. “Fantastic Four” is poised for a debut in the ballpark of $100 million. But August is lacking in obvious hits. Maybe Paramount’s “The Naked Gun” will bring pure comedy back — but we’ll see.

Paramount caved, reaching a $16-million deal to settle President Trump’s lawsuit over CBS News’ “60 Minutes” interview with Kamala Harris. Trump declared victory over the “Fake News media,” while 1st Amendment advocates and journalists howled, fuming that the owner of one of TV’s most respected brands chose to buy peace rather than fight the case — widely considered frivolous — and stand up for press freedom.

There are still unanswered questions. In the aftermath of the deal, a source close to Trump‘s world said the president’s team is also anticipating millions of dollars in airtime for PSAs related to MAGA-friendly causes and antisemitism — an alleged side deal that Trump himself referenced after the fact. Paramount said its deal with the Trump team did not include PSAs.

In any event, Paramount’s leaders — not to mention its incoming owners at Skydance Media and RedBird — are eager to move on. David Ellison and Shari Redstone are now counting on the Federal Communications Commission to finally approve the $8-billion merger so they can get to work reshaping the storied entertainment firm.

Speaking of Paramount, one of the company’s biggest franchises is causing headaches for the new owners — and vice versa — as the company wrangles with the creators of “South Park” over the future of the long-running, foulmouthed cartoon.

Skydance balked at a proposed overall deal worth at least $2.5 billion for the “South Park” guys, Trey Parker and Matt Stone, sources have said. (Their current $900-million deal is still in place.) Separately, the two sides are trying to work out the streaming rights to the show. Paramount wants to run the episodes on Paramount+, but it also wants to share the rights (and the costs) with another streamer — perhaps the 300-plus episodes’ current home, HBO Max. The streaming rights are expected to fetch north of $200 million a year.

In Hollywood’s current era of downsizing, Skydance may have legitimate reasons to not want to overpay for a show entering its 27th season. But Parker and Stone still have leverage: Without “South Park,” the cupboard at Comedy Central is pretty bare.

Parker and Stone’s lawyers have gone to the mat, accusing David Ellison’s allies — namely former NBCUniversal boss and current RedBird executive Jeff Shell — of overstepping their authority in the negotiations. The “South Park” team expressed its displeasure in a way only the makers of Cartman and Kenny could. After Comedy Central announced a delay for the new season premiere, the show’s X profile tweeted a statement saying the Skydance deal was “a s—show and is f— up South Park.”

Hollywood got its long-sought lifeline from Sacramento, as Gov. Gavin Newsom signed into law a beefed-up film and television tax credit program, allocating $750 million annually for productions in the state.

That’s more than double the previous program, which was capped at $330 million a year. Shortly afterward, the state legislature passed a law to increase the tax credit to as much as 35% of qualified expenditures for movies and TV series shot in the Greater Los Angeles area — and up to 40% for productions shot outside the region. It also expanded the types of productions that could qualify.

California currently provides a 20% to 25% tax credit to offset qualified production expenses, such as money spent on film crews and building sets. The plan does not cover above-the-line expenses, such as actor and director salaries, which remains a disadvantage as California tries to compete with other states and countries. New York and Texas are both ramping up their own incentive programs.

The Golden State’s production economy has been devastated by competition. Boosting the tax incentives is one lever the state can pull to lure shoots back. There’s also been a push to overhaul red tape at the local level in Los Angeles. Whatever good all this does, it’s sure to be more effective than Trump’s now-largely forgotten call for tariffs on movies produced abroad.

Streaming hit a major symbolic milestone earlier this year, as television usage for YouTube, Netflix and their brethren overtook broadcast and cable for the first time in May, according to Nielsen. Streaming services combined to attract 44.8% of all TV set viewing, representing the largest share to date for direct-to-consumer platforms. Viewership for linear networks was just behind at 44.2%.

Nielsen’s regular viewership report — the Gauge — is a useful snapshot of the state of television today. Combined with the rapid decline of cable and satellite bundle subscriptions, the drop-off in viewing explains much of what’s going on at the legacy media companies.

Firms including Disney and Paramount are still cutting hundreds of jobs to adjust to the new realities. Warner Bros. Discovery — which has been on a yearslong quest to reduce its heavy debt load — said it will split its operations in two, cleaving the studios and streaming business from its global networks. That decision followed NBCUniversal’s move to spin off its cable nets into a new company called Versant.

Those plans are gambles. Cable networks are in decline, but they’re profitable. For most media companies, streaming is growing but has only just gotten into the black after years of losing billions.

Honorable mentions:

$417.5 million: Alcon Entertainment, the production company known for “The Blind Side” and “Blade Runner 2049,” gained a prized asset by acquiring the film library of bankrupt Village Roadshow. The $417.5-million deal gives the firm Village’s stakes in movies including “Joker” and “Mad Max: Fury Road,” both released by Warner Bros. Village Roadshow declared bankruptcy amid a brutal legal battle with Warner Bros. over its release of “The Matrix Resurrections,” which went to streaming and theaters at the same time.

$400 million: “It Ends With Us” director Justin Baldoni’s lawsuits against actress Blake Lively, her husband Ryan Reynolds, the New York Times and others were tossed last month, with a judge ruling that the claims — including defamation, extortion and breach of contract — failed to pass legal muster. U.S. District Judge Lewis J. Liman granted motions to dismiss both a $400-million countersuit against Lively, Reynolds and others and a $250-million defamation claim against The Times.

$2 billion: The biggest movie of the year isn’t from Hollywood at all. It’s “Ne Zha 2,” an animated Chinese film that grossed more than $2 billion, the vast majority of which came from its home country. Despite trade wars and the dominance of local productions, though, U.S. movies can still do well in China. “Jurassic World Rebirth” opened with $41.6 million there.

$20 million: Walt Disney Co. and Universal are suing AI firm Midjourney for allegedly ripping off and copying their intellectual property with its image-generating technology. With 150 violations cited in the lawsuit, at a statutory $150,000 per infringing item, that’s a total of more than $20 million in potential damages.

$300 billion: The eye-popping valuation for privately held OpenAI, the San Francisco company behind ChatGPT and Sora.

$9.2 billion: The amount Disney ultimately paid for Comcast’s Hulu stake, valuing the service at $27.6 billion. After a mediation process, Disney paid less for the stake than Comcast wanted.

— Times staff writers Meg James, Samantha Masunaga, Wendy Lee, Stephen Battaglio, Stacy Perman and Josh Rottenberg contributed to this article.

Stuff we wrote

Finally …

Listen: For your morning run, Killswitch Engage’s “This Consequence.”

Watch: I finally started “Apple Cider Vinegar” over the weekend, and hoo boy, what a fascinating, infuriating story.

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.

Stuff we wrote

Number of the week

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.

Finally …

Watch: “Becoming Led Zeppelin.”

Listen: Dream Theater, “Night Terror.”

The story is so good, so rich, that Hollywood couldn’t resist.

The Lakers, a golden brand. The stars on the basketball court. The celebrities on the sidelines. The spotlight on the show flying up and down the floor 24 seconds at a time.

HBO made a series. Books have been authored. Documentaries have been filmed. No hyperbole is too outrageous.

Magic Johnson and Larry Bird helped save basketball. The Lakers were the greatest show in town. The highs and lows, the devastation and the jubilation, made them iconic.

And the ringmasters for the last 45 years have been the Buss family.

That era culminated Wednesday when a majority of Buss’ six children agreed to sell controlling interest of the franchise to Mark Walter for a record price — a $10-billion valuation that’s the highest in pro sports history.

The initial reaction to the news — a sale that shocked the Lakers’ biggest partners inside and outside of the NBA — centered on what it will mean for the organization. Will Walter and his partners pour the same financial resources that they’ve deployed to turn the Dodgers into the best team in baseball? How will their capital boost the weakest areas of the franchise’s infrastructure? What will happen next?

We don’t know for sure. We do, though, know what just wrapped — an era of pro-sports ownership unrivaled in success and melodrama.

The start

Dr. Jerry Buss wasn’t a physician — the title came from a degree in chemistry at USC. And the money? It didn’t come from science. It came from real estate. But Buss was always one to sense an opportunity, and Jack Kent Cooke’s record-breaking divorce settlement meant that he was about to capitalize on one.

In 1979, Buss scrambled to put together a wild business deal — properties and cash moving between Buss, third parties and Cooke before the self-made man ended up with The Forum, the Los Angeles Kings and, in what would be his legacy, the Los Angeles Lakers. The price was $67.5 million.

The timing was impeccable. The team would win a coin flip and with it the right to select Johnson with the No. 1 overall pick in the draft. Buss’ and Johnson’s relationship helped lay the groundwork for the player-empowerment era that dominates the current NBA, Buss realizing faster than his peers that the biggest and best players were what drove the league’s success.

In his first season as owner, the Lakers won an NBA title, kicking off a decade-long battle with the Boston Celtics that helped the NBA move from the margins of pro sports to the mainstream.

In this 1979 photo, Lakers owner Jerry Buss is shown with children (clockwise from top left) Janie, Johnny, Jim and Jeanie.

(Gunther / mptvimages.com)

Yet it was more than Johnson leading fastbreaks, flashing smiles and dishing no-look passes. It was the merging of sports and entertainment that helped define what fans now experience.

In 1979, shortly after purchasing the Lakers, Buss commissioned the first Laker Girls dance team. The Forum Club became one of the city’s hottest nightspots. The games were more than athletic contests. They were events.

For the first 12 seasons Buss owned the team, they never won fewer than 54 games in an 82-game season. Titles came in 1982 against the 76ers, 1985 and 1987 against the hated Celtics and 1988 against Detroit.

The Lakers built one of basketball’s most unstoppable machines — Jerry West in the front office, Pat Riley on the sideline and Johnson, Kareem Abdul-Jabbar, James Worthy, Byron Scott and Michael Cooper flying on the break.

As Buss became one of the NBA’s most powerful figures, his children were at his side, learning the business. His daughter, Jeanie, famously helped organize events at the Forum. The family’s true promoter spirit couldn’t be suppressed — soccer, indoor tennis, roller hockey, the Buss family tried it all.

Even after Johnson’s stunning retirement after his HIV diagnosis, the Lakers missed the playoffs just once before they fully reloaded, first with Shaquille O’Neal, then with Kobe Bryant and finally with Phil Jackson.

Nothing, though, would last forever.

The transition

In 2005, The Times’ Hall of Fame basketball writer, Mark Heisler, wrote about Buss’ succession plan coming into focus.

“Jerry Buss wanted a crowd-pleasing basketball team the movie stars could relate to but might have gone too far,” Heisler wrote. “He wound up with the greatest floating soap opera in sports, and basketball was almost beside the point.”

Still, it was Buss’ legacy.

“I just can’t visualize myself walking away, relinquishing control,” Buss said in a 2002 story in The Times. “My relationship with this team is a lifelong marriage.”

The thing about family businesses, it turns out, is that family drama is always at play.

A Sports Illustrated feature in 1998 painted a story of jealousy and unease that seemed prophetic.

Kobe Bryant, left, holds the Larry O’Brian Trophy as Shaquille O’Neal holds the NBA Finals MVP trophy in 2000.

(AFP / Getty Images)

As Buss scaled back his involvement, Jeanie took on a greater role in the business side of the franchise while son Jim became a basketball executive. And the Lakers kept on winning.

Tensions between O’Neal, Bryant and Jackson ended with the dissolution of another dynasty after three consecutive championships. Belief in Bryant led to two more rings once they reunited him with Jackson and added Pau Gasol to the mix.

Through it all, the Lakers remained a family business in its truest sense, Buss’ youngest sons Joey and Jesse learning the ropes in business and scouting in the same way his older children did.

Jeanie‘s romantic relationship with Jackson, at best, complicated things in the organization. Still, she was always the one her father intended to lead the organization, beginning when Buss put her in charge of the team’s indoor tennis franchise when she was just 19.

“I figured, ‘If Dr. Buss [she refers to him by his preferred title] says he thinks I can do it, I must be able to do it,’” Jeanie told The Times in 2002.” If he never doubted me, how could anyone else? It was only later that I thought, ‘What the hell was I doing?’”

In 2005, son Jim began to take on a bigger role in the organization, becoming the team’s vice president of player personnel.

“When I hear somebody say, ‘Are you qualified?’ I’m like, ‘If you had eight years of Jerry West plus Mitch Kupchak and all the talented scouts working on a daily basis tutoring you, I don’t know what other credentials you could have,’” Jim said then.

When Buss died in 2013 from complications of cancer, all six of his children held titles with the Lakers.

“Jerry Buss helped set the league on the course it is on today,” then-NBA commissioner David Stern said. “Remember, he showed us it was about ‘Showtime,’ the notion that an arena can become the focal point for not just basketball, but entertainment. He made it the place to see and be seen.”

While Buss was living, the Lakers missed the playoffs only twice. In the six seasons after his death, the Lakers never won more than 37 games.

Something had to change.

The fallout

Bryant took a fateful step at the end of a game late in the 2013 season, his Achilles tendon rupturing in his left leg. He miraculously made two free throws before heading to the locker room — a moment codifying him as an all-time Los Angeles legend and a moment, it turned out, that signaled the good times were about to end.

The following season, coach Mike D’Antoni’s Lakers won just 27 games, Nick Young leading the Lakers in scoring and Bryant playing only six times. After the year, Jim Buss told The Times that he saw a pathway forward and he told his family the same in a meeting earlier in 2014.

“I was laying myself on the line by saying, ‘If this doesn’t work in three to four years, if we’re not back on the top’ — and the definition of top means contending for the Western Conference, contending for a championship — ‘then I will step down because that means I have failed,’” he said. “I don’t know if you can fire yourself if you own the team … but what I would say is I’d walk away and you guys figure out who’s going to run basketball operations because I obviously couldn’t do the job.

“There’s no question in my mind we will accomplish success. I’m not worried about putting myself on the line.”

In 2015, the Lakers won only 21 games. In 2016, the team lost a franchise-most 65 times against a franchise-worst 17 wins. In 2017, they were headed to another season in which they would be more than 30 games under .500 when Jeanie fired Jim and Kupchak, the team’s general manager.

They were replaced with Bryant’s former agent, Rob Pelinka, and Johnson.

Jeanie Buss applauds the Lakers’ efforts during the team’s 2010 NBA championship ring ceremony at Staples Center.

(Chris Carlson / Associated Press)

Shortly after the decision, Jim, along with his brother Johnny, tried to remove Jeanie from the team’s board of directors, sparking a legal feud that included Jeanie filing a restraining order while she wrested control of the team.

“I must also point out that Jim has already proven to be completely unfit even in an executive vice president of basketball operations role and I recently had to replace him,” Jeanie said in court documents.

The Lakers signed LeBron James in 2018, traded for Anthony Davis and built a title team in 2020, the family’s biggest success in the years following their father’s passing.

With Jeanie firmly in charge, brother Joey helped run one of the league’s most-respected developmental teams in the South Bay Lakers — a program that helped develop players such as Alex Caruso. Jesse Buss and his scouting department found value in late first-round picks like Josh Hart and Kyle Kuzma as well as an undrafted star in Austin Reaves.

In 2022, Jeanie produced a documentary for Hulu that dealt with heaps of the family’s drama, and Wednesday’s sale not coming from a majority — and not unanimous — vote again means that not everyone is on the same page.

While the Buss family will retain minority ownership, things will never be the same in the organization. The influx of money, of modernization, of more corporate structure could help the Lakers on the court.

But what they were under the Buss family, they’ll never be again.

“I really tried to create a Laker image, a distinct identity,” Jerry Buss once said. “I think we’ve been successful. I mean, the Lakers are pretty damn Hollywood.”

And on that era, the credits have begun to roll.

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.

Now, it’s on.

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.”

Stuff we wrote

Number of the week

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.