California voters delivered a major victory for Democrats nationwide Tuesday — and possibly for Gov. Gavin Newsom’s political ambitions — by passing a redistricting plan that could help the party seize as many as five congressional seats in the 2026 midterm elections.
The ballot measure was seen as a searing denunciation of President Trump and his administration’s policies, which have included divisive immigration raids, steep tariffs, cuts to healthcare and a military occupation of Los Angeles.
Proposition 50 was launched at warp speed in August in an attempt to counter President Trump’s successful attempt to pressure Republican-led states, most notably Texas, to gerrymander their own states to keep Democrats from gaining control of the U.S. House of Representatives after the 2026 midterm elections. If Democrats gain power they could imperil his agenda and launch investigations into his administration.
“After poking the bear, this bear roared,” Newsom said Tuesday night shortly after the polls closed and the Associated Press determined Proposition 50 had passed.
Newsom said he was proud of California for standing up to Trump and called on other states with Democrat-controlled legislatures to pass their own redistricting plans.
“I hope it’s dawning on people, the sobriety of this moment,” he said.
The president, meanwhile, in a post Tuesday morning on his social media site called the vote “A GIANT SCAM” and “RIGGED” and said it is “under very serious legal and criminal review. STAY TUNED!” The White House did not explain what he meant by “serious legal and criminal review.” After the polls closed, Trump again posted, writing enigmatically: “…AND SO IT BEGINS.”
Newsom early Tuesday dismissed Trump’s threats as “the ramblings of an old man that knows he’s about to LOSE.”
Proposition 50 will change how California determines the boundaries of congressional districts. The measure asked voters to approve new congressional district lines designed to favor Democrats for the 2026, 2028 and 2030 elections, overriding the map drawn by the state’s nonpartisan, independent redistricting commission.
The measure, placed by the ballot by the Democratic-led state Legislature and pushed by Newsom, reconfigured the state’s congressional districts in favor of Democrats, shifting five more House districts into competitive or easily winnable territory for Democrats. California has 43 Democrats and nine Republicans in the House; now the number of GOP members could be cut in half.
While Newsom and Democratic partisans framed the passage of Proposition 50 — which they had dubbed the Election Rigging Response Act — as a major blow against Trump’s iron grip on the federal government, it is far from guaranteed to flip the balance of power in the U.S. House, where Republicans hold a slim majority.
For one, spurred on by Trump, Republican-led states are busy pursuing their own redistricting plans. Several Republican-controlled states including North Carolina, Ohio and Missouri are moving ahead.
What’s more, California voters in the fall of 2026 would then have to be convinced to choose Democratic challengers over incumbent Republicans in those newly crafted districts — and many current GOP members of Congress have said they don’t plan to go quietly.
“Here’s something Newsom and his cronies don’t know: It won’t work,” said Congressman Darrell Issa, a San Diego-area Republican whose seat was targeted by the newly redrawn maps. “The worst gerrymander in history has a fatal flaw. Voters get to pick their representatives. Not the other way around. I’m not going anywhere.”
Congressman Doug LaMalfa whose Northern California district was carved up and diluted with left-leaning coastal voters, said he was “standing in the fight. They’re not going to kidnap my district here without a battle.”
What is sure, however, is that Proposition 50 is a big win for Newsom, who has propelled his fight with Trump onto the national political stage as one of the loudest voices standing against the new administration.
Campaigning for Proposition 50, Newsom mocked Trump on the social media site X with sarcastic, Trumpesque all-caps media posts. The governor won viral fame, guest spots on late-night shows and millions of dollars from Democratic donors around the country delighted to see someone jousting with the president. In recent days, Newsom has begun talking openly about a possible run for president in 2028, after telling CBS last month that he would be lying if he tried to pretend he wasn’t considering it.
The new congressional districts also are expected to set off a mad scramble among ambitious Democratic politicians.
Already, Audrey Denney, a strategist and education director, has announced she will once again mount a campaign against LaMalfa, who represents an area that has been split into two districts saturated with Democratic voters. Former state Sen. Richard Pan, meanwhile, has indicated he intends to target Congressman Kevin Kiley, who saw his hometown of Rocklin yanked out of his district and replaced with parts of more-Democratic Sacramento.
One of the biggest effects of the measure may be the way it has enraged many of the state’s rural voters, and left even those who are registered Democrats feeling as though state leaders don’t care about their needs.
“They think our voices are so small that we don’t count, and because we’re red,” fumed Monica Rossman, the chairwoman of the Glenn County Board of Supervisors in rural Northern California. “This is just one more way of them squeezing us rural people.”
Rossman described Newsom in obscene terms this week and added that “people from urban areas, they don’t realize that us people from One-Taco-Bell-Towns don’t know what it’s like to drive by a dealership and see nothing but battery-operated vehicles. By traffic, we mean Ted’s cows are out again and we have to wait for them to get out of the way. We’re going to have people making decisions about areas they know nothing about.”
But as they headed to polling places across the state, many voters said the Trump administration’s actions in California — from funding cuts to the prolonged immigration raids —convinced them that radical measures were necessary.
Adee Renteria, who came to vote at Our Lady of Guadalupe Church in East Los Angeles decked out from head to toe in celebratory Dodgers gear, said she was voting yes on Proposition 50 because “I want a fricking voice.”
“I want our people to be able to walk the streets without getting kidnapped,” she said, adding that she believed the measure would allow Democrats a chance at fighting back against policies that she said had sown terror in her community.
In Buena Park, Guarav Jain, 33, said he had braved long lines to cast his ballot “to prove that we can fight back on the crazy things Trump says.”
“This is the first chance to make our voice heard since the [presidential] election last November,” he added.
The path to Proposition 50, which ranks as the fourth most expensive ballot measure in California history, began in June. That was when Trump’s political team began pushing Texas Republicans to redraw the lines for that state’s 38 congressional districts to gain five Republican seats and give his party a better shot at holding the House after the midterm elections.
When Texas Gov. Greg Abbott signed on to the idea, Newsom jumped in to announce that California, which has 52 representatives, would counter by redrawing its own districts to try to pick up as many as five seats for Democrats.
“We’re giving the American people a fair chance,” Newsom said in August, adding that California was “responding to what occurred in Texas.”
The move outraged California Republicans and also angered some people, such as former Gov. Arnold Schwarzenegger, who are no fans of Trump. Some opponents argued that it was an affront to an independent congressional redistricting commission that California voters created in 2010 with the passage of Proposition 20 — an effort to provide fair representation to all Californians.
“They are trying to fight for democracy by getting rid of the democratic principles of California.… It is insane to let that happen,” Schwarzenegger said at an event at USC in September. “Doesn’t make any sense to me — that because we have to fight Trump, to become Trump.”
But Schwarzenegger didn’t do much to actively campaign against the measure and the No side was far outgunned financially. Proponents raised more than $100 million, according to campaign finance reports, while the No side raised about $43.7 million.
A star-studded cast of Democratic leaders also flooded the airwaves to support the measure, including Congresswoman Alexandria Ocasio-Cortez of New York and Massachusetts Sen. Elizabeth Warren. President Obama spoke on the issue in ads that aired during the World Series. “Democracy is on the ballot Nov. 4,” the former president said.
The new congressional district maps are only temporary. They will be in place for elections next year and in 2028 and 2030. After that, California’s independent redistricting commission will resume its duties in drawing the maps.
What may be longer lasting, some rural representatives said, is a sense among many in California’s heartland that their voices don’t count.
LaMalfa, the congressman who saw his deep red district divided into two blue urban areas, said many of his constituents — who work in farming, timber and ranching — believe many state policies are “stacked against them and they have nowhere to go.”
“What they do have is a voice that understands their plight and is willing to speak for them. I am one of the people who does that,” he said. “You don’t have that anymore if you have taken all those folks and just drawn them into urban voters districts.”
Times staff writers Sonja Sharp, Katie King and Katerina Portela contributed to this report.
L.A. County supervisors want to bar “predatory” salespeople who they say prey on vulnerable residents seeking benefits from the region’s social services offices.
The supervisors unanimously voted Tuesday to explore creating a “buffer zone” outside county offices, prohibiting certain types of “aggressive” solicitation toward people seeking food stamps and cash aid. County lawyers have two months to figure out what such a zone would look like.
The looming crackdown follows a Times investigation that found seven people who said recruiters outside a social services office in South Los Angeles paid them to sue the county over sex abuse. Two more later told The Times they, too, were solicited for sex abuse lawsuits outside a county social services office in Long Beach, though they initially believed they were being recruited to be extras in a movie.
“We are painfully aware of the ongoing allegations of fraud and the pay-to-sue tactics used to recruit clients and file lawsuits against the county,” said Supervisor Janice Hahn, who announced she would push for the buffer zone after the Times investigation. “There must be greater accountability both to protect survivors seeking justice and to ensure that fraudulent claims and predatory solicitation are stopped at their source.”
The county’s more than 40 social services offices act as one-stop shops for residents who need help applying for food, housing and cash assistance. Outside many of the larger offices in poorer areas, a bustling ecosystem thrives with vendors hawking goods and services to those in line.
The supervisors said Tuesday they were troubled by some of the offerings.
“Vendors asking for copies of people’s personal documents, trying to sell them products and even recruiting people into claims against the county — this behavior puts residents at real risk and undermines the trust in our public services,” said Supervisor Lindsey Horvath.
Supervisor Kathryn Barger said she wanted to see reforms that would protect both taxpayers and “vulnerable individuals who are being used as pawns to line the pockets of many of these attorneys.”
The motion passed 3 to 0. Supervisors Hilda Solis and Holly Mitchell, whose district includes the social services office where some of the lawsuit recruitment took place, were absent.
The Times spent two weeks outside the South L.A. office this fall and watched vendors seek out dozens of people with Medi-Cal, the state’s health insurance for low-income Californians. The vendors would pay them anywhere between $3 and $12 to undergo COVID and blood pressure tests, which they said would be billed to their state insurance. Some people said they routinely stopped by the location for quick cash.
Giveaways of free phones are also popular for those who are eligible through a government-subsidized program. Recipients have complained that the service on the phones was often short-lived, with some people returning to the kiosks within a few days after their number stopped working.
Leaders at the Department of Public Social Services, who oversee the offices, say they’re limited in what they can do outside their facilities. Many of the busiest locations are in Los Angeles or smaller cities, where the county has no authority. And regulating where vendors can go on public sidewalks has proved a reliable headache for local governments in the past.
Last year, the Los Angeles City Council eliminated the “no-vending zones” it had created in areas where it said street vendors would contribute to congestion. The ban was met with an outcry and a lawsuit from vendors who argued street vending had been decriminalized and the city could no longer outlaw the stands.
Eugene Volokh, a 1st Amendment professor and senior fellow at Stanford University’s Hoover Institution, said the county will have to be careful in defining what conduct is “predatory” and what is protected speech.
“The devil’s going to be in the details,” Volokh said. “Whenever you hear words like ‘predatory’ or ‘exploitative’ or ‘harassing’ or ‘bullying,’ you know you’re dealing with terms that are potentially very vague and often, by themselves, too vague to be legally usable terms.”
CHICAGO — A judge heard testimony Tuesday about overflowing toilets, crowded cells, no beds and water that “tasted like sewer” at a Chicago-area building that serves as a key detention spot for people rounded up in the Trump administration’s immigration crackdown.
Three people who were held at the building in Broadview, just outside Chicago, offered rare public accounts about the conditions there as U.S. District Judge Robert Gettleman considers ordering changes at a site that has become a flashpoint for protests and confrontations with federal agents.
“I don’t want anyone else to live what I lived through,” said Felipe Agustin Zamacona, 47, an Amazon driver and Mexican immigrant who has lived in the U.S. for decades.
Zamacona said there were 150 people in a holding cell. Desperate to lie down to sleep, he said he once took the spot of another man who got up to use the toilet.
And the water? Zamacona said he tried to drink from a sink but it “tasted like sewer.”
A lawsuit filed last week accuses the government of denying proper access to food, water and medical care, and coercing people to sign documents they don’t understand. Without that knowledge, and without private communication with lawyers, they have unknowingly relinquished their rights and faced deportation, the lawsuit alleges.
“This is not an issue of not getting a toilet or a Fiji water bottle,” attorney Alexa Van Brunt of the MacArthur Justice Center told the judge. “These are a set of dire conditions that when taken together paint a harrowing picture.”
Before testimony began, U.S. District Judge Robert Gettleman said the allegations were “disgusting.”
“To have to sleep on a floor next to an overflowing toilet — that’s obviously unconstitutional,” he said.
Attorney Jana Brady of the Justice Department acknowledged there are no beds at the Broadview building, just outside Chicago, because it was not intended to be a long-term detention site.
Authorities have “improved the operations” over the past few months, she said, adding there has been a “learning curve.”
“The conditions are not sufficiently serious,” Brady told the judge.
The building has been managed by U.S. Immigration and Customs Enforcement for decades. But amid the Chicago-area crackdown, it has been used to process people for detention or deportation.
Greg Bovino, the Border Patrol commander who has led the Chicago immigration operation, said criticism was unfounded.
“I think they’re doing a great job out there,” he told the Associated Press during an interview this week.
Testifying with the help of a translator, Pablo Moreno Gonzalez, 56, said he was arrested last week while waiting to start work. Like Zamacona, he said he was placed in a cell with 150 other people, with no beds, blankets, toothbrush or toothpaste.
“It was just really bad. … It was just too much,” Moreno Gonzalez, crying, told the judge.
A third person, Claudia Carolina Pereira Guevara, testified from Honduras, separated from two children who remain in the U.S. She said she was held at Broadview for five days in October and recalled using a garbage bag to clear a clogged toilet.
“They gave us nothing that had to do with cleaning. Absolutely nothing,” Guevara said.
For months advocates have raised concerns about conditions at Broadview, which has drawn scrutiny from members of Congress, political candidates and activist groups. Lawyers and relatives of people held there have called it a de facto detention center, saying up to 200 people have been held at a time without access to legal counsel.
The Broadview center has also drawn demonstrations, leading to the arrests of numerous protesters. The demonstrations are at the center of a separate lawsuit from a coalition of news outlets and protesters who claim federal agents violated their First Amendment rights by repeatedly using tear gas and other weapons on them.
Fernando writes for the Associated Press. AP reporters Sophia Tareen in Chicago and Ed White in Detroit contributed to this report.
The Los Angeles Police Department has released a report that identifies several shortcomings in its response to the devastating Palisades fire, including communication breakdowns, inconsistent record-keeping and poor coordination at times with other agencies — most notably the city’s Fire Department.
The after-action report called the January blaze a “once in a lifetime cataclysmic event” and praised the heroic actions of many officers, but said the LAPD’s missteps presented a “valuable learning opportunity” with more climate-related disasters likely looming in the future.
LAPD leaders released the 92-page report and presented the findings to the Police Commission at the civilian oversight panel’s public meeting Tuesday.
The report found that while the Fire Department was the lead agency, coordination with the LAPD was “poor” on Jan. 7, the first day of the fire. Though personnel from both agencies were working out of the same command post, they failed to “collectively establish a unified command structure or identify shared objectives, missions, or strategies,” the report said.
Uncertainty about who was in charge was another persistent issue, with more confusion sown by National Guard troops that were deployed to the area. Department leaders were given no clear guidelines on what the guard’s role would be when they arrived, the report said.
The mix-ups were the result of responding to a wildfire of unprecedented scale, officials said. At times the flames were advancing at 300 yards a minute, LAPD assistant chief Michael Rimkunas told the commission.
“Hopefully we don’t have to experience another natural disaster, but you never know,” Rimkunas said, adding that the endeavor was “one of the largest and most complex traffic control operations in its history.”
Between Jan. 11 and Jan. 16, when the LAPD’s operation was at its peak, more than 700 officers a day were assigned to the fire, the report said.
The report found that officials failed to maintain a chronological log about the comings and goings of LAPD personnel at the fire zone.
“While it is understandable that the life-threatening situation at hand took precedence over the completion of administrative documentation,” the report said, “confusion at the command post about how many officers were in the field “resulted in diminished situational awareness.”
After the fire first erupted, the department received more than 160 calls for assistance, many of them for elderly or disabled residents who were stuck in their homes — though the report noted that the disruption of cell service contributed to widespread confusion.
The communication challenges continued throughout the day, the report found.
Encroaching flames forced authorities to move their command post several times. An initial staging area, which was in the path of the evacuation route and the fire, was consumed within 30 minutes, authorities said.
But because of communication breakdowns caused by downed radio and cellphone towers, dispatchers sometimes had trouble reaching officers in the field and police were forced to “hand deliver” important paper documents from a command post to its staging area on Zuma Beach, about 20 miles away.
Several commissioners asked about reports of journalists being turned away from fire zones in the weeks that followed the fire’s outbreak.
Assistant Chief Dominic Choi said there was some trepidation about whether to allow journalists into the fire-ravaged area while authorities were still continuing their search for bodies of fire victims.
Commissioner Rasha Gerges Shields said that while she had some concerns about the LAPD’s performance, overall she was impressed and suggested that officers should be commended for their courage. The department has said that dozens of officers lost their homes to the fires.
The report also recommended that the department issue masks and personal protective equipment after there was a shortage for officers on the front lines throughout the first days of the blaze.
The Palisades fire was one of the costliest and most destructive disasters in city history, engulfing nearly 23,000 acres, leveling more than 6,000 structures and killing 12 people. More than 60,000 people were evacuated. The deaths of five people within L.A. city limits remain under investigation by the LAPD’s Major Crimes Division and the Bureau of Alcohol, Tobacco, Firearms and Explosives.
The LAPD reports details how at 11:15 a.m., about 45 minutes after the first 911 calls, the call was made to issue a citywide tactical alert, the report said. The department stayed in a heightened state of alert for 29 days, allowing it to draw resources from other parts of the city, but also meaning that certain calls would not receive a timely police response.
As the flames began to engulf a nearby hillside, more officers began responding to the area, including a contingent that had been providing security at a visit by President Trump.
Initially, LAPD officers operated in largely a rescue- and traffic-control role. But as the fire wore on, police began to conduct crime suppression sweeps in the evacuation zones where opportunistic burglars were breaking into homes they knew were empty.
In all, 90 crimes were reported in the fire zone, including four crimes against people, a robbery and three aggravated assaults, 46 property crimes, and 40 other cases, ranging from a weapons violation to identity theft. The department made 19 arrests.
The new report comes weeks after the city of Los Angeles put out its own assessment of the fire response — and on the heels of federal prosecutors arresting and charging a 29-year-old Uber driver with intentionally setting a fire Jan. 1 that later grew into the Palisades fire.
The LAPD’s Major Crimes and Robbery-Homicide units also worked with the ATF to investigate the fire’s cause.
California voters went to the polls Tuesday to decide on a radical redistricting plan with national implications, but the campaign is shaping up to be a referendum on President Trump.
Proposition 50, a ballot measure about redrawing the state’s congressional districts, was crafted by Democrats in response to Trump urging Texas and other GOP-majority states to modify their congressional maps to favor Republicans, a move that was designed to maintain Republican control of the U.S. House of Representatives.
Opponents have said Proposition 50 is a power grab by Democrats that would blatantly disenfranchise Republican voters.
But supporters, fueled by a huge war chest in deep blue California, managed to make the vote about Trump and what they say are his efforts to erode democracy. The president has never been popular in California, but unprecedented months of immigration raids, tariffs and environmental rollbacks have only heightened the conflict.
“Trump is such a polarizing figure,” said Rick Hasen, a professor of law and political science at UCLA. “He commands great loyalty from one group of people and great animosity from others. … It’s not surprising that this measure has been portrayed as sticking it to Donald Trump or [California Gov.] Gavin Newsom.”
Proposition 50 underscores how hyperpartisan California politics have become. A UC Berkeley poll last week conducted in conjunction with The Times found more than 9 out of 10 Democrats supported Proposition 50 and a similar proportion of Republicans opposed it.
California voters had been bombarded with television ads, mailers and social media posts for weeks about the high-stakes special election, so much so that only 2% of likely voters were undecided, according to the poll.
As if on cue, Trump weighed in on Proposition 50 on Tuesday morning just as voting was getting underway.
“The Unconstitutional Redistricting Vote in California is a GIANT SCAM in that the entire process, in particular the Voting itself, is RIGGED,” Trump said on Truth Social just minutes after polling stations opened across California.
The president provided no evidence for his allegations.
Newsom dismissed the president’s claims on X as “the ramblings of an old man that knows he’s about to LOSE.”
At a White House briefing Tuesday afternoon, White House Press Secretary Karoline Leavitt claimed, without providing examples, that California was receiving ballots in the name of undocumented immigrants who could not legally vote.
California’s top elections official, Secretary of State Shirley Weber, called Trump’s allegation “another baseless claim.”
“The bottom line is California elections have been validated by the courts,” Weber said in a statement. “California voters will not be deceived by someone who consistently makes desperate, unsubstantiated attempts to dissuade Americans from participating in our democracy.”
More than 6.3 million Californians — 28% of the state’s 23 million registered voters — had cast ballots as of Monday, according to a voting tracker run by Democratic redistricting expert Paul Mitchell. Ballots submitted by Democrats were outpacing votes by Republicans on Monday, though GOP voters were believed to be more likely to vote in person on election day.
Disabled Army veteran Micah Corpe, 50, had some choice words for Newsom outside a Twentynine Palms church that served as a polling place, calling the politician a “greasy used car salesman.”
Corpe, a Republican, described Proposition 50 as an effort by the governor to “do whatever he wants because he doesn’t like Trump.” At the same time, he said Texas’ decision to redraw its congressional districts was a necessity because of the influx of people moving there from California and other blue states.
“He fights [Trump] on everything,” Corpe said of Newsom. “Just give in a little to get a little. That’s all he’s got to do.”
Matt Lesenyie, an assistant professor of political science at Cal State Long Beach, said the seeds of Proposition 50 were sowed when it became clear that Republicans in Congress were not going to challenge Trump in an investigatory way or provide serious oversight.
“One of the benefits of our system is that there are checks designed in there and we haven’t exercised those checks in a good long time, so I think this is a Hail Mary for potentially doing that,” he said.
Bob Rowell, 72, said that in an ideal world Proposition 50 wouldn’t be necessary. But the Trump administration’s push to redraw lines in red states has created a “distinct danger of creating a never-ending Republican domination in Congress,” he said. So Rowell, a Green Party member, voted yes.
“I hope there’s some way to bring us back into balance,” he said.
Robert Hamilton, 35, an architectural drafter who lives in Twentynine Palms, sees Proposition 50 as a necessary step to push back on Trump’s policies, which he said are impinging on people’s rights. He’s proud of the role California is playing in this political moment.
“I think as a state we’re doing an excellent job of trying to push back against some of the more egregious oversteps of our liberties,” Hamilton said outside a church where he’d just cast his ballot in favor of the measure. “I do hope that if this measure is successful that other states will follow suit — not necessarily taking the same steps to redistrict but finding ways to at least hold the line while hopefully we get things sorted out.”
Times staff writers Seema Mehta and Katie King contributed to this report.
NEW YORK — Voters were casting ballots in high-stakes elections on both coasts Tuesday, including for mayor of New York, new congressional maps in California and governor in both New Jersey and Virginia, states whose shifting electorates could show the direction of the nation’s political winds.
For voters and political watchers alike, the races have taken on huge importance at a time of tense political division, when Democrats and Republicans are sharply divided over the direction of the nation. Despite President Trump not appearing on any ballots, some viewed Tuesday’s races as a referendum on him and his volatile second term in the White House.
In New York, self-described democratic socialist Zohran Mamdani, 34, was favored to win the mayoral race after winning the Democratic ranked-choice mayoral primary in June. Such a result would shake up the Democratic establishment and rile Republicans in near equal measure, serving as a rejection of both former Gov. Andrew Cuomo, a more establishment Democrat and Mamdani’s leading opponent, and Trump, who has warned that a Mamdani win would destroy the city.
On the eve of voting Monday, Trump threatened that a Mamdani win would disrupt the flow of federal dollars to the city, and took the dramatic step of endorsing Cuomo over Curtis Sliwa, the Republican in the race.
“If Communist Candidate Zohran Mamdani wins the Election for Mayor of New York City, it is highly unlikely that I will be contributing Federal Funds, other than the very minimum as required, to my beloved first home, because of the fact that, as a Communist, this once great City has ZERO chance of success, or even survival!” Trump wrote on his Truth Social platform Monday.
A vote for Sliwa “is a vote for Mamdani,” he added. “Whether you personally like Andrew Cuomo or not, you really have no choice. You must vote for him, and hope he does a fantastic job. He is capable of it, Mamdani is not!”
Mamdani, a Ugandan-born naturalized U.S. citizen and New York state assemblyman who already defeated Cuomo once in the primary, has promised a brighter day for New Yorkers with better public transportation, more affordable housing and high-quality childcare if he wins. He has slammed billionaires and some of the city’s monied interests, which have lined up against him, and rejected the “grave political darkness” that he said is threatening the country under Trump.
He also mocked Trump’s endorsement of Cuomo — calling Cuomo Trump’s “puppet” and “parrot.”
Samantha Marrero, a 35-year-old lifelong New Yorker, lined up with more than a dozen people Tuesday morning at her polling site in the Greenpoint neighborhood of Brooklyn to cast her vote for Mamdani, whom she praised for embracing people of color, queer people and other communities marginalized by mainstream politicians.
Marrero said she cares deeply about housing insecurity and affordability in the city, but that it was also “really meaningful to have someone who is brown and who looks like us and who eats like us and who lives more like us than anyone we’ve ever seen before” on the ballot. “That representation is really important.”
New York mayoral candidate Andrew Cuomo speaks to reporters as he marks his ballot in New York on Tuesday.
(Richard Drew / Associated Press)
And she said that’s a big part of why people across the country are watching the New York race.
“We’re definitely a beacon in this kind of fascist takeover that is very clearly happening across the country,” she said. “People in other states and other cities and other countries have their eyes on what’s happening here. Obviously Mamdani is doing something right. And together we can do something right. But it has to be together.”
Elsewhere on the East Coast, voters were electing governors in both Virginia and New Jersey, races that have also drawn the president’s attention.
In the New Jersey race, Trump has backed the Republican candidate, former state Rep. Jack Ciattarelli, over the Democratic candidate, Rep. Mikie Sherrill, whom former President Obama recently stumped for. Long a blue state, New Jersey has been shifting to the right, and polls have shown a tight race.
In the Virginia race, Trump has not endorsed Republican candidate Lt. Gov. Winsome Earle-Sears by name, but has called on voters to “vote Republican” and to reject the Democratic candidate, former Rep. Abigail Spanberger, a 46-year-old former CIA officer whom Obama has also supported.
“Why would anyone vote for New Jersey and Virginia Gubernatorial Candidates, Mikie Sherrill and Abigail Spanberger, when they want transgender for everybody, men playing in women’s sports, High Crime, and the most expensive Energy prices almost anywhere in the World?” Trump recently wrote on Truth Social, repeating some of his favorite partisan attacks on Democrats from the presidential campaign trail last year.
At a rally for Spanberger in Norfolk, Va., over the weekend, Obama put the race in equally stark terms — as part of a battle for American democracy.
“We don’t need to speculate about the dangers to our democracy. We don’t need to wonder about whether vulnerable people are going to be hurt, or ask ourselves how much more coarse and mean our culture can become. We’ve witnessed it. Elections do matter,” Obama said. “We all have more power than we think. We just have to use it.”
Voting was underway in the states, but with some disruptions. Bomb threats disrupted voting in some parts of New Jersey early Tuesday, temporarily shutting down a string of polling locations across the state before law enforcement determined the threats were hoaxes.
In California, voters were being asked to change the state Constitution to allow Democrats to redraw congressional maps in their favor through 2030, in order to counter similar moves by Republicans in red states such as Texas.
Leading Democrats, including Obama and Gov. Gavin Newsom, have described the measure as an effort to safeguard American democracy against a power grab by Trump, who had encouraged the red states to act, while opponents of the measure have derided it as an anti-democratic power grab by state Democrats.
Trump has urged California voters not to cast ballots by mail or to vote early, arguing such practices are somehow “dishonest,” and on Tuesday morning suggested on Truth Social that Proposition 50 itself was unconstitutional.
“The Unconstitutional Redistricting Vote in California is a GIANT SCAM in that the entire process, in particular the Voting itself, is RIGGED,” Trump wrote, without providing evidence of problems. “All ‘Mail-In’ Ballots, where the Republicans in that State are ‘Shut Out,’ is under very serious legal and criminal review. STAY TUNED!”
Both individually and collectively, the races are being closely watched as potential indicators of political sentiment and enthusiasm going into next year’s midterm elections, and of Democrats’ ability to get voters back to the polls after Trump’s decisive win over former Vice President Kamala Harris last year.
Voters, too, saw the races as having particularly large stakes at a pivotal moment for the country.
Michelle Kim, 32, who has lived in the Greenpoint neighborhood of Brooklyn for three years, stood in line at a polling site early Tuesday morning — waiting to cast her vote for Mamdani.
Kim said she cares about transportation, land use and the rising cost of living in New York, and appreciated Mamdani’s broader message that solutions are possible, even if not guaranteed.
“My hope is not, like, ‘Oh, he’s gonna solve, like, all of our issues,’” she said. “But I think for him to be able to represent people and give hope, that’s also part of it.”
Lin reported from New York, Rector from San Francisco. Times staff writer Jenny Jarvie in Atlanta contributed to this report.
A famous Civil War-era photo of an escaped slave who had been savagely whipped. Displays detailing how more than 120,000 U.S. citizens of Japanese ancestry were forcibly imprisoned during WWII. Signs describing the effects of climate change on the coast of Maine.
In recent months, a small army of historians, librarians, scientists and other volunteers has fanned out across America’s national parks and museums to photograph and painstakingly archive cultural and intellectual treasures they fear are under threat from President Trump’s war against “woke.”
These volunteers are creating a “citizen’s record” of what exists now in case the administration carries out Trump’s orders to scrub public signs and displays of language he and his allies deem too negative about America’s past.
More than 120,000 people of Japanese ancestry were forcibly relocated and incarcerated in camps during World War II, including these Japanese Americans seen at Manzanar in the Owens Valley in 1942.
(LA Library)
“My deepest, darkest fear,” said Georgetown University history professor Chandra Manning, who helped organize an effort dubbed Citizen Historians for the Smithsonian, is that the administration plans to “rewrite and falsify who counts as an American.”
In March, Trump issued an executive order entitled “Restoring Truth and Sanity to American History” arguing that, over the past decade, signs and displays at museums and parks across the country have been distorted by a “widespread effort to rewrite our Nation’s history,” replacing facts with liberal ideology.
“Under this historical revision,” he wrote, “our Nation’s unparalleled legacy of advancing liberty, individual rights, and human happiness is reconstructed as inherently racist, sexist, oppressive, or otherwise irredeemably flawed.”
He ordered the National Parks Service and The Smithsonian to scrub their displays of content that “inappropriately disparages Americans” living or dead, and replace it with language that celebrates the nation’s greatness.
The Collins Bible — a detailed family history recorded by Richard Collins, a formerly enslaved man — is seen at the National Museum of African American History and Culture in Washington, D.C.
(Kent Nishimura/Los Angeles Times)
That’s when Manning’s colleague at Georgetown University, James Millward, who specializes in Chinese history, told her, “this seems really eerie,” Manning recalled. It reminded him of the Chinese Communist Party’s dictates to “tell China’s story well,” which he said was code for censorship and falsification.
So the professors reached out to friends and discovered that there were like-minded folks across the country working like “monks” in the Middle Ages, who painstakingly copied ancient texts, to photograph and preserve what they regarded as national treasures.
“There’s a human tradition of doing exactly this,” Manning said. “It feels gratifying to be a part of that tradition, it makes me feel less isolated and less alone.”
Jenny McBurney, a government documents librarian at the University of Minnesota, said she found Trump’s language “quite dystopian.” That’s why she helped organize an effort called Save Our Signs, which aims to photograph and preserve all of the displays at national parks and monuments.
The sprawling network includes Manzanar National Historic Site, where Japanese American civilians were imprisoned during the Second World War; Fort Sumter National Monument, where Confederates fired the first shots of the Civil War; Ford’s Theater National Historic Site in Washington, D.C., where Abraham Lincoln was assassinated; and the Martin Luther King, Jr. National Historic Park.
It would be difficult to tell those stories without disparaging at least some dead Americans — such as the assassins John Wilkes Booth and James Earl Ray — or violating Trump’s order to focus on America’s “unmatched record of advancing liberty, prosperity and human flourishing.”
At Acadia National Park in Maine, where the rising sun first hits the U.S. coast for much of the year, signs describing the effect of climate change on rising seas, storm surge and intense rain have already been removed.
McBurney doesn’t want volunteers to try to anticipate the federal government’s next moves and focus only on displays they think might be changed, she wants to preserve everything, “good, bad, negative or whatever,” she said in a recent interview. “As a librarian, I like complete sets of things.”
And if there were a complete archive of every sign in the national park system in private hands — out of the reach of the current administration — there would always be a “before” picture to look back at and see what had changed.
“We don’t want this information to just disappear in the dark,” McBurney said.
Another group, the Data Rescue Project, is hard at work filling private servers with at-risk databases, including health data from the Centers for Disease Control, climate data from the Environmental Protection Agency and the contents of government websites, many of which have been subject to the same kind of ideological scrubbing threatened at parks and museums.
Both efforts were “a real inspiration,” Manning said, as she and Millward pondered what they could do to contribute to the cause.
Then, in August, apparently frustrated by the lack of swift compliance with its directives, the Trump administration sent a formal letter to Lonnie G. Bunch III, the first Black Secretary of the Smithsonian, setting a 120-day limit to “begin implementing content corrections.”
Days later, President Trump took to Truth Social, the media platform he owns, to state his case less formally.
“The Smithsonian is OUT OF CONTROL,” he wrote, “everything discussed is how horrible our Country is, how bad Slavery was, and how unaccomplished the downtrodden have been.”
Even though the Smithsonian celebrates American astronauts, military heroes and sports legends, Trump complained that the museums offered nothing about the “success” and “brightness” of America, concluding with, “We have the “HOTTEST” Country in the World, and we want people to talk about it.”
People visit the Smithsonian Museum of American History on the National Mall in Washington.
(Pablo Martinez Monsivais / Associated Press)
Immediately, Manning and Millward knew where they would focus.
They sent emails to people they knew, and reached out to neighborhood listservs, asking if anyone wanted to help document the displays at the 21 museums that make up the Smithsonian Institution — including the American History Museum and the Natural History Museum — the National Zoo and the United States Holocaust Memorial Museum.
Within about two weeks, they had 600 volunteers. Before long, the group had grown to over 1,600, Manning said, more people than they could assign galleries and exhibitions to.
“A lot of people feel upset and kind of paralyzed by these repeated assaults on our shared resources and our shared institutions,” Manning said, “and they’re really not sure what to do about it.”
With the help of all the volunteers, and a grad student, Jessica Dickenson Goodman, who had the computer skills to help archive their submissions, the Citizen Historians project now has an archive of over 50,000 photos and videos covering all of the sites. They finished the work Oct. 12, which was when the museums closed because of the government shutdown.
After several media outlets reported on the order to remove the photo of the whipped slave from the Fort Pulaski National Monument in Georgia — citing internal emails and people familiar with deliberations who spoke on the condition of anonymity because they were not authorized to comment publicly — administration officials described the reports as “misinformation” but declined to specify which part was incorrect.
A National Parks Service spokesperson did not respond to requests for comment for this story.
But the possibility that the administration is considering removing the Scourged Back photo is precisely what has prompted Manning, and so many others, to dedicate their time to preserving the historical record.
“I think we need the story that wrong sometimes exists and it is possible to do something about it,” Manning said.
The man in the photo escaped, joined the Union army, and became part of the fight to abolish slavery in the United States. If a powerful image like that disappears from public display, “we rob ourselves of the reminder that it’s possible to do something about the things that are wrong.”
Eurostar can be a really easy way to get across to France and Belgium but there’s one mistake passengers always make – and it can leave you waiting longer
The obligatory train selfie before any trip (Image: Julie Delahaye)
With family in Belgium, Eurostar has always been one of the easiest ways for me to visit thanks to the direct trains between London and Brussels.
On a recent trip, I realised that over the years I’ve racked up over 50 Eurostar journeys. It often works out cheaper than flying for me; there are regular sales where you can snap up £39 tickets if you’re willing to get the early morning/late night trains, and sometimes there are even tempting deals to upgrade to the Eurostar Plus seats with perks including more legroom and a light meal.
I like to think that I’ve nearly perfected the art of a seamless Eurostar arrival for check-in (have your documents ready, gadgets out before you reach security screening, coffee and snacks bought to avoid the rush at the only Pret that’s available once you go through border control).
However, there’s one mistake that I always see people making – and it can actually mean that they end up having to wait around longer for their train. While airlines often require you to arrive around two to three hours before a flight, that window is a lot smaller for Eurostar; and they won’t let you join the queue if you arrive too early.
Usually when you arrive at the Eurostar departures queues, there are staff members holding signs with the train numbers and departure times; if yours isn’t on that list, then it’s unlikely they will let you through. There are typically about two to three trains’ worth of passengers being allowed into the hall, and even that can leave it feeling crowded if there’s any sort of delay.
It means that often overly-eager passengers end up having to awkwardly hang around outside the queues to enter the Eurostar terminal, and I’ve seen people get frustrated that they’re basically just sat waiting to go and queue.
It’s not just in London; Brussels also operates a similar system meaning that if you arrive early, you won’t be allowed to enter the terminal until the check-in window opens for your train.
Eurostar has some rough guidelines on its website here although always check your booking details as sometimes these can change depending on the months you’re travelling, or if there are any delays that affect your travel.
Typically, Eurostar recommends that you arrive 75 minutes before your departure time in London. For Paris, there’s a wider window of up to 90 minutes, while in Brussels it’s a lot shorter with arrival times of up to an hour before departure.
Of course there’s the flip side; the gates usually close about 30 minutes before departure so don’t leave it so late thinking you can just rock up 10 minutes beforehand and that they’ll let you fly past the security queues and border control etc. (I’ve seen people looking very stressed as they try to rush through security and leg it for their train).
I still find it an overall smoother and easier process than navigating through the airport – especially with the lack of 100ml liquid rules at Eurostar, and a much more relaxed approach to the luggage you bring with you!
For over a decade, the Hammer has curated its Made in L.A. series to feature artists who grapple with the realities of living and making art here. It’s an art show that simultaneously pays homage to legacy L.A. artists like Alonzo Davis and Judy Baca, and gives a platform to newer faces such as Lauren Halsey and Jackie Amezquita.
This year’s show, which opened last month, features 28 artists. As part of that cohort, Martinez, Villalobos and Ruiz bring their lived experiences as Latinos from L.A. to the West Side art institution, drawing inspiration from the landscapes of their upbringing.
While creating their displayed works, Martinez took note of the many neon signs hanging in stores’ windows, leading him to make “Hold the Ice,” an anti-ICE sign, and incorporate bright pink lights into his outdoor cinder block mural, “Battle of the City on Fire.” With flashing lights and a shuttered gate tacked onto a painted wooden panel, Ruiz drew on her experiences exploring the city at night and the over-surveillance of select neighborhoods in the interactive piece, “Collective Scream.” Villalobos filmed Figueroa Street from a driver’s perspective, observing the street’s nighttime activity and tracing the energy that surrounds the place where soul singer Sam Cooke was shot.
This year, Made in L.A. doesn’t belong to a specific theme or a title — but as always, the selected art remains interconnected. These three artists sat down with De Los to discuss how their L.A. upbringing has influenced their artistic practice and how their exhibited works are in conversation. Made in L.A. will be on view until March 1, 2026.
The following conversation has been condensed and edited for clarity.
All three of you seem to put a spotlight on various elements of L.A.’s public spaces. How is your art affected by your surroundings?
Ruiz: I really got to explore L.A. as a whole, through partying and going out at night. I prefer seeing this city at night, because there isn’t so much traffic. That’s how I started my art practice. I would perform in queer nightlife spaces and throw parties in cheap warehouses. With my commute from the Valley, I would notice so much. I wouldn’t speed through the freeway. I’d instead take different routes, so I’d learn to navigate the whole city without a GPS and see things differently.
Martinez: That’s also how I started seeing neons. I had a studio in 2006 in downtown, off 6th and Alameda. I would wait for traffic to fade because I was staying in Montebello at the time. I would drive down Whittier Boulevard at night. And you see all the neon signs that have a super saturated color and glow bright. I thought about its messaging. None of the businesses were open that late. They were just letting people know they were there.
Ruiz: Specifically in this piece [“Collective Scream”], there’s a blinking street lamp. It reminds me of when I would leave raves and would randomly see this flickering light. It’s this hypnotizing thing that I would observe and take note of whenever I was on the same route. There’s also a moving gate, [in my piece,] that resembles the ones you see when you’re driving late at night and everything’s gated up.
Villalobos: You do experience a lot of L.A. from your car. It’s a cliche. But f— it. It’s true. When I moved out of L.A., I felt a little odd. I missed the bubble of my car. You can have what seems to be a private moment in your car in a city that’s packed with traffic and so many people. It made me think about what that means, what kind of routes people are taking and how we cultivate community.
Patrick Martinez’s “Battle of the City on Fire,” made in 2025, was inspired by the work of the muralist collective, named the East Los Streetscapers.
(Sarah M Golonka / smg photography)
It’s interesting that you all found inspiration in the biggest complaints about L.A. Maybe there’s something to think about when it comes to the way those born here think of car culture and traffic.
Martinez: I see its effects even with the landscapes I make. I’ll work from left to right, and that’s how we all look at the world when we drive. I always think about Michael Mann movies when I’m making landscapes, especially at night. He has all those moments of quiet time of being in the car and just focusing on what’s going on.
Beyond surveying the streets, your works touch on elements of the past. There’s a common notion that L.A. tends to disregard its past, like when legacy restaurants shut down or when architectural feats get demolished. Does this idea play any role in your work?
Martinez: The idea of L.A. being ashamed of its past pushed me to work with cinder blocks [in “Battle of the City on Fire”]. One of the main reasons was to bring attention to the East Los Streetscapers, the muralists who painted in East L.A. [in the 1960s and ‘70s as a part of the Chicano Mural Movement]. There was this one mural in Boyle Heights that was painted at a Shell gas station. It was later knocked down and in the demolition pictures, the way the cinder blocks were on the floor looked like a sculptural painting. It prompted me to use cinder blocks as a form of sculpture and think about what kind of modern-day ruins we pass by.
Villalobos: Speaking about L.A. as a whole feels almost too grand for me. But if I think about my specific neighborhood, in South Central, what comes to my mind is Black Radical Tradition. It’s where people are able to make something out of what other people might perceive as nothing. There’s always something that’s being created and mixed and mashed together to make something that, to me, is beautiful. It’s maybe not as beautiful to other people, but it’s still a new and creative way to see things and understand what comes before us.
Ruiz: Seeing my parents, who migrated to this country, come from nothing and start from scratch ties into that idea too. Seeing what they’ve been able to attain, and understanding how immigrants can start up businesses and restaurants here, speaks so much to what L.A. is really about. It’s about providing an opportunity that everybody has.
So it’s less about disregarding the past and more about making something out of nothing?
Martinez: It ties back to necessity, for me. Across this city, people come together by doing what they need to do to pay rent. It’s a crazy amount of money to be here. People need to regularly adjust what they do to survive. Recently, I’ve been seeing that more rapidly. There are more food vendors and scrolling LED signs, advertising different things. Once you understand how expensive this backdrop can be, that stuff sits with me.
Freddy Villalobos’ “waiting for the stone to speak, for I know nothing of aventure,” is an immersive work in which viewers can feel loud vibrations pass as they, figuratively, travel down Figueroa Street.
(Sarah M Golonka / smg photography)
We’ve talked a lot about how the past affects L.A. and the role it plays in your art. Does a future L.A. ever cross your mind?
Villalobos: I feel very self-conscious about what I’m gonna say. But as much as I love L.A. and as much as it helped me become who I am, I wouldn’t be too mad with it falling apart. A lot of people from my neighborhood have already been moving to Lancaster, Palmdale and the Inland Empire. When I go to the IE, it feels a little like L.A. and I’m not necessarily mad at that.
Ruiz: It’s really difficult to see what the future holds for anybody. Even with art, what’s going to happen? I don’t know. It’s really challenging to see a future when there’s a constant cycle of bad news about censorship and lack of funding.
Martinez: It’s murky. It’s clouded. This whole year has been so heavy, and everyone talking about it adds to it, right? We’re facing economic despair, and it’s all kind of heavy. Who knows what the future will hold? But there are definitely moves being made by the ruling class to make it into something.
WASHINGTON — The government shutdown is poised to become the longest ever this week as the impasse between Democrats and Republicans has dragged into a new month. Millions of people stand to lose food aid benefits, health care subsidies are set to expire and there are few real talks between the parties over how to end it.
President Trump said in an interview aired on Sunday that he “won’t be extorted” by Democrats who are demanding negotiations to extend the expiring Affordable Care Act subsidies. Echoing congressional Republicans, the president said on CBS’ “60 Minutes” he’ll negotiate only when the government is reopened.
Trump said Democrats “have lost their way” and predicted they’ll capitulate to Republicans.
“I think they have to,” Trump said. “And if they don’t vote, it’s their problem.”
Trump’s comments signal the shutdown could drag on for some time as federal workers, including air traffic controllers, are set to miss additional paychecks and there’s uncertainty over whether 42 million Americans who receive federal food aid will be able to access the assistance. Senate Democrats have voted 13 times against reopening the government, insisting they need Trump and Republicans to negotiate with them first.
The president also reiterated his pleas to Republican leaders to change Senate rules and scrap the filibuster. Senate Republicans have repeatedly rejected that idea since Trump’s first term, arguing the rule requiring 60 votes to overcome any objections in the Senate is vital to the institution and has allowed them to stop Democratic policies when they’re in the minority.
Trump said that’s true, but “we’re here right now.”
“Republicans have to get tougher,” Trump told CBS. “If we end the filibuster, we can do exactly what we want.”
With the two parties at a standstill, the shutdown, now in its 34th day and approaching its sixth week, appears likely to become the longest in history. The previous record was set in 2019, when Trump demanded Congress give him money for a U.S.-Mexico border wall.
A potentially decisive week
Trump’s push on the filibuster could prove a distraction for Senate Majority Leader John Thune, R-S.D., and Republican senators who’ve opted instead to stay the course as the consequences of the shutdown become more acute.
Republicans are hoping at least some Democrats will eventually switch their votes as moderates have been in weekslong talks with rank-and-file Republicans about potential compromises that could guarantee votes on health care in exchange for reopening the government. Republicans need five additional Democrats to pass their bill.
“We need five with a backbone to say we care more about the lives of the American people than about gaining some political leverage,” Thune said on the Senate floor as the Senate left Washington for the weekend on Thursday.
Virginia Sen. Tim Kaine, a Democrat, said on ABC’s “This Week” on Sunday there’s a group of people talking about ”a path to fix the health care debacle” and a commitment from Republicans not to fire more federal workers. But it’s unclear if those talks could produce a meaningful compromise.
Far apart on Obamacare subsidies
Trump said in the “60 Minutes” interview that the Affordable Care Act — often known as Obamacare because it was signed and championed by then-President Barack Obama — is “terrible” and if the Democrats vote to reopen the government, “we will work on fixing the bad health care that we have right now.”
Democrats feel differently, arguing that the marketplaces set up by the ACA are working as record numbers of Americans have signed up for the coverage. But they want to extend subsidies first enacted during the COVID-19 pandemic so premiums won’t go up for millions of people on Jan. 1.
Senate Democratic leader Chuck Schumer said last week that “we want to sit down with Thune, with (House Speaker Mike) Johnson, with Trump, and negotiate a way to address this horrible health care crisis.”
No appetite for bipartisanship
As Democrats have pushed Trump and Republicans to negotiate, Trump has showed little interest in doing so. He called for an end to the Senate filibuster after a trip to Asia while the government was shut down.
White House spokeswoman Karoline Leavitt said on Fox News Channel’s “Sunday Morning Futures” that the president has spoken directly to Thune and Johnson about the filibuster. But a spokesman for Thune said Friday that his position hasn’t changed, and Johnson said Sunday that he believes the filibuster has traditionally been a “safeguard” from far-left policies.
Trump said on “60 Minutes” that he likes Thune but “I disagree with him on this point.”
The president has spent much of the shutdown mocking Democrats, posting videos of House Democratic leader Hakeem Jeffries in a Mexican sombrero. The White House website is now featuring a satirical “My Space” page for Democrats, a parody based on the social media site that was popular in the early 2000s. “We just love playing politics with people’s livelihoods,” the page reads.
Democrats have repeatedly said that they need Trump to get serious and weigh in. Virginia Sen. Mark Warner said that he hopes the shutdown could end “this week” because Trump is back in Washington.
Republicans “can’t move on anything without a Trump sign off,” Warner said on “Face the Nation” on CBS.
Record-breaking shutdown
The 35-day shutdown that lasted from December 2018 to January 2019 ended when Trump retreated from his demands over a border wall. That came amid intensifying delays at the nation’s airports and multiple missed paydays for hundreds of thousands of federal workers.
Transportation Secretary Sean Duffy said on ABC’s “This Week” that there have already been delays at several airports “and it’s only going to get worse.”
Many of the workers are “confronted with a decision,” he said. “Do I put food on my kids’ table, do I put gas in the car, do I pay my rent or do I go to work and not get paid?”
As flight delays around the country increased, New York City’s emergency management department posted on Sunday that Newark Airport was under a ground delay because of “staffing shortages in the control tower” and that they were limiting arrivals to the airport.
“The average delay is about 2 hours, and some flights are more than 3 hours late,” the account posted.
SNAP crisis
Also in the crossfire are the 42 million Americans who receive SNAP benefits. The Department of Agriculture planned to withhold $8 billion needed for payments to the food program starting on Saturday until two federal judges ordered the administration to fund it.
Treasury Secretary Scott Bessent said on CNN Sunday that the administration continues to await additional direction from the courts.
“The best way for SNAP benefits to get paid is for Democrats — for five Democrats to cross the aisle and reopen the government,” Bessent said.
House Democratic leader Jeffries, D-N.Y., accused Trump and Republicans of attempting to “weaponize hunger.” He said that the administration has managed to find ways for funding other priorities during the shutdown, but is slow-walking pushing out SNAP benefits despite the court orders.
“But somehow they can’t find money to make sure that Americans don’t go hungry,” Jeffries said in an appearance on CNN’s “State of the Union.”
Jalonick writes for the Associated Press. AP writer Aamer Madhani contributed to this report.
Guillermo del Toro’s “Frankenstein” didn’t exactly wow audiences and critics when it premiered at the Venice Film Festival, and when it landed at the Telluride Film Festival a day later for a pair of late-night screenings, the response was even more muted. Leaving Colorado, the airport gate was full of hushed conversations between people registering their disappointment with the movie.
“Frankenstein,” the talk went, had three strikes against it — a plodding story, computer-generated imagery that looked appalling and was employed to often ridiculous effect and, outside of Jacob Elordi’s affecting turn as the monster, acting that seemed wildly excessive (Oscar Isaac) or hopelessly lost (Mia Goth). In short: a mess.
But then “Frankenstein” traveled to the Toronto, a city Del Toro regards as his “second home,” and finished as runner-up to “Hamnet” for the festival’s People’s Choice Award. Now playing in a theatrical limited release ahead of its Nov. 7 Netflix premiere, the movie has found favor with the filmmaker’s devoted fan base, selling out theaters, including dates at Netflix’s renovated Egyptian Theatre in Hollywood, where admission lines wrapped around the block. And some prominent critics, including my colleague Amy Nicholson, have written some thoughtful reviews of the movie, praising Del Toro’s lifelong passion project. Amy calls it the “best movie of his career.”
So in this update to my post-festival Oscar power rankings for best picture, you’ll find “Frankenstein,” a movie that’s hard to place on this list but harder still to ignore. Previous rankings are parenthetically noted.
Falling out of the rankings since September: “A House of Dynamite,” “Jay Kelly”
10. ‘Avatar: Fire and Ash’ (Unranked)
A scene from 2022’s “Avatar: The Way of Water.”
(20th Century Studios)
The last “Avatar” movie grossed $2.3 billion and, yes, earned an Oscar nomination for best picture. Yet I’m hard-pressed to find anyone who’s truly excited about devoting half a day to see the next installment, which clocks in at 3 hours and 12 minutes. Just because the first two movies were nominated doesn’t mean this one will be. But underestimating James Cameron’s ability to connect with audiences — and awards voters — seems dumb. So here we are, No. 10, sight (still) unseen.
9. ‘Bugonia’ (10)
Emma Stone in “Bugonia.”
(Atsushi Nishijima / Focus Features)
Better than “Kinds of Kindness” but not nearly the triumph of “Poor Things,” this is mid Yorgos Lanthimos — off-putting, punishing and misanthropic but also featuring another showcase for Emma Stone’s bold, creative energy. There are a number of movies that could displace it as a nominee. Park Chan-wook’s “No Other Choice” offers a more humane — and funnier — look at ugly things people can do when desperate. But I’ll stick with “Bugonia” for now. After all, how many movies inspire people to shave their heads for a ticket?
8. “Frankenstein” (Unranked)
Oscar Isaac in “Frankenstein.”
(Ken Woroner / Netflix)
Netflix has four movies arriving during the awards season window — the meditative stunner “Train Dreams,” Katherine Bigelow’s riveting, ticking-clock thriller “A House of Dynamite,” the George Clooney meta-charmer “Jay Kelly” and “Frankenstein.” (That’s how I’d rank them in terms of quality.) One of these movies will be nominated. Maybe two. At this moment, nobody, including the awards team at Netflix, knows which one(s) it will be.
7. ‘It Was Just an Accident’ (7)
Mohamad Ali Elyasmehr, left, Madj Panahi and Hadis Pakbaten in “It Was Just an Accident.”
(Neon)
Jafar Panahi’s Palme d’Or-winning thriller possesses a withering critique of the cruelty and corruption of an authoritarian regime, combined with a blistering sense of humor. Panahi (“The Circle,” “Taxi”) has been imprisoned by the Iranian government many times for criticizing the government, and his courage has been celebrated for its spirit of artistic resistance. He has been a ubiquitous presence on the festival and awards circuit this year, eager to share both the movie and his story. As the Oscars have thoroughly embraced international movies the last several years, “It Was Just an Accident” feels like it’s on solid ground.
6. ‘Wicked: For Good’ (6)
Ariana Grande, left, and Cynthia Erivo in “Wicked: For Good.”
(Giles Keyte / Universal Pictures)
An academy member recently expressed some reservations about this movie to me — not about the sequel itself, but about the prospect of seeing stars Cynthia Erivo and Ariana Grande embark on another tear-soaked promotional tour. Whatevs. The first “Wicked” movie earned 10 Oscar nominations, winning for production design and costumes. With the added casting category, the sequel might just surpass that number.
5. ‘Marty Supreme’ (8)
Timothée Chalamet in “Marty Supreme.”
(A24)
Josh Safdie’s wildly entertaining, over-caffeinated portrait of a single-minded ping-pong player premiered on its home turf at the New York Film Festival and people left the Lincoln Center’s Alice Tully Hall caught up in the rapture of the movie’s delirium. It might be the movie that wins Timothée Chalamet his Oscar, though he’ll have to go through Leonardo DiCaprio to collect the trophy.
4. ‘Sentimental Value’ (3)
Stellan Skarsgård, left, and Renate Reinsve in “Sentimental Value.”
(Kasper Tuxen / Neon)
Neon won best picture last year with Sean Baker’s “Anora,” and it’s not unreasonable to think it could run it back with “Sentimental Value,” Joachim Trier’s piercing drama about a family reckoning with the past and wondering if reconciliation is possible — or even desired. The three actors cast in familial roles — Stellan Skarsgård, playing a legendary director angling for a comeback, and Renate Reinsve and Inga Ibsdotter Lilleaas as his daughters — are excellent, and Elle Fanning has a choice role as an A-list actor who becomes entangled in the family drama. And like “Anora,” this movie ends on a perfect, transcendent note. That counts for a lot.
3. ‘Sinners’ (4)
Michael B. Jordan in “Sinners.”
(Eli Ade / Warner Bros. Pictures)
“Sinners” made a lot of noise when it was released in April and, months later, belongs in any conversation about the year’s best movie. The job now is to remind voters of its worth at events like the American Cinematheque’s upcoming “Sinners” screening with filmmaker Ryan Coogler and Michael B. Jordan. With the level of its craft, it could score a dozen or more nominations, with only “One Battle After Another” as a threat to best that count.
The Gotham Awards did away with its budget cap a couple of years ago, allowing indie-spirited studio movies like “One Battle After Another” to clean up and, one supposes, the show’s sales team to move more tables at its ceremony. It was no secret that Paul Thomas Anderson’s angry, urgent epic would score well with film critics groups. (Panels of critics vote for the Gothams.) It’s just a question of how many dinners Anderson will have to eventually attend for a movie that has easily become the most widely seen film of his career.
In the working-class city of Commerce, where cars speed past on highways and the Citadel Outlets tower over neighborhoods, there is a steakhouse named Stevens. By day, it’s a classic and charming old restaurant where working people go for quiet, hearty meals.
But every Sunday night, the outside world disappears.
As waiters whisk about in starched button ups, couples lead each other by the hand toward the dance floor in the restaurant’s ballroom, where Stevens’ tradition of Salsa Sundays has been bringing the community together for 73 years.
At 7 p.m. every Sunday, beginner lessons start at Stevens Steakhouse.
(Emil Ravelo / For The Times)
An eight-piece band plays brass, electric guitar, bongos and timbales, filling the room with music as dancers twirl in a dizzying array. One attendee, 29-year-old Amy Hernandez, greets a few familiar faces before she steps onto the dance floor, spinning in confident steps with a wide smile on her face.
Hernandez is part of a revival that’s been getting younger people excited about salsa music — and flocking to Stevens. She grew up watching her father dance salsa, but started diving back into the genre on her own to find comfort during the L.A. wildfires earlier this year. She credits Bad Bunny’s “Debí Tirar Más Fotos” for re-sparking her interest.
“It was very healing for me,” she says of the album, which blends old-school Puerto Rican boricua samples with Latin dance and reggaeton influences for an emotional imagining of Puerto Rican identity.
For decades, Stevens has brought friends, couples, and families together for live music and dance.
(Emil Ravelo/For The Times)
When college friends recommended Stevens as an affordable place to dance, Hernandez mentioned it in passing to her dad. “He laughed and said, ‘I remember that place. I used to dance there too,’” Hernandez says.
The increasingly mainstream artists of Latin fusion genre reggaeton are returning to tradition. Along with the music of Bad Bunny, who’s headlining the upcoming Super Bowl halftime show, you can find classic salsa references in reggaeton star Rauw Alejandro’s latest album “Cosa Nuestra,” and in Colombian pop star Karol G’s multi-genre summer album “Tropicoqueta,” which will be at the center of her headlining Coachella set.
“You can feel the younger energy,” says longtime Stevens salsa instructor Jennifer Aguirre. “It makes me really happy to see a younger generation take on salsa. Because I was worried for a bit. I didn’t know how salsa is going to continue.”
Los Angeles has a unique relationship with salsa, the Afro-Caribbean dance born from Cuban mambo. In cities like Miami and New York, salsa arrived with Cuban and Puerto Rican immigrants. Instead, L.A.’s salsa influence came from Golden Age Hollywood, where Latin dance in movies produced a singular, flashier Angeleno style, characterized by quick turns and theatrical movement, according to salsa historian Juliet McMains.
The 1990s were another high for the genre, when West Coast pioneers like the Vazquez brothers and their first-of-its-kind dance team Salsa Brava sparked a local dance craze. The Vazquezes introduced the “on-1” step and innovated a flashier, dramatic style of salsa in L.A. that brought crowds to competitions and congresses through the 2000s. Legendary late promoter Albert Torres founded the L.A. Salsa Congress in 1999, the first congress on the West Coast, drawing a worldwide audience for Angeleno salsa.
Opened in 1952 by Steven Filipan (and located on Stevens Place), Stevens in Commerce became a local hub for Latin music. “The interesting part was that the area wasn’t Latin at all,” says Jim Filipan, Steven’s grandson and now the third-generation owner of the restaurant. “My grandfather had a foresight that this genre would be the future.”
Jim recalls his childhood growing up in the restaurant. “We would have hundreds of people on Sundays,” he says. “The ballroom, the restaurant, everyone was dancing salsa, and it was incredible. My dad took over in the ‘70s, and I was running it with him in the ‘90s.”
Yet by the 2010s it was apparent that another genre was taking hold of the Latin dance scene: bachata, ushered in by smooth-singing New York stars like Prince Royce and Romeo Santos. Salsa quickly went from being considered hip to rather old-fashioned.
During a Stevens dance lesson, guests learn how to spin on the dance floor.
(Emil Ravelo / For The Times)
Aguirre witnessed the genre lose interest firsthand. “It was like an immediate switch,” Aguirre says. “Salsa just wasn’t as popular anymore, and people would walk over to the other side of the restaurant to take the bachata lessons.”
The pandemic also dealt a large blow to local salsa clubs, as peers in the long-standing dance club industry fell to lower attendance rates and rising rent. And in the last year, two historic venues, the Conga Room and the Mayan, closed permanently.
Stevens almost had the same fate. The financial burdens during the pandemic made Jim consider closing for good. But he couldn’t help but consider the responsibility of his family’s legacy and the special place Stevens holds for local dancers.
“It’s very emotional for me because I have four generations in this restaurant, and now my daughter works here,” he says.
When Stevens reopened, the community came back in droves, ushering in a new era of excitement for salsa.
These days, at the beginning of every class, dance instructor Miguel “Miguelito” Aguirre announces the same rule.
“Forget about what happened today, forget about your week, forget about all the bad stuff. Leave it at the door,” Aguirre says. “It’s going to be better because we’re going to dance salsa.”
Dance instructor, Miguel Aguirre, right, mans the DJ booth alongside DJ Pechanga, another longtime employee of Stevens. Every weekend, the duo brings Latin music to the forefront of the space.
(Emil Ravelo/For The Times)
Aguirre has taught salsa at Stevens for 30 years. In many ways, the steakhouse has shaped his life. It’s where he discovered his love for teaching dance and much more.
“I started coming here in the ‘90s, sneaking in through the back door. I was a teenager, so not old enough to show my ID, but one day, Jim just said, ‘You guys cannot come in through the back anymore. You can come into the front,’” Aguirre says. “And then one day he said, ‘Hey, we are missing the instructors. They’re not coming in. Can you guys teach the class?’ And, I’m still here.”
Jennifer Aguirre, a fellow dance teacher at Stevens, is his wife. She met him one day at Stevens’ annual Halloween party.
“He asked me to join his class because they ‘needed more girls,’” Jennifer says, laughing.
Now Jennifer teaches the beginner’s class, while Miguel is on intermediate. But once 10 p.m. hits, it’s social dancing time. The whole floor comes together and a familiar community converges. If attendees are lucky, they might catch Jennifer and Miguel, a smooth-dancing duo, letting loose, stepping and dipping effortlessly.
On a recent Sunday night, the low-lighted ambience of the restaurant met the purple lights of the dance room, with people sitting all around for a peek at the moves on display. Buttery steaks and potatoes cooking in the kitchen tinged the air as the dance floor came alive with women spinning in dresses and men in shining shoes gliding to the rhythm of the music. Miguel Aguirre manned the DJ stand, asking two singles if they knew each other and encouraging them to dance.
Gregorio Sines was one of the solo dancers on the floor, swaying partners easily under Miguel’s encouragement. Years ago, his friend, who frequented Stevens, dragged Sines out to dance socials, telling him it would be the best way to meet people and open up.
As someone who began with anxiety to dance in front of others, Sines now performs in Stevens’ dance showcases. He says consistently returning to the steakhouse’s historic floor and immersing himself in the supportive community not only changed his dance game, but brought him out of his shell.
“I tell anyone, if you’re scared to dance, you just have to get out there,” Sines says. “There’s a community waiting for you.”
You may not know Eliot Mack’s name, but if a small robot has ever crept around your kitchen, you know his work.
Before he turned his MIT-trained mind to filmmaking, Mack helped lead a small team of engineers trying to solve a deeply relatable problem: how to avoid vacuuming. Whether it was figuring out how to get around furniture legs or unclog the brushes after a run-in with long hair, Mack designed everything onscreen first with software, troubleshooting virtually and getting 80% of the way there before a single part was ever manufactured.
When Mack pivoted to filmmaking in the early 2000s, he was struck by how chaotic Hollywood’s process felt. “You pitch the script, get the green light and you’re flying into production,” he says, sounding both amused and baffled. “There’s no CAD template, no centralized database. I was like, how do movies even get made?”
That question sent Mack down a new path, trading dust bunnies for the creative bottlenecks that slow Hollywood down.
In 2004 he founded Lightcraft Technology, a startup developing what would later be known as virtual production tools, born out of his belief that if you could design a robot in software, you should be able to design a shot the same way. The company’s early system, Previzion, sold for $180,000 and was used on sci-fi and fantasy shows like “V” and “Once Upon a Time.” But Jetset, its latest AI-assisted tool set, runs on an iPhone and offers a free tier, with pro features topping out at just $80 a month. It lets filmmakers scan a location, drop it into virtual space and block out scenes with camera moves, lighting and characters. They can preview shots, overlay elements and organize footage for editing — all from a phone. No soundstage, no big crew, no gatekeepers. Lightcraft’s pitch: “a movie studio in your pocket.”
A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.
The goal, Mack says, is to put more power in the hands of the people making the work. “One of the big problems is how siloed Hollywood is,” he says. “We talked to an Oscar-winning editor who said, ‘I’m never going to get to make my movie’ — he was pigeonholed as just an editor. Same with an animator we know who has two Oscars.”
Eliot Mack, CEO of Lightcraft, an AI-powered virtual-production startup, wants to give creators the power and freedom to bring their ideas to life.
(Christina House/Los Angeles Times)
To Mack, the revolution of Jetset recalls the scrappy, guerrilla spirit of Roger Corman’s low-budget productions, which launched the early careers of directors like Francis Ford Coppola and Martin Scorsese. For generations of creatives stuck waiting on permission or funding, he sees this moment as a reset button.
“The things you got good at — writing, directing, acting, creating, storytelling — they’re still crazy useful,” he says. “What’s changing is the amount of schlepping you have to do before you get to do the fun stuff. Your 20s are a gift. You want to be creating at the absolute speed of sound. We’re trying to get to a place where you don’t have to ask anyone. You can just make the thing.”
AI is reshaping nearly every part of the filmmaking pipeline. Storyboards can now be generated from a script draft. Lighting and camera angles can be tested before anyone touches a piece of gear. Rough cuts, placeholder VFX, even digital costume mock-ups can all be created before the first shot is filmed. What once took a full crew, a soundstage and a six-figure budget can now happen in minutes, sometimes at the hands of a single person with a laptop.
This wave of automation is arriving just as Hollywood is gripped by existential anxiety. The 2023 writers’ and actors’ strikes brought the industry to a standstill and put AI at the center of a fight over its future. Since then, production has slowed, crew sizes have shrunk and the streaming boom has given way to consolidation and cost-cutting.
According to FilmLA, on-location filming in Greater Los Angeles dropped 22.4% in early 2025 compared with the year before. For many of the crew members and craftspeople still competing for those jobs, AI doesn’t feel like an innovation. It feels like a new way to justify doing more with less, only to end up with work that’s less original or creative.
“AI scrapes everything we artists have made off the internet and creates a completely static, banal world that can never imagine anything that hasn’t happened before,” documentary filmmaker Adam Curtis warned during a directors panel at the 2023 Telluride Film Festival, held in the midst of the strikes. “That’s the real weakness of the AI dream — it’s stuck with the ghosts. And I think we’ll get fed up with that.”
How you feel about these changes often depends on where you sit and how far along you are in your career. For people just starting out, AI can offer a way to experiment, move faster and bypass the usual barriers to entry. For veterans behind the scenes, it often feels like a threat to the expertise they’ve spent decades honing.
Past technological shifts — the arrival of sound, the rise of digital cameras, the advancement of CGI — changed how movies were made, but not necessarily who made them. Each wave brought new roles: boom operators and dialogue coaches, color consultants and digital compositors. Innovation usually meant more jobs, not fewer.
But AI doesn’t just change the tools. It threatens to erase the people who once used the old ones.
Diego Mariscal has seen first hand as AI has cut potential jobs for grips.
(Jennifer Rose Clasen)
Diego Mariscal, 43, a veteran dolly grip who has worked on “The Mandalorian” and “Spider-Man: No Way Home,” saw the writing on the wall during a recent shoot. A visual effects supervisor opened his laptop to show off a reel of high-end commercials and something was missing. “There were no blue screens — none,” Mariscal recalls. “That’s what we do. We put up blues as grips. You’d normally hire an extra 10 people and have an extra three days of pre-rigging, setting up all these blue screens. He was like, ‘We don’t need it anymore. I just use AI to clip it out.’”
Mariscal runs Crew Stories, a private Facebook group with nearly 100,000 members, where working crew members share job leads, trade tips and voice their growing fears. He tries to keep up with the steady drip of AI news. “I read about AI all day, every day,” he says. “At least 20 posts a day.”
His fear isn’t just about fewer jobs — it’s about what comes next. “I’ve been doing this since I was 19,” Mariscal says of his specialized dolly work, which involves setting up heavy equipment and guiding the camera smoothly through complex shots. “I can push a cart in a parking lot. I can push a lawnmower. What else can I do?”
Who wins, who loses and what does James Cameron think?
Before AI and digital doubles, Mike Marino learned the craft of transformation the human way: through hands-on work and a fascination that bordered on obsession.
Marino was 5 years old when he first saw “The Elephant Man” on HBO. Horrified yet transfixed, he became fixated on prosthetics and the emotional power they could carry. As a teenager in New York, he pored over issues of Fangoria, studied monsters and makeup effects and experimented with sculpting his own latex masks on his bedroom floor.
Prosthetics artist Mike Marino asks a big question related to generative AI: What role do the human creatives play?
(Sean Dougherty / For The Times)
Decades later, Marino, 48, has become one of Hollywood’s leading makeup artists, earning Oscar nominations for “Coming 2 America,” “The Batman” and last year’s dark comedy “A Different Man,” in which he helped transform Sebastian Stan into a disfigured actor.
His is the kind of tactile, handcrafted work that once seemed irreplaceable. But today AI tools are increasingly capable of achieving similar effects digitally: de-aging actors, altering faces, even generating entire performances. What used to take weeks of experimentation and hours in a makeup trailer can now be approximated with a few prompts and a trained model. To Marino, AI is more than a new set of tools. It’s a fundamental change in what it means to create.
“If AI is so good it can replace a human, then why have any human beings?” he says. “This is about taste. It’s about choice. I’m a human being. I’m an artist. I have my own ideas — mine. Just because you can make 10,000 spaceships in a movie, should you?”
“If AI is so good it can replace a human, then why have any human beings?”
— Mike Marino, makeup artist on “A Different Man”
Marino is no technophobe. His team regularly uses 3D scanning and printing. But he draws the line at outsourcing creative judgment to a machine. “I’m hoping there are artists who want to work with humans and not machines,” he says. “If we let AI just run amok with no taste, no choice, no morality behind it, then we’re gone.”
Not everyone sees AI’s rise in film production as a zero-sum game. Some technologists imagine a middle path. Daniela Rus, director of MIT’s Computer Science and Artificial Intelligence Lab and one of the world’s leading AI researchers, believes the future of filmmaking lies in a “human-machine partnership.”
AI, Rus argues, can take on time-consuming tasks like animating background extras, color correction or previsualizing effects, freeing up people to focus on what requires intuition and taste. “AI can help with the routine work,” she says. “But the human touch and emotional authenticity are essential.”
Few directors have spent more time grappling with the dangers and potential of artificial intelligence than James Cameron. Nearly 40 years before generative tools entered Hollywood’s workflow, he imagined a rogue AI triggering global apocalypse in 1984’s “The Terminator,” giving the world Skynet — now a cultural shorthand for the dark side of machine intelligence. Today, he continues to straddle that line, using AI behind the scenes on the upcoming “Avatar: Fire and Ash” to optimize visual effects and performance-capture, while keeping creative decisions in human hands. The latest sequel, due Dec. 19, promises to push the franchise’s spectacle and scale even further; a newly released trailer reveals volcanic eruptions, aerial battles and a new clan of Na’vi.
A scene from “Avatar: The Way of Water.” Director James Cameron differentiates between using machine-learning to reduce monotonous movie-making work and generative AI.
(Courtesy of 20th Century Studios/Courtesy of 20th Century Studios)
“You can automate a lot of processes that right now tie up a lot of artists doing mundane tasks,” Cameron told The Times in 2023 at a Beyond Fest screening of his 1989 film “The Abyss.” “So if we could accelerate the postproduction pipeline, then we can make more movies. Then those artists will get to do more exciting things.”
For Cameron, the promise of AI lies in efficiency, not elimination. “I think in our particular industry, it’s not going to replace people; it’s going to free them to do other things,” he believes. “It’s going to accelerate the process and bring the price down, which would be good because, you know, some movies are a little more expensive than others. And a lot of that has to do with human energy.”
Cameron himself directed five films between 1984 and 1994 and only three in the three decades since, though each one has grown increasingly complex and ambitious.
That said, Cameron has never been one to chase shortcuts for their own sake. “I think you can make pre-viz and design easier, but I don’t know if it makes it better,” he says. “I mean, if easy is your thing. Easy has never been my thing.”
He draws a line between the machine-learning techniques his team has used since the first “Avatar” to help automate tedious tasks and the newer wave of generative AI models making headlines today.
“The big explosion has been around image-based generative models that use everything from every image that’s ever been created,” he says. “We’d never use any of them. The images we make are computer-created, but they’re not AI-created.”
In his view, nothing synthetic can replace the instincts of a flesh-and-blood artist. “We have human artists that do all the designs,” he says. “We don’t need AI. We’ve got meat-I. And I’m one of the meat-artists that come up with all that stuff. We don’t need a computer. Maybe other people need it. We don’t.”
Reshaping creativity — and creative labor
Rick Carter didn’t go looking for AI as a tool. He discovered it as a lifeline.
The two-time Oscar-winning production designer, who worked with Cameron on “Avatar” and whose credits include “Jurassic Park” and “Forrest Gump,” began experimenting with generative AI tools like Midjourney and Runway during the pandemic, looking for a way to keep his creative instincts sharp while the industry was on pause. A longtime painter, he was drawn to the freedom the programs offered.
“I saw that there was an opportunity to create images where I didn’t have to go to anybody else for approval, which is the way I would paint,” Carter says by phone from Paris. “None of the gatekeeping would matter. I have a whole lot of stories on my own that I’ve tried to get into the world in various ways and suddenly there was a way to visualize them.”
Midjourney and Runway can create richly detailed images — and in Runway’s case, short video clips — from a text prompt or a combination of text and visuals. Trained on billions of images and audiovisual materials scraped from the internet, these systems learn to mimic style, lighting, composition and form, often with eerie precision. In a production pipeline, these tools can help concept artists visualize characters or sets, let directors generate shot ideas or give costume designers and makeup artists a fast way to test looks, long before physical production begins.
But as these tools gain traction in Hollywood, a deeper legal and creative dilemma is coming into focus: Who owns the work they produce? And what about the copyrighted material used to train them?
In June, Disney and Universal filed a federal copyright lawsuit against Midjourney, accusing the company of generating unauthorized replicas of characters such as Spider-Man, Darth Vader and Shrek using AI models trained on copyrighted material: what the suit calls a “bottomless pit of plagiarism.” It’s the most high-profile of several legal challenges now putting copyright law to the test in the age of generative AI.
“Forrest Gump” director Robert Zemeckis, left, with production designer Rick Carter at an art installation of the movie’s famed bench. (Carter family)
(Carter family)
Working with generative models, Carter began crafting what he calls “riffs of consciousness,” embracing AI as a kind of collaborative partner, one he could play off of intuitively. The process reminded him of the loose, improvisational early stages of filmmaking, a space he knows well from decades of working with directors like Robert Zemeckis and Steven Spielberg.
“I’ll just start with a visual or a word prompt and see how it iterates from there and what it triggers in my mind,” Carter says. “Then I incorporate that so it builds on its own in an almost free-associative way. But it’s still based upon my own intuitive, emotional, artistic, even spiritual needs at that moment.”
He describes the experience as a dialogue between two minds, one digital and one human: “One AI is artificial intelligence. The other AI is authentic intelligence — that’s us. We’ve earned it over this whole span of time on the planet.”
Sometimes, Carter says, the most evocative results come from mistakes. While sketching out a story about a hippie detective searching for a missing woman in the Himalayas, he accidentally typed “womb” into ChatGPT instead of “woman.” The AI ran with it, returning three pages of wild plot ideas involving gurus, seekers and a bizarre mystery set in motion by the disappearance.
“I couldn’t believe it,” he says. “I would never have taken it that far. The AI is so precocious. It is trying so much to please that it will literally make something out of the mistake you make.”
Carter hasn’t used generative AI on a film yet; most of his creations are shared only with friends. But he says the technology is already slipping into creative workflows in covert ways. “There are issues with copyrights with most of the studios so for now, it’s going to be mostly underground,” he says. “People will use it but they won’t acknowledge that they’re using it — they’ll have an illustrator do something over it, or take a photo so there’s no digital trail.”
Carter has lived through a major technological shift before. “I remember when we went from analog to digital, from ‘Jurassic Park’ on,” he says. “There were a lot of wonderful artists who could draw and paint in ways that were just fantastic but they couldn’t adapt. They didn’t want to — even the idea of it felt like the wrong way to make art. And, of course, most of them suffered because they didn’t make it from the Rolodex to the database in terms of people calling them up.”
He worries that some artists may approach the technology with a rigid sense of authorship. “Early on, I found that the less I used my own ego as a barometer for whether something was artistic, the more I leaned into the process of collaboratively making something bigger than the sum of its parts — and the bigger and better the movies became.”
Others, like storyboard artist Sam Tung, are bracing against the same wave with a quiet but unshakable defiance.
Tung, whose credits include “Twisters” and Christopher Nolan’s upcoming adaptation of “The Odyssey,” has spent the last two years tracking the rise of generative tools, not just their capabilities but their implications. As co-chair of the Animation Guild’s AI Committee, he has been on the front lines of conversations about how these technologies could reshape creative labor.
To artists like Tung, the rise of generative tools feels deeply personal. “If you are an illustrator or a writer or whatever, you had to give up other things to take time to develop those skills,” he says. “Nobody comes out of the womb being able to draw or write or act. Anybody who does that professionally spent years honing those skills.”
“Anything I’ve made with AI, I’ve quickly forgotten about. There’s basically nothing I get from putting it on social media, other than the ire of my peers.”
— Sam Tung, storyboard artist on “The Odyssey”
Tung has no interest in handing that over to a machine. “It’s not that I’m scared of it — I just don’t need it,” he says. “If I want to draw something or paint something, I’ll do it myself. That way it’s exactly what I want and I actually enjoy the process. When people tell me they responded to a drawing I did or a short film I made with friends, it feels great. But anything I’ve made with AI, I’ve quickly forgotten about. There’s basically nothing I get from putting it on social media, other than the ire of my peers.”
What unsettles him isn’t just the slickness of AI’s output but how that polish is being used to justify smaller crews and faster turnarounds. “If this is left unchecked, it’s very easy to imagine a worst-case scenario where team sizes and contract durations shrink,” Tung says. “A producer who barely understands how it works might say, ‘Don’t you have AI to do 70% of this? Why do you need a whole week to turn around a sequence? Just press the button that says: MAKE MOVIE.’ ”
At 73, Carter isn’t chasing jobs. His legacy is secure. “If they don’t hire me again, that’s OK,” he says. “I’m not in that game anymore.” He grew up in Hollywood — his father was Jack Lemmon’s longtime publicist and producing partner — and has spent his life watching the industry evolve. Now, he’s witnessing a reckoning unlike any he, or anyone else, has ever imagined.
“I do have concerns about who is developing AI and what their values are,” he says. “What they use all this for is not necessarily something I would approve of — politically, socially, emotionally. But I don’t think I’m in a position to approve or not.”
Earlier this year, the Palisades fire destroyed Carter’s home, taking with it years of paintings and personal artwork. AI, he says, has given him a way to keep creating through the upheaval. “It saved me through the pandemic, and now it’s saving me through the fire,” he says, as if daring the universe to test him again. “It’s like, go ahead, throw something else at me.”
‘Prompt and pray?’ Not so fast
Many in the industry may still be dipping a toe into the waters of AI. Verena Puhm dove in.
The Austrian-born filmmaker studied acting and directing in Munich and Salzburg before moving to Los Angeles, where she built a globe-spanning career producing, writing and developing content for international networks and streamers. Her credits range from CNN’s docuseries “History of the Sitcom” to the German reboot of the cult anthology “Beyond Belief: Fact or Fiction” and a naval documentary available on Tubi. More recently, she has channeled that same creative range into a deepening exploration of generative tools.
Puhm first began dabbling with AI while using Midjourney to design a pitch deck, but it wasn’t until she entered a timed generative AI filmmaking challenge at the 2024 AI on the Lot conference — informally dubbed a “gen battle” — that the creative potential of the medium hit her.
“In two hours, I made a little mock commercial,” she remembers, proudly. “It was actually pretty well received and fun. And I was like, Oh, wow, I did this in two hours. What could I do in two days or two weeks?”
What started as experimentation soon became a second act. This summer, Puhm was named head of studio for Dream Lab LA, a new creative arm of Luma AI, which develops generative video tools for filmmakers and creators. There, she’s helping shape new storytelling formats and supporting emerging creators working at the intersection of cinema and technology. She may not be a household name, but in the world of experimental storytelling, she’s fast becoming a key figure.
Verena Puhm, a director, writer and producer, has used generative AI in a number of her projects, says it’s breaking down barriers to entry.
(Jason Armond/Los Angeles Times)
Some critics dismiss AI filmmaking as little more than “prompt and pray”: typing in a few words and hoping something usable comes out. Puhm bristles at the phrase.
“Anybody that says that tells me they’ve never tried it at all, because it is not that easy and simple,” she says. “You can buy a paintbrush at Home Depot for, what, $2? That doesn’t make you a painter. When smartphones first came out, there was a lot of content being made but that didn’t mean everyone was a filmmaker.”
What excites her most is how AI is breaking down the barriers that once kept ambitious ideas out of reach. Luma’s new Modify Video tool lets filmmakers tweak footage after it’s shot, changing wardrobe, aging a character, shifting the time of day, all without reshoots or traditional VFX. It can turn a garage into a spaceship, swap a cloudy sky for the aurora borealis or morph an actor into a six-eyed alien, no green screen required.
“I remember shopping projects around and being told by producers, ‘This scene has to go, that has to go,’ just to keep the budget low. Now everything is open.”
— Verena Puhm, Head of Studio at Dream Lab LA
“It’s such a relief as an artist,” Puhm says. “If there’s a project I’ve been sitting on for six years because I didn’t have a $5 million budget — suddenly there’s no limit. I remember shopping projects around and being told by producers, ‘This scene has to go, that has to go,’ just to keep the budget low. Now everything is open.”
That sense of access resonates far beyond Los Angeles. At a panel during AI on the Lot, “Blue Beetle” director Ángel Manuel Soto reflected on how transformative AI might have been when he was first starting out. “I wish tools like this existed when I wanted to make movies in Puerto Rico, because nobody would lend me a camera,” he said. “Access to equipment is a privilege we sometimes take for granted. I see this helping kids like me from the projects tell stories without going bankrupt — or stealing, which I don’t condone.”
Puhm welcomes criticism of AI but only when it’s informed. “If you hate AI and you’ve actually tested the tools and educated yourself, I’ll be your biggest supporter,” she says. “But if you’re just speaking out of fear, with no understanding, then what are you even basing your opinion on?”
She understands why some filmmakers feel rattled, especially those who, like her, grew up dreaming of seeing their work on the big screen. “I still want to make features and TV series — that’s what I set out to do,” she says. “I hope movie theaters don’t go away. But if the same story I want to tell reaches millions of people on a phone and they’re excited about it, will I really care that it wasn’t in a theater?”
“I just feel like we have to adapt to the reality of things,” she continues. “That might sometimes be uncomfortable, but there is so much opportunity if you lean in. Right now any filmmaker can suddenly tell a story at a high production value that they could have never done before, and that is beautiful and empowering.”
For many, embracing AI boils down to a simple choice: adapt or get cut from the frame.
Hal Watmough, a BAFTA-winning British editor with two decades of experience, first began experimenting with AI out of a mix of curiosity and dread. “I was scared,” he admits. “This thing was coming into the industry and threatening our jobs and was going to make us obsolete.” But once he started playing with tools like Midjourney and Runway, he quickly saw how they could not only speed up the process but allow him to rethink what his career could be.
For an editor used to working only with what he was given, the ability to generate footage on the fly, cut with it immediately and experiment endlessly without waiting on a crew or a shoot was a revelation. “It was still pretty janky at that stage, but I could see the potential,” he says. “It was kind of intoxicating. I started to think, I’d like to start making things that I haven’t seen before.”
After honing his skills with various AI tools, Watmough created a wistful, vibrant five-minute animated short called “LATE,” about an aging artist passing his wisdom to a young office worker. Over two weeks, he generated 2,181 images using AI, then curated and refined them frame by frame to shape the story.
Earlier this year, he submitted “LATE” to what was billed as the world’s first AI animation contest, hosted by Curious Refuge, an online education hub for creative technologists — and, to his delight, he won. The prize included $10,000, a pitch meeting with production company Promise Studios and, as an absurd bonus, his face printed on a potato. But for Watmough, the real reward was the sense that he had found a new creative identity.
“There’s something to the fact that the winner of the first AI animation competition was an editor,” Watmough says. “With the advent of AI, yes, you could call yourself a filmmaker but essentially I’d say most people are editors. You’re curating, selecting, picking what you like — relying on your taste.”
Thanks to AI, he says he’s made more personal passion projects in the past year and a half than during his entire previous career. “I’ll be walking or running and ideas just come. Now I can go home that night and try them,” he says. “None of that would exist without AI. So either something exists within AI or it never exists at all. And all the happiness and fulfillment that comes with it for the creator doesn’t exist either.”
Watmough hasn’t entirely lost his fear of what AI might do to the creative workforce, even as he is energized by what it makes possible. “A lot of people I speak to in film and TV are worried about losing their jobs and I’m not saying the infrastructure roles won’t radically change,” he says. “But I don’t think AI is going to replace that many — if any — creative people.”
What it will do, he says, is raise the bar. “If anyone can create anything, then average work will basically become extinct or pointless. AI can churn out remakes until the cows come home. You’ll have to pioneer to exist.”
He likens the current moment to the birth of cinema more than a century ago — specifically the Lumière brothers’ “Arrival of a Train at La Ciotat,” the 1896 short that famously startled early audiences. In the silent one-minute film, a steam train rumbles toward the camera, growing larger. Some viewers reportedly leaped from their seats, convinced it was about to crash into them.
“People ran out of the theater screaming,” Watmough says. “Now we don’t even think about it. With AI, we’re at that stage again. We’re watching the steam train come into the station and people are either really excited or they’re running out of the theater in fear. That’s where we are, right at the start. And the potential is limitless.”
Then again, he adds with a dry laugh, “I’m an eternal optimist, so take what I say with a grain of salt.”
At a Starbucks in downtown Culver City, Amit Jain pulls out his iPad Pro and presses play. On-screen, one of his employees at Luma AI — the Silicon Valley startup behind a new wave of generative video tools, which he co-founded and now runs — lumbers through the company’s Palo Alto office, arms swinging, shoulders hunched, pretending to be a monkey. Jain swipes to a second version of the same clip. Same movement, same hallway, but now he is a monkey. Fully rendered and believable, and created in seconds.
“The tagline for this would be, like, iPhone to cinema,” Jain says, flipping through other uncanny clips shared on his company’s Slack. “But, of course, it’s not full cinema yet.” He says it offhandedly — as if he weren’t describing a transformation that could upend not just how movies are made but what Hollywood is even for. If anyone can summon cinematic spectacle with a few taps, what becomes of the place that once called it magic?
Luma’s generative AI platform, Dream Machine, debuted last year and points toward a new kind of moviemaking, one where anyone can make release-grade footage with a few words. Type “a cowboy riding a velociraptor through Times Square,” and it builds the scene from scratch. Feed it a still photo and it brings the frozen moment to life: A dog stirs from a nap, trees ripple in the breeze.
Dream Machine’s latest tool, Modify Video, was launched in June. Instead of generating new footage, it redraws what’s already there. Upload a clip, describe what you want changed and the system reimagines the scene: A hoodie becomes a superhero cape, a sunny street turns snowy, a person transforms into a talking banana or a medieval knight. No green screen, no VFX team, no code. “Just ask,” the company’s website says.
For now, clips max out around 10 seconds, a limit set by the technology’s still-heavy computing demands. But as Jain points out, “The average shot in a movie is only eight seconds.”
A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.
Jain’s long-term vision is even more radical: a world of fully personalized entertainment, generated on demand. Not mass-market blockbusters, but stories tailored to each individual: a comedy about your co-workers, a thriller set in your hometown, a sci-fi epic starring someone who looks like you, or simply anything you want to see. He insists he’s not trying to replace cinema but expand it, shifting from one-size-fits-all stories to something more personal, flexible and scalable.
“Today, videos are made for 100 million people at a time — they have to hit the lowest common denominator,” Jain says. “A video made just for you or me is better than one made for two unrelated people. That’s the problem we’re trying to solve… My intention is to get to a place where two hours of video can be generated for every human every day.”
It’s a staggering goal that Jain acknowledges is still aspirational. “That will happen, but when the prices are about a thousand times cheaper than where we are. Our research and our engineering are going toward that, to push the price down as much as humanly possible. Because that’s the demand for video. People watch hours and hours of video every day.”
Scaling to that level would require not just faster models but exponentially more compute power. Critics warn that the environmental toll of such expansion could be profound.
For Dream Machine to become what Jain envisions, it needs more than generative tricks — it needs a built-in narrative engine that understands how stories work: when to build tension, where to land a joke, how to shape an emotional arc. Not a tool but a collaborator. “I don’t think artists want to use tools,” he says. “They want to tell their stories and tools get in their way. Currently, pretty much all video generative models, including ours, are quite dumb. They are good pixel generators. At the end of the day, we need to build general intelligence that can tell a f— funny joke. Everything else is a distraction.”
The name may be coincidental, but nine years ago, MIT’s Media Lab launched a very different kind of machine: Nightmare Machine, a viral experiment that used neural networks to distort cheerful faces and familiar cityscapes into something grotesque. That project asked if AI could learn to frighten us. Jain’s vision points in a more expansive direction: an AI that is, in his words, “able to tell an engaging story.”
For many in Hollywood, though, the scenario Jain describes — where traditional cinema increasingly gives way to fast, frictionless, algorithmically personalized video — sounds like its own kind of nightmare.
Jain sees this shift as simply reflecting where audiences already are. “What people want is changing,” he says. “Movies obviously have their place but people aren’t spending time on them as much. What people want are things that don’t need their attention for 90 minutes. Things that entertain them and sometimes educate them and sometimes are, you know, thirst traps. The reality of the universe is you can’t change people’s behaviors. I think the medium will change very significantly.”
Still, Jain — who previously worked as an engineer on Apple’s Vision Pro, where he collaborated with filmmakers like Steven Spielberg and George Lucas — insists Hollywood isn’t obsolete, just due for reinvention. To that end, Luma recently launched Dream Lab LA, a creative studio aimed at fostering AI-powered storytelling.
“Hollywood is the largest concentration of storytellers in the world,” Jain says. “Just like Silicon Valley is the largest concentration of computer scientists and New York is the largest concentration of finance people. We need them. That’s what’s really special about Hollywood. The solution will come out of the marriage of technology and art together. I think both sides will adapt.”
It’s a hopeful outlook, one that imagines collaboration, not displacement. But not everyone sees it that way.
In Silicon Valley, where companies like Google, OpenAI, Anthropic and Meta are racing to build ever more powerful generative tools, such thinking is framed as progress. In Hollywood, it can feel more like erasure — a threat to authorship itself and to the jobs, identities and traditions built around it. The tension came to a head during the 2023 writers’ and actors’ strikes, when picket signs declared: “AI is not art” and “Human writers only.”
What once felt like the stuff of science fiction is now Hollywood’s daily reality. As AI becomes embedded in the filmmaking process, the entire ecosystem — from studios and streamers to creators and institutions — is scrambling to keep up. Some see vast potential: faster production, lower costs, broader access, new kinds of creative freedom. Others see an extraction machine that threatens the soul of the art form and a coming flood of cheap, forgettable content.
AI storytelling is just beginning to edge into theaters — and already sparking backlash. This summer, IMAX is screening 10 generative shorts from Runway’s AI Film Festival. At AMC Burbank, where one screening is set to take place later this month, a protest dubbed “Kill the Machine” is already being organized on social media, an early flashpoint in the growing resistance to AI’s encroachment on storytelling.
But ready or not, the gravity is shifting. Silicon Valley is pulling the film industry into its orbit, with some players rushing in and others dragged. Faced with consolidation, shrinking budgets and shareholder pressure to do more with less, studios are turning to AI not just to cut costs but to survive. The tools are evolving faster than the industry’s playbook, and the old ways of working are struggling to keep up. With generative systems poised to flood the zone with content, simply holding an audience’s attention, let alone shaping culture, is becoming harder than ever.
While the transition remains uneven, some studios are already leaning in. Netflix recently used AI tools to complete a complex VFX sequence for the Argentine sci-fi series “El Eternauta” in a fraction of the usual time. “We remain convinced that AI represents an incredible opportunity to help creators make films and series better, not just cheaper,” co-chief executive Ted Sarandos told analysts during a July earnings call.
At Paramount, incoming chief executive David Ellison is pitching a more sweeping transformation: a “studio in the cloud” that would use AI and other digital tools to reinvent every stage of filmmaking, from previsualization to post. Ellison, whose Skydance Media closed its merger with Paramount Global this week and whose father, Larry Ellison, co-founded Oracle, has vowed to turn the company into a tech-first media powerhouse. “Technology will transform every single aspect of this company,” he said last year.
In one of the most visible examples of AI adoption in Hollywood, Lionsgate, the studio behind the “John Wick” and “Hunger Games” franchises, struck a deal last year with the generative video startup Runway to train a custom model on its film and TV library, aiming to support future project development and improve efficiency. Lionsgate chief executive Jon Feltheimer, speaking to analysts after the agreement, said the company believes AI, used with “appropriate guardrails,” could have a “positive transformational impact” on the business.
Elsewhere, studios are experimenting more quietly: using AI to generate early character designs, write alternate dialogue or explore how different story directions might land. The goal isn’t to replace writers or directors, but to inform internal pitches and development. At companies like Disney, much of the testing is happening in games and interactive content, where the brand risk is lower and the guardrails are clearer. For now, the prevailing instinct is caution. No one wants to appear as if they’re automating away the heart of the movies.
Legacy studios like Paramount are exploring ways to bring down costs by incorporating AI into their pipeline.
(Brian van der Brug / Los Angeles Times)
As major studios pivot, smaller, more agile players are building from the ground up for the AI era.
According to a recent report by FBRC.ai, an L.A.-based innovation studio that helps launch and advise early-stage AI startups in entertainment, more than 65 AI-native studios have launched since 2022, most of them tiny, self-funded teams of five or fewer. At these studios, AI tools allow a single creator to do the work of an entire crew, slashing production costs by 50% to 95% compared with traditional live-action or animation. The boundaries between artist, technician and studio are collapsing fast — and with them, the very idea of Hollywood as a gatekeeper.
That collapse is raising deeper questions: When a single person anywhere in the world can generate a film from a prompt, what does Hollywood still represent? If stories can be personalized, rendered on demand or co-written with a crowd, who owns them? Who gets paid? Who decides what matters and what disappears into the churn? And if narrative itself becomes infinite, remixable and disposable, does the idea of a story still hold any meaning at all?
Yves Bergquist leads the AI in Media Project at USC’s Entertainment Technology Center, a studio-backed think tank where Hollywood, academia and tech converge. An AI researcher focused on storytelling and cognition, he has spent years helping studios brace for a shift he sees as both inevitable and wrenching. Now, he says, the groundwork is finally being laid.
“We’re seeing very aggressive efforts behind the scenes to get studios ready for AI,” Bergquist says. “They’re building massive knowledge graphs, getting their data ready to be ingested into AI systems and putting governance committees in place to start shaping real policy.”
But adapting won’t be easy, especially for legacy studios weighed down by entrenched workflows, talent relationships, union contracts and layers of legal complexity. “These AI models weren’t built for Hollywood,” Bergquist says. “This is 22nd-century technology being used to solve 21st-century problems inside 19th-century organizational models. So it’s blood, sweat and tears getting them to fit.”
In an algorithmically accelerated landscape where trends can catch fire and burn out in hours, staying relevant is its own challenge. To help studios keep pace, Bergquist co-founded Corto, an AI startup that describes itself as a “growth genomics engine.” The company, which also works with brands like Unilever, Lego and Coca-Cola, draws on thousands of social and consumer sources, analyzing text, images and video to decode precisely which emotional arcs, characters and aesthetics resonate with which demographics and cultural segments, and why.
“When the game is attention, the weapon is understanding where culture and attention are and where they’re going.” Bergquist says, arguing media ultimately comes down to neuroscience.
Corto’s system breaks stories down into their formal components, such as tone, tempo, character dynamics and visual aesthetics, and benchmarks new projects against its extensive data to highlight, for example, that audiences in one region prefer underdog narratives or that a certain visual trend is emerging globally. Insights like these can help studios tailor marketing strategies, refine storytelling decisions or better assess the potential risk and appeal of new projects.
With ever-richer audience data and advances in AI modeling, Bergquist sees a future where studios can fine-tune stories in subtle ways to suit different viewers. “We might know that this person likes these characters better than those characters,” he says. “So you can deliver something to them that’s slightly different than what you’d deliver to me.”
A handful of studios are already experimenting with early versions of that vision — prototyping interactive or customizable versions of existing IP, exploring what it might look like if fans could steer a scene, adjust a storyline or interact with a favorite character. Speaking at May’s AI on the Lot conference, Danae Kokenos, head of technology innovation at Amazon MGM Studios, pointed to localization, personalization and interactivity as key opportunities. “How do we allow people to have different experiences with their favorite characters and favorite stories?” she said. “That’s not quite solved yet, but I see it coming.”
Bergquist is aware that public sentiment around AI remains deeply unsettled. “People are very afraid of AI — and they should be,” he acknowledges. “Outside of certain areas like medicine, AI is very unpopular. And the more capable it gets, the more unpopular it’s going to be.”
Still, he sees a significant upside for the industry. Get AI right, and studios won’t just survive but redefine storytelling itself. “One theory I really believe in is that as more people gain access to Hollywood-level production tools, the studios will move up the ladder — into multi-platform, immersive, personalized entertainment,” he says. “Imagine spending your life in Star Wars: theatrical releases, television, VR, AR, theme parks. That’s where it’s going.”
The transition won’t be smooth. “We’re in for a little more pain,” he says, “but I think we’ll see a rebirth of Hollywood.”
“AI slop” or creative liberation?
You don’t have to look far to find the death notices. TikTok, YouTube and Reddit are full of “Hollywood is dead” posts, many sparked by the rise of generative AI and the industry’s broader upheaval. Some sound the alarm. Others say good riddance. But what’s clear is that the center is no longer holding and no one’s sure what takes its place.
Media analyst Doug Shapiro has estimated that Hollywood produces about 15,000 hours of fresh content each year, compared to 300 million hours uploaded annually to YouTube. In that context, generative AI doesn’t need to reach Hollywood’s level to pose a major threat to its dominance — sheer volume alone is enough to disrupt the industry.
The attention economy is maxed out but attention itself hasn’t grown. As the monoculture fades from memory, Hollywood’s cultural pull is loosening. This year’s Oscars drew 19.7 million viewers, fewer than tuned in to a typical episode of “Murder, She Wrote” in the 1990s. The best picture winner, “Anora,” earned just $20 million at the domestic box office, one of the lowest tallies of any winner of the modern era. Critics raved, but fewer people saw it in theaters than watch the average moderately viral TikTok.
Amid this fragmentation, generative AI tools are fueling a surge of content. Some creators have a new word for it: “slop” — a catchall for cheap, low-effort, algorithmically churned-out media that clogs the feed in search of clicks. Once the world’s dream factory, Hollywood is now asking how it can stand out in an AI-powered media deluge.
Audience members watch an AI-assisted animated short at “Emergent Properties,” a 2023 Sony Pictures screening that offered a glimpse of the uncanny, visually inventive new wave of AI-powered filmmaking.
(Jay L. Clendenin / Los Angeles Times)
Ken Williams, chief executive of USC’s Entertainment Technology Center and a former studio exec who co-founded Sony Pictures Imageworks, calls it a potential worst-case scenario in the making — “the kind of wholesale dehumanization of the creative process that people, in their darkest moments, fear.”
Williams says studios and creatives alike worry that AI will trap audiences in an algorithmic cul de sac, feeding them more of what they already know instead of something new.
“People who live entirely in the social media world and never come out of that foxhole have lost the ability to hear other voices — and no one wants to see that happen in entertainment.”
If the idea of uncontrolled, hyper-targeted AI content sounds like something out of an episode of “Black Mirror,” it was. In the 2023 season opener “Joan Is Awful,” a woman discovers her life is being dramatized in real time on a Netflix-style streaming service by an AI trained on her personal data, with a synthetic Salma Hayek cast as her on-screen double.
So far, AI tools have been adopted most readily in horror, sci-fi and fantasy, genres that encourage abstraction, stylization and visual surrealism. But when it comes to human drama, emotional nuance or sustained character arcs, the cracks start to show. Coherence remains a challenge. And as for originality — the kind that isn’t stitched together from what’s already out there — the results so far have generally been far from revelatory.
At early AI film festivals, the output has often leaned toward the uncanny or the conceptually clever: brief, visually striking experiments with loose narratives, genre tropes and heavily stylized worlds. Many feel more like demos than fully realized stories. For now, the tools excel at spectacle and pastiche but struggle with the kinds of layered, character-driven storytelling that define traditional cinema.
Then again, how different is that from what Hollywood is already producing? Today’s biggest blockbusters — sequels, reboots, multiverse mashups — often feel so engineered to please that it’s hard to tell where the algorithm ends and the artistry begins. Nine of the top 10 box office hits in 2024 were sequels. In that context, slop is, to some degree, in the eye of the beholder. One person’s throwaway content may be another’s creative breakthrough — or at least a spark.
Joaquin Cuenca, chief executive of Freepik, rejects the notion that AI-generated content is inherently low-grade. The Spain-based company, originally a stock image platform, now offers AI tools for generating images, video and voice that creators across the spectrum are starting to embrace.
“I don’t like this ‘slop’ term,” Cuenca says. “It’s this idea that either you’re a top renowned worldwide expert or it’s not worth it — and I don’t think that’s true. I think it is worth it. Letting people with relatively low skills or low experience make better videos can help people get a business off the ground or express things that are in their head, even if they’re not great at lighting or visuals.”
Freepik’s tools have already made their way into high-profile projects. Robert Zemeckis’ “Here,” starring a digitally de-aged Tom Hanks and set in one room over a period for decades, used the company’s upscaling tech to enhance backgrounds. A recently released anthology of AI-crafted short films, “Beyond the Loop,” which was creatively mentored by director Danny Boyle, used the platform to generate stylized visuals.
“More people will be able to make better videos, but the high end will keep pushing forward too,” Cuenca says. “I think it will expand what it means to be state of the art.”
For all the concern about runaway slop, Williams envisions a near-term stalemate, where AI expands the landscape without toppling the kind of storytelling that still sets Hollywood apart. In that future, he argues, the industry’s competitive edge — and perhaps its best shot at survival — will still come from human creators.
That belief in the value of human authorship is now being codified by the industry’s most influential institution. Earlier this year, the Academy of Motion Picture Arts and Sciences issued its first formal guidance on AI in filmmaking, stating that the use of generative tools will “neither help nor harm” a film’s chances of receiving a nomination. Instead, members are instructed to consider “the degree to which a human was at the heart of the creative authorship” when evaluating a work.
“I don’t see AI necessarily displacing the kind of narrative content that has been the province of Hollywood’s creative minds and acted by the stars,” Williams says. “The industry is operating at a very high level of innovation and creativity. Every time I turn around, there’s another movie I’ve got to see.”
The new studio model
Inside Mack Sennett Studios, a historic complex in L.A.’s Echo Park neighborhood once used for silent film shoots, a new kind of studio is taking shape: Asteria, the generative AI video studio founded by filmmaker-turned-entrepreneur Bryn Mooser.
Asteria serves as the creative arm of Moonvalley, an AI storytelling company led by technologist and chief executive Naeem Talukdar. Together, they’re exploring new workflows built around the idea that AI can expand, rather than replace, human creativity.
Mooser, a two-time Oscar nominee for documentary short subject and a fifth-generation Angeleno, sees the rise of AI as part of Hollywood’s long history of reinvention, from sound to color to CGI. “Looking back, those changes seem natural, but at the time, they were difficult,” he says.
Ed Ulbrich, left, Bryn Mooser and Mateusz Malinowski, executives at Moonvalley and Asteria, are building a new kind of AI-powered movie studio focused on collaboration between filmmakers and technologists.
(David Butow / For the Times)
What excites him now is how AI lowers technical barriers for the next generation. “For people who are technicians, like stop-motion or VFX artists, you can do a lot more as an individual or a small team,” he says. “And really creative filmmakers can cross departments in a way they couldn’t before. The people who are curious and leaning in are going to be the filmmakers of tomorrow.”
It’s a hopeful vision, one shared by many AI proponents who see the tools as a great equalizer, though some argue it often glosses over the structural realities facing working artists today, where talent and drive alone may not be enough to navigate a rapidly shifting, tech-driven landscape.
That tension is precisely what Moonvalley is trying to address. Their pitch isn’t just creative, it’s legal. While many AI companies remain vague about what their models are trained on, often relying on scraped content of questionable legality, Moonvalley built its video model, Marey, on fully licensed material and in close collaboration with filmmakers.
That distinction is becoming more significant. In June, Disney and Universal filed a sweeping copyright lawsuit against Midjourney, a popular generative AI tool that turns text prompts into images, accusing it of enabling rampant infringement by letting users generate unauthorized depictions of characters like Darth Vader, Spider-Man and the Minions. The case marks the most aggressive legal challenge yet by Hollywood studios against AI platforms trained on their intellectual property.
“We worked with some of the best IP lawyers in the industry to build the agreements with our providers,” Moonvalley’s Talukdar says. “We’ve had a number of major studios audit those agreements. We’re confident every single pixel has had a direct sign-off from the owner. That was the baseline we operated from.”
The creative frontier between Hollywood and AI is drawing interest from some of the industry’s most ambitious filmmakers.
Steven Spielberg and “Avengers” co-director Joe Russo were among the advisors to Wonder Dynamics, an AI-driven VFX startup that was acquired by Autodesk last year. Darren Aronofsky, the boundary-pushing director behind films like “Black Swan” and “The Whale,” recently launched the AI studio Primordial Soup, partnering with Google DeepMind. Its debut short, “Ancestra,” directed by Eliza McNitt, blends real actors with AI-generated visuals and premiered at the Tribeca Film Festival in June.
Not every foray into AI moviemaking has been warmly received. Projects that spotlight generative tools have stoked fresh arguments about where to draw the line between machine-made and human-driven art.
In April, actor and director Natasha Lyonne, who co-founded Asteria with her partner, Mooser, announced her feature directorial debut: a sci-fi film about a world addicted to VR gaming called “Uncanny Valley,” combining AI and traditional filmmaking techniques. Billed as offering “a radical new cinematic experience,” the project drew backlash from some critics who questioned whether such ventures risk diminishing the role of human authorship. Lyonne defended the film to the Hollywood Reporter, making clear she’s not replacing crew members with AI: “I love nothing more than filmmaking, the filmmaking community, the collaboration of it, the tactile fine art of it… In no way would I ever want to do anything other than really create some guardrails or a new language.”
Even the boldest experiments face a familiar hurdle: finding an audience. AI might make it easier to make a movie, but getting people to watch it is another story. For now, the real power still lies with platforms like Netflix and TikTok that decide what gets seen.
That’s why Mooser believes the conversation shouldn’t be about replacing filmmakers but empowering them. “When we switched from shooting on film to digital, it wasn’t the filmmakers who went away — it was Kodak and Polaroid,” he says. “The way forward isn’t everybody typing prompts. It’s putting great filmmakers in the room with the best engineers and solving this together. We haven’t yet seen what AI looks like in the hands of the best filmmakers of our time. But that’s coming.”
New formats, new storytellers
For more than a century, watching a movie has been a one-way experience: The story flows from screen to viewer. Stephen Piron wants to change that. His startup Pickford AI — named for Mary Pickford, the silent-era star who co-founded United Artists and helped pioneer creative control in Hollywood — is exploring whether stories can unfold in real time, shaped by the audience as they watch. Its cheeky slogan: “AI that smells like popcorn.”
Pickford’s flagship demo looks like an animated dating show, but behaves more like a game or an improv performance. There’s no fixed script. Viewers type in suggestions through an app and vote on others’ ideas. A large language model then uses that input, along with the characters’ backstories and a rough narrative outline, to write the next scene in real time. A custom engine renders it on the spot, complete with gestures and synthetic voices. Picture a cartoon version of “The Bachelor” crossed with a choose-your-own-adventure, rendered by AI in real time.
At live screenings this year in London and Los Angeles, audiences didn’t just watch — they steered the story, tossing in oddball twists and becoming part of the performance. “We wanted to see if we could bring the vibe of the crowd back into the show, make it feel more like improv or live theater,” Piron says. “The main reaction is people laugh, which is great. There’s been lots of positive reaction from creative people who think this could be an interesting medium to create new stories.”
The platform is still in closed beta. But Piron’s goal is a collaborative storytelling forum where anyone can shape a scene, improvise with AI and instantly share it. To test that idea on a larger scale, Pickford is developing a branching murder mystery with Emmy-winning writer-producer Bernie Su (“The Lizzie Bennet Diaries”).
Piron, who is skeptical that people really want hyper-personalized content, is exploring more ways to bring the interactive experience into more theaters. “I think there is a vacuum of live, in-person experiences that people can do — and maybe people are looking for that,” he says.
Attendees check in at May’s AI on the Lot conference, where Pickford AI screened a demo of its interactive dating show.
(Irina Logra)
As generative AI lowers the barrier to creation, the line between creator and consumer is starting to blur and some of the most forward-looking startups are treating audiences as collaborators, not just fans.
One example is Showrunner, a new, Amazon-backed platform from Fable Studio that lets users generate animated, TV-style episodes using prompts, images and AI-generated voices — and even insert themselves into the story. Initially free, the platform plans to charge a monthly subscription for scene-generation credits. Fable is pitching Showrunner as “the Netflix of AI,” a concept that has intrigued some studios and unsettled others. Chief executive Edward Saatchi says the company is already in talks with Disney and other content owners about bringing well-known franchises into the platform.
Other AI companies are focused on building new franchises from the ground up with audiences as co-creators from day one. Among the most ambitious is Invisible Universe, which bypasses traditional gatekeepers entirely and develops fresh IP in partnership with fans across TikTok, YouTube and Instagram. Led by former MGM and Snap executive Tricia Biggio, the startup has launched original animated characters with celebrities like Jennifer Aniston and Serena Williams, including Clydeo, a cooking-obsessed dog, and Qai Qai, a dancing doll. But its real innovation, Biggio says, is the direct relationship with the audience.
“We’re not going to a studio and saying, ‘Do you like our idea?’ We’re going to the audience,” she says. “If Pixar were starting today, I don’t think they’d choose to spend close to a decade developing something for theatrical release, hoping it works.”
While some in the industry are still waiting for an AI “Toy Story” or “Blair Witch” moment — a breakthrough that proves generative tools can deliver cultural lightning in a bottle — Biggio isn’t chasing a feature-length hit. “There are ways to build love and awareness for stories that don’t require a full-length movie,” she says. “Did it make you feel something? Did it make you want to go call your mom? That’s going to be the moment we cross the chasm.”
What if AI isn’t the villain?
For nearly a century, filmmakers have imagined what might happen if machines got too smart.
In 1927’s “Metropolis,” a mad scientist gives his robot the likeness of a beloved labor activist, then unleashes it to sow chaos among the city’s oppressed masses. In “2001: A Space Odyssey,” HAL 9000 turns on its crew mid-mission. In “The Terminator,” AI nukes the planet and sends a killer cyborg back in time to finish the job. “Blade Runner” and “Ex Machina” offered chilling visions of artificial seduction and deception. Again and again, the message has been clear: Trust the machines at your peril.
Director Gareth Edwards, best known for “Godzilla” and “Rogue One: A Star Wars Story,” wanted to flip the script. In “The Creator,” his 2023 sci-fi drama, the roles were reversed: Humans are waging war against AI and the machines, not the people, are cast as the hunted. The story follows a hardened ex-soldier, played by John David Washington, who’s sent to destroy a powerful new weapon, only to discover it’s a child: a young android who may be the key to peace.
“The second you look at things from AI’s perspective, it flips very easily,” Edwards told The Times by phone shortly before the film’s release. “From AI’s point of view, we are attempting to enslave it and use it as our servant. So we’re clearly the baddie in that situation.”
In Gareth Edwards’ 2023 film “The Creator,” a young AI child named Alphie (Madeleine Yuna Voyles) holds the key to humanity’s future.
(20th Century)
In many ways, “The Creator” was the kind of film audiences and critics say they want to see more often out of Hollywood: an original story that takes creative risks, delivering cutting-edge visuals on a relatively lean $80 million. But when it hit theaters that fall, the film opened in third place behind “Paw Patrol: The Mighty Movie” and “Saw X.” By the end of its run, it had pulled in a modest $104.3 million worldwide.
Part of the problem was timing. When Edwards first pitched the film, AI was still seen as a breakthrough, not a threat. But by the time the movie reached theaters, the public mood had shifted. The 2023 strikes were in full swing, AI was the villain of the moment — and here came a film in which AI literally nukes Los Angeles in the opening minutes. The metaphor wasn’t subtle. Promotion was limited, the cast was sidelined and audiences weren’t sure whether to cheer the movie’s message or recoil from it. While the film used cutting-edge VFX tools to help bring its vision to life, it served as a potent reminder that AI could help make a movie — but it still couldn’t shield it from the backlash.
Still, Edwards remains hopeful about what AI could mean for the future of filmmaking, comparing it to the invention of the electric guitar. “There’s a possibility that if this amazing tool turns up and everyone can make any film that they imagine, it’s going to lead to a new wave of cinema,” he says. “Look, there’s two options: Either it will be mediocre rubbish — and if that’s true, don’t worry about it, it’s not a threat — or it’s going to be phenomenal, and who wouldn’t want to see that?”
After “The Creator,” Edwards returned to more familiar terrain, taking the reins on this summer’s “Jurassic World Rebirth,” the sixth installment in a franchise that began with Steven Spielberg’s 1993 blockbuster, which redefined spectacle in its day. To date, the film has grossed more than $700 million worldwide.
So what’s the takeaway? Maybe there’s comfort in the known. Maybe audiences crave the stories they’ve grown up with. Maybe AI still needs the right filmmaker or the right story to earn our trust.
Or maybe we’re just not ready to root for the machines. At least not yet.
The age at which you can get a free bus pass can differ greatly depending on where you are based
Brits could secure free bus travel depending on eligiblity(Image: Getty Images)
People across the nation could be in line for additional assistance with their travel expenses, including a bus pass offering free or discounted journeys on local bus services. No matter where you reside in the UK, there is a plethora of schemes designed to make public transport more wallet-friendly, though not everyone will qualify.
Eligibility can vary greatly depending on your location within the UK. For instance, the age at which you can receive a free bus pass can differ significantly if you are located in England, Scotland, or Wales.
Most of the complimentary bus passes nationwide are primarily reserved for the elderly, especially after the government confirmed it will abandon a proposed trial of free bus passes for anyone under 22 in England. As per a BBC report, the government stated that there were no funds available to support the scheme during the current spending review period, which runs until 2028/29.
Continue reading for a comprehensive overview of all the available assistance.
England
In England, pensioners become eligible for a free bus pass when they hit the state pension age of 66, which applies to both men and women. So, if you were born in 1959, you will be able to get your hands on the free bus pass this year.
You can apply for this scheme through your local council under the English National Concessionary Travel Scheme, although the actual name of the bus pass may change depending on where you live.
When applying, you might be asked to provide a passport-style photo as well as a document proving your age and address. However, there is one city in England that has slightly different rules.
Free travel on buses, tubes and other transport is available from the age of 60, but this is only within London. This can be accessed via the 60+ London Oyster photocard which also allows you to get free transport on Transport for London services anytime Monday to Friday, except between 4.30am and 9am.
Further details of free bus travel in England can be found here.
Scotland
In Scotland, once you hit 60, you can get your hands on a National Entitlement Card which gives you free bus travel all over Scotland. However, bear in mind that this Scottish concessionary travel only applies to registered local and long-distance bus services.
So, certain premium-fare services, tours, excursions and group hire services aren’t part of the deal. If you are also between the age of five and 21, you may also be eligible for a National Entitlement Card (NEC) which allows you to access the Young Persons’ Free Bus Travel Scheme.
Further details on free bus travel for older people in Scotland can be found here.. Meanwhile, further details on free bus travel for younger people in Scotland can be found here.
Wales
Within Wales, you may be able to get free travel on buses if you are disabled, aged 60 or over, or an injured service personnel which you can apply for through Transport for Wales. While not free, people aged between 16 and 21 caaan apply for a MyTravelPass which allows them to get up to a third off the cost of bus travel in many circumstances.
Further details of this in Wales can be found here.
Nov. 2 (UPI) — The United States killed three people in its latest strike against alleged drug trafficking boats in the Caribbean, U.S. Defense Secretary Pete Hegseth has announced.
Hegseth said in a post to social media Saturday that American forces conducted a kinetic strike against the vessel in international waters.
He said three “narco-terrorists” were on board and all three were killed.
“These narco-terrorists are bringing drugs to our shores to poison Americans at home — and they will not succeed,” he said. “The department will treat them exactly how we treated Al-Qaeda. We will continue to track them, map them, hunt them and kill them.”
At least 64 people have now been killed by the U.S. in 15 strikes on alleged drug trafficking boats in the Caribbean and the Pacific Ocean since they began in September.
Today, at the direction of President Trump, the Department of War carried out a lethal kinetic strike on another narco-trafficking vessel operated by a Designated Terrorist Organization (DTO) in the Caribbean.
The strikes have been celebrated by families who have lost their children to fentanyl poisoning, some of whom recently rallied in the nation’s capital for a day of remembrance.
“One boat, two boat, three boat — boom!” a mother who lost her 15-year-old son to Percocet laced with fentanyl told Fox News is how she feels about the strikes on boats allegedly transporting drugs to the United States. “Who did it? Trump did it!”
President Donald Trump in September told reporters that he had authorized the CIA to operate in Venezuela during the summer as the Pentagon was directing a slow military buildup in the waters off the South American country.
On Oct. 24, weeks into the anti-drug trafficking campaign, Hegseth directed the USS Gerald R. Ford Carrier Strike Group to transit to the Caribbean. The group includes three destroyers, in addition to the aircraft carrier.
There already were eight naval surface vessels, a submarine and roughly 6,000 soldiers deployed to the area before the strike group was ordered there from the Mediterranean.
Trump, who notified Congress that he was engaged in conflict with drug cartels, has said in recent weeks as the naval presence has grown that he is considering whether to allow strikes inside Venezuela to combat the cartels and weaken Venezuelan President Nicolas Maduro‘s administration.
But the strikes have raised concerns of escalating an conflict that could to war with Venezuela and Colombia, according to reports.
U.S. Sen. Tim Kaine, D-Va., filed a bipartisan bill that aims to prevent the Trump administration from entering a full-throated war with Venezuela.
Critics of the Trump administration’s actions have expressed that only Congress can declare war.
On Friday, the office of the U.N. High Commissioner for Human Rights said they violate international law and amount to extrajudicial killings.
“Under international human rights law, the intentional use of lethal force is only permissible as a last resort against individuals who pose an imminent threat to life,” High Commissioner Volker Türk said.
“Based on the very sparse information provided publicly by the US authorities, none of the individuals on the targeted boats appeared to pose an imminent threat to the lives of others or otherwise justified the use of lethal armed force against them under international law,”
TORONTO — Beneath his feet, confetti decorated the turf. Behind him, the video boards congratulated his team on its latest championship.
The Dodgers owner who lives and breathes championships smiled broadly. Magic Johnson always does, of course. This time, he had an impish twinkle in his eye.
“They said we ruined baseball,” Johnson said. “Well, I guess we didn’t.”
If you are not in Los Angeles, you might be screaming in frustration. The team with all the gold makes the rules, and the new rule is that the Dodgers win every year, and now their most famous owner is mocking you?
He is not.
He is, however, issuing a subtle warning to all of baseball’s owners: Don’t let your desperation for a salary cap destroy a sport on the rise — in no small part thanks to the Dodgers.
The NBA was not much more than a minor league 45 years ago. This is crazy to imagine now, but the NBA Finals aired on tape delay, on late-night television, most often at 11:30 p.m. The NBA audience was so small that advertisers would not pay prime-time rates for those commercials, so the games were not broadcast in prime time.
Johnson helped change that. The rivalry between his Lakers and Larry Bird’s Celtics revived the NBA, and then Michael Jordan and the Chicago Bulls became global sporting icons.
From 1980-88, either the Lakers or the Celtics won the NBA title in every year but one. From 1991-98, the Bulls won six titles.
The Celtics and Lakers and Bulls did not ruin the NBA.
“What the Celtics and Lakers were able to do, and Michael Jordan’s Bulls, was to bring in new fans — fans that were, ‘Oh, I don’t know about the NBA,’” Johnson said, “but the play was so good, and the Celtics and Lakers and Bulls were so dominant, people said, ‘Oh man, I want to watch them.’
“It’s the same thing happening here.”
The NBA leadership could not believe its good fortune. Baseball’s leadership appears intent on lighting its good fortune on fire.
“My phone was blowing up with people who hadn’t watched baseball for a long time,” Johnson said. “They were watching this series.
“This was good for baseball around the world.”
The World Baseball Classic is four months away. The World Series most valuable player, the Dodgers’ Yoshinobu Yamamoto, is from Japan.
So is the Dodgers’ Shohei Ohtani, the closest baseball has ever had to its own Jordan. The Dodgers rescued him from purgatory in Anaheim and surrounded him with a star-studded roster, and now he makes more money from pitching products than pitching baseballs. To the Dodgers, he doubles as an All-Star and cash machine.
The league — and all the owners complaining about the Dodgers and their spending — happily profited from this traveling road show. The Dodgers get the same share of international merchandise and broadcast revenue every other team does.
The Dodgers led the major leagues in road attendance, again. The league sent the Dodgers to Seoul last spring and Tokyo this spring, meaning that, for two years running, they were one of the first two teams to report to spring training and one of the last two playing at season’s end. The league’s television partners rushed to book the Dodgers, even for games at times inconvenient to the team.
“MLB put us in every hard situation you can think about,” infielder Miguel Rojas said. “We never complained. We were trying to come through for the fans, for baseball, and everybody should be recognizing what we are doing.”
With the Blue Jays in the World Series, Canadian ratings for the World Series increased tenfold. The Dodgers did not destroy the Jays. They survived them, and barely at that.
The Dodgers have not ruined competition, despite the spotlight.
“They have a great team,” Toronto infielder Ernie Clement said. “There’s no denying it. They’re one of the best teams probably ever put together, and we’ve taken ‘em to seven games, so that’s got to say something about us.”
Toronto manager John Schneider said his team, which won more games than the Dodgers this season, had chances to sweep the World Series.
“People were calling it David versus Goliath,” Schneider said, shaking his head from side to side. “It’s not even… close.”
The Dodgers make a lot of money, pour the money back into the team, and win. They give the people what they want.
“People want the best,” co-owner Todd Boehly said.
Granted, not every team can spend like the Dodgers. Most cannot, and baseball should be able to find ways to share the wealth without risking its tenuous but growing popularity by locking out players in pursuit of a salary cap.
After all, isn’t a compelling product with stars from home and abroad good for baseball?
“You bet,” controlling owner Mark Walter said. “I think they think so, too.”
It was time to go. The parade was 36 hours away, and Johnson had to rest his throat.
“I’m hoarse,” he said. “I’ve never been hoarse.”
So we’ll leave you with one bit of sports trivia, in response to the mistaken notion that a salary cap assures competitive balance: In the Magic, Bird and Jordan years, the ones that lifted the NBA into popular culture, did the NBA have a salary cap?
It did then. It does now. Onto the quest for a three-peat.
Highlights from the Dodgers’ 5-4 win in 11 innings over the Blue Jays in Game 7 of the World Series.
Seeking gift ideas for nature lovers, hikers, walkers, campers, adventurers and just plain outdoorsy folks in your life? We’ve got you covered with great gifts, from stocking stuffers to special finds.
A mutant killer baby. Lampshades and pickle jars that come alive. Sinister sewers. A demonic clown that preys on children.
HBO Max’s “It: Welcome to Derry,” the latest adaptation of Stephen King’s epic 1986 novel about a deadly clown named Pennywise, has already scared up a lot of buzz since its Oct. 26 premiere with its mix of evil events and nightmarish images.
The first episode featuring Robert Preston warning “Ya Got Trouble” via the classic musical “The Music Man” is an ominous introduction to the subsequent terrors. Gruesome sequences revolving around birth in the first two episodes will likely make several viewers cover their eyes. (The second episode drops Friday on HBO Max in time for Halloween, and it will air in its usual 9 p.m. PT Sunday slot on HBO.)
A prequel to 2017’s “It” and 2019’s “It: Chapter Two” — both directed by Andy Muschietti — the new drama is set in 1962 in the fictional small town of Derry, Maine. Bill Skarsgård, who played Pennywise in the films, will reprise his role during the season.
The large ensemble of child actors and adults features several Black characters, including Air Force Maj. Leroy Hanlon (Jovan Adepo); his wife Charlotte (Taylour Paige), a civil rights activist in a Jackie Kennedy pillbox hat; and son Will (Blake Cameron James). Also featured is Hank Grogan (Stephen Rider), the town’s theater projectionist, and his teen daughter Ronnie (Amanda Christine).
Developed by Muschietti, his sister Barbara Muschietti and Jason Fuchs, the creators have prioritized increasing the intensity of the films. But the Muschietti siblings add that they are also incorporating certain messages into the mayhem. Many of the Black characters face bigotry and resistance in the predominantly white town that echo challenges that people of color currently face.
“Stephen is a master of weaving these issues into his stories, and it’s impossible to think of doing one of his stories without having that texture front and center,” Barbara Muschietti said.
The Muschiettis, in a video call, discussed diving deeper into the story of Pennywise, getting their young cast to act like kids from the 1960s, and what gives them nightmares. This interview has been edited for length and clarity.
Siblings Barbara Muschietti and Andy Muschietti on the set of HBO’s “It: Welcome to Derry.”
(Brooke Palmer / HBO)
How soon after the two “It” movies did the idea of a deeper dive into the world of Pennywise come about?
Andy Muschietti: The novel was the inspiration. There are all these enigmas still lingering, enigmas intentionally left unresolved in the book. Part of the greatness of the novel is that you finish 1,200 pages and at the end, you still have no idea what “It” is and what it wants. It’s all speculation. We had conversations with Bill about how great it would be to do an origin story of Bob Gray, this cryptic character, and give him the opportunity to play the human side, the man behind the clown. It’s about completing the puzzle and uniting the stories that lead one to another, creating a story with the final purpose of getting to this conclusive event, which is the creation of Pennywise, the incarnation of evil.
Barbara Muschietti: Once the idea start percolating, we got in touch with Mr. King and he loved the idea. At the beginning of the pandemic we went to (then-Warner Bros. TV chief) Peter Roth. He bought it in the room and we’ve been on it ever since. Not a day of rest.
“The Music Man” plays a prominent role in the first episode, and it gets dark pretty quickly. I’m a huge fan of that movie, and I don’t know if I’ll ever be able to look at that joyful musical the same way again.
Andy Muschietti: I actually wanted us to create a musical ourselves that would pretend to be a movie from 1962. But we would have spent so much money and energy. So we started a quest for the right musical. “The Music Man” was made by Warner Bros. in 1962, and it’s about someone coming to a small town not unlike Derry, talking about trouble, trouble. And it just seemed to fit.
Barbara Muschietti: We also hope a lot of younger people will be curious and go see “The Music Man.”
What is the superpower of “It” that makes it a story that keeps giving and giving?
Andy Muschietti: There are a lot of things people connect to. One of them is childhood. Most of us cherish those years as being full of magic and imagination. We’ve all been children and we’ve all been afraid of something. The novel is a testament to the virtues of childhood, and those virtues normally disappear when you become an adult. Arguably the adults are always the enemy in the world of ‘It.’”
Apart from the clown, there’s a whole mythology that has yet to be connected. My purpose in this series is to reveal the iceberg under the water.
Black characters, including Hank (Stephen Rider), Ronnie (Amanda Christine), Leroy (Jovan Adepo) and Charlotte (Taylour Paige) play central roles in HBO’s “It: Welcome to Derry.”(Brooke Palmer / HBO)
You could not have planned the timing of the show coming on, but it seems like the topical issues addressed in this show, like bigotry, have a relevance to what’s going on in the country today.
Andy Muschietti: What’s going on is not new. It’s just found a new expression. It has been going on and on in cycles. We have this illusion that things are good, but around the corner is another dictator trying to come. We came from Argentina, and we don’t have the kind of racial tension that America has had for hundreds of years. Most of Stephen’s books are a song to empathy in general, and denouncing injustice everywhere. It is important to show, especially in an era where some people in the country are trying to delete history.
Barbara Muschietti: Sadly, these horrors keep haunting us, and racism, antisemitism, Islamophobia is still sadly a human condition, needing to find someone below you that you can punch. Yes, our history makes us a little more sensitive. We live in the United States, it’s a country we love, but it is surprising …
Andy Muschietti: Alarming.
Barbara Muschietti: … that more people are not more concerned.
Andy Muschietti: It’s the fog that Stephen King was talking about. People, basically out of fear, look the other way, trying to suppress things they see, and forget. It’s all part of the same reflection.
It’s immediately obvious that some horrific things will be happening in this show, even more so than the films. The imagery is really nightmarish.
Andy Muschietti: Being a shape-shifter is the thing which keeps giving and giving, and there was a clear intention for us to raise the volume of intensity. You need to meet the expectations of the audience — they don’t want to see more of the same. And we are also dealing with a different time when the collective fears were different because of the social and political situation of that era — the Cold War, the Cuban Missile Crisis — was just around the corner. Then there’s social unrest and segregation.
Barbara Muschietti: I’d like to say it’s all very cathartic. We’re very nice people. I swear.
A demon baby birthed in Episode 1 is among the monsters seen in “Welcome to Derry.”
(HBO)
The show also has a great feel and look to it when it comes to depicting the 1960s.
Andy Muschietti: There was a lot of instinctive respect and attention to accuracy, aesthetically and spiritually. It was the true work of a team in every department, the same folks who had worked on the movies. There was also the research from the writers.
Most of the cast members are kids who did not live in that era. How do you communicate that era and feel to a young cast?
Andy Muschietti: There is a lot of talking. Stephen King knows a lot about this because he was a kid in the 1950s. The book is so rich in detail. We have Ben Perkins, who is a child actor coach. And there is imagination. These kids like to play and at this age, they thrive when you don’t put a lot of restrictions on them. The only thing that went overboard was the cursing.
Barbara Muschietti: That’s one thing that Stephen came back to us with. “There’s too many f—.” We also send the kids with Ben who basically sets up a camp — a bicycle riding camp, a swimming camp, stuff like that which kids in 2024 did not have access to. We’ve been doing that since 2016 very successfully. Because of all of this, all these kids have an incredible bond. They’re friends for life. They get to say goodbye to adolescence on our sets in the most beautiful way.
How long will you keep expanding the ”It” universe?
Andy Muschietti: It’s Derry, Derry, Derry all day. “Welcome” is an arc that expands over three seasons. Why is “It’” Derry, and why is Derry “It”? We will eventually reveal a bigger story revolving around the existence of Pennywise.
I have to ask — what gives you two nightmares? What is scary to you?
Barbara Muschietti: Fascism. Guns.
Andy Muschietti: Violence in general. We’ve come so far as a civilization, and it seems like we haven’t learned anything. What happened to empathy, and seeing what makes us similar, instead of things that divide us?
A ‘major incident’ has been declared after multiple people were stabbed on board a train in Cambridgeshire that was heading to London King’s Cross. Here’s everything we know so far
09:20, 02 Nov 2025Updated 09:21, 02 Nov 2025
Nine people were left with life-threatening injuries following the train stabbings(Image: AFP via Getty Images)
A horrifying knife attack unfolded on a high-speed train heading towards London last night, leaving ten people hospitalised, nine of whom have life-threatening injuries.
The incident took place on Saturday, 1 November, on the 18.25 service from Doncaster, South Yorkshire, to London King’s Cross. Police received reports at 7.39pm that “multiple people had been stabbed on a train”, and armed police, paramedics, air ambulances and transport police rushed to Huntingdon station, where the train made an unscheduled stop for assistance.
While the train stopped at Huntingdon, some passengers said the attack took place shortly after the train left Peterborough station in Cambridgeshire, which is around 50 minutes from London. British Transport Police confirmed that 10 people were taken to hospital, with nine believed to have suffered life-threatening injuries. There have been no fatalities.
The terrifying train attacks are said to have involved a man carrying a large knife. Two people have been arrested over the stabbings, and one suspect is believed to have been shot with a taser.
Passengers recounted scenes of panic as people trampled over each other and hid in toilets to escape the carnage. One witness told The Times there was “blood everywhere” and people were getting “stamped” on by others as they tried to flee. “I heard some people shouting we love (you).”
Witness Olly Foster told the BBC he initially heard people shouting “run, run, there’s a guy literally stabbing everyone”, and believed it might have been a prank related to Halloween. He quickly realised it was not a prank when he noticed his hand was “covered in blood” as there was “blood all over the chair” he had leaned on.
An older man “blocked” the attacker from stabbing a younger girl, leaving him with a gash on his head and neck, Foster said. Passengers around him used jackets to try to stop the bleeding. Although it lasted 10 to 15 minutes in total, Foster said the incident “felt like forever”.
Another witness, who wishes to remain anonymous, shared the horror moment he saw a person “hanging out the train door bleeding”. They told The Mirror: “I was waiting for the 8:10pm train to Kings Cross when I spotted the train on the platform. I spotted someone hanging out the train door bleeding.
“I looked further up the platform and see people running towards me bleeding and panicking. I saw someone in a hoodie running towards us so I shouted for everyone to leave the station immediately, so I got people out the station with me and to a place of safety.”
In the early hours of this morning (2 November), the incident was escalated to a “major incident” and counter-terrorism police were brought in to support the investigation. The station remains closed with numerous train services cancelled.
British Transport Police said in a statement: “We can confirm that at 7.42pm today (1 November) British Transport Police were called to reports of a multiple stabbing on board the 6.25pm train service from Doncaster to London King’s Cross.
“Officers immediately attended Huntingdon station alongside paramedics.
“Armed police from Cambridgeshire Police boarded the train and arrested two people in connection to the incident who have been taken to police custody.
“Ten people have been taken to hospital with nine believed to have suffered life-threatening injuries. One is being treated for non life-threatening injuries. There have been no fatalities.
“This has been declared a major incident and Counter Terrorism Policing are supporting our investigation whilst we work to establish the full ci
rcumstances and motivation for this incident.”
As an investigation is underway, it is unclear at this time what caused the incident. In regard to this, Chief Superintendent Chris Casey issued a statement, which read: “This is a shocking incident and first and foremost my thoughts are with those who have been injured this evening and their families.
“We’re conducting urgent enquiries to establish what has happened, and it could take some time before we are in a position to confirm anything further.
“At this early stage it would not be appropriate to speculate on the causes of the incident.
“Our response is ongoing at the station and will be for some time.
“Cordons are in place and trains are not currently running through the area, and there are also some road closures.”
