union

Kevin Hart is almost impossible to avoid.

The stand-up comic turned actor has spent the past decade as one of Hollywood’s most bankable and visible stars, headlining megahits like the “Jumanji” films alongside a steady output of comedies and animated features, while still selling out arena tours and releasing hit Netflix comedy specials. Off-screen, his face turns up everywhere: pitching banking apps, tequila and energy drinks.

For a long time, that kind of omnipresence carried real security in Hollywood.

In the era of artificial intelligence, though, that guarantee has begun to erode. A quick Google search for “Kevin Hart AI” turns up unofficial versions of his voice, available with a few clicks.

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

That helps explain why, one evening last month on the Fox lot, the head of Hart’s entertainment company, Hartbeat, was on an industry panel talking not about box office or release strategies but AI. Jeff Clanagan painted a picture of a landscape in which movie stardom is no longer protected by traditional channels, as attention splinters across platforms and audiences fragment. In that environment, AI can be both a risk and a lever.

“The most valuable resource right now is attention,” Clanagan told the audience of 150 studio executives, filmmakers, investors and technologists gathered at Hollywood X, an invitation-only event focused on responsible adoption of AI. “You’re competing for it everywhere — everybody is always on a second screen. That fragmentation is where the disruption is.”

Hollywood was built on the idea that a small number of stars could reliably command attention and turn it into leverage. As AI and algorithm-driven platforms reshape how attention is created and distributed, even the most recognizable names are newly exposed — not only to dilution but to the prospect of being replaced altogether.

Jeff Clanagan, right, president and chief distribution officer of Kevin Hart’s entertainment company, Hartbeat, speaking on a panel at last month’s Hollywood X event.

(Randall Michelson)

In parts of Asia, synthetic performers are no longer hypothetical. In Japan, the anime-style virtual pop star Hatsune Miku has sold out concerts and headlined festivals. In China, AI hosts run shopping streams on the video platform Douyin. And in the U.S., Lil Miquela, a computer-generated influencer created by the Los Angeles startup Brud, has amassed millions of followers and appeared in major fashion campaigns, including a Calvin Klein ad with Bella Hadid.

For studios, brands and producers, the appeal isn’t hard to see. A virtual performer doesn’t call in sick, miss a shoot or carry off-screen baggage. There’s no aging out of roles, no scheduling crunch. They don’t need trailers, negotiate contracts or arrive with riders, entourages and expense accounts in tow.

The old mythology was that a star might be discovered at Schwab’s lunch counter or in an audition room. Hollywood has always chased the “it factor.” What happens when the performer is, quite literally, an it?

That question came into sharp focus this fall with the appearance of Tilly Norwood, a photorealistic, AI-generated character that took the guise of a rising British actor, styled to read mid-20s and approachable — exactly the kind of star Hollywood is always looking for.

It landed in an industry already on edge. Hollywood was still reeling from strikes, layoffs and a prolonged contraction, with anxiety about AI simmering just below the surface. The response was immediate and visceral.

SAG-AFTRA warned that projects like Tilly risked relying on what the union called “stolen performances,” arguing that AI-generated actors draw on the work of real performers without consent or compensation, concerns that were central to the union’s 2023 strike. On a Variety podcast, Emily Blunt was shown an image of Tilly and paused. “No — are you serious? That’s an AI?” she said. “Good Lord, we’re screwed.”

SAG-AFTRA members march in one “Unity Picket” on strike day 111 at Walt Disney Studios in Burbank on Nov. 1, 2023.

(Myung J. Chun / Los Angeles Times)

Even some of Hollywood’s most tech-forward figures have drawn a line. On the press tour for his latest film, “Avatar: Fire and Ash,” James Cameron — the director who once warned of Skynet in “The Terminator” — called the idea of AI replacing actors “horrifying,” arguing that human performance would become increasingly “sacred.”

Yves Bergquist, an AI researcher who directs the AI in Media Project at the USC Entertainment Technology Center — a think tank supported by major studios and technology companies — expects AI to continue to encroach on territory once reserved solely for humans.

“Will we see AI movie stars?” Bergquist asks. “Probably.” But he draws a line between what the technology can generate and what audiences are willing to invest in emotionally.

“Prince writing his songs is a great story,” he says. “Pushing a button and making music is not. Very soon — it’s already starting — we’re going to have this us-versus-them mentality. These are the machines and we’re the humans. And we’re not the same.”

The actor that didn’t exist

“Are you allowed to speak to me from L.A.?” Eline van der Velden, the creator of Tilly Norwood, asks with a quick, nervous laugh on a video call from London — a nod to how radioactive the subject of synthetic performers has become.

The question isn’t entirely a joke. Three months ago, when Van der Velden presented her latest project at an industry conference in Zurich, it touched off one of Hollywood’s most heated debates yet over AI and performance, one that still hasn’t fully cooled.

Van der Velden, 39, came up as an actor before pivoting into production, eventually landing in London, where she founded Particle6, a digital production company known for short-form video work for broadcasters and major platforms. She was in Zurich to introduce its newest offshoot, Xicoia, an AI studio designed to build and manage original synthetic characters for entertainment, advertising and social media. “It’s not a talent agency — we’re making characters,” she says. “So it’s really like a Marvel universe studio in a way.”

Eline van der Velden, creator of the AI-constructed Tilly Norwood, at Web Summit 2025 in Lisbon, Portugal.

(Florencia Tan Jun/Sportsfile via Getty Images)

Tilly Norwood was meant to be the first and most visible example of that approach. Conceived as a recurring character with an unfolding story arc, Tilly was built to exist across short-form videos and scripted scenarios. As part of the Zurich presentation, Van der Velden screened a short satirical video titled “AI Commissioner,” introducing Tilly as a “100% AI-generated” actor — smiling on a red carpet and breaking down on a talk-show couch.

Other short videos featuring Tilly had already circulated online, including a montage placing her in familiar movie genres and a parody riffing on Sydney Sweeney’s controversial American Eagle jeans ad (“My genes are binary”). The “AI Commissioner” video itself had been posted on YouTube months earlier. By then, photorealistic synthetic characters were no longer novel and similar experiments were spreading online.

In Hollywood, it triggered an immediate backlash. Press accounts out of Zurich, amplified by Van der Velden’s remark that Tilly might soon be signed to an agent, collided with an industry already on edge about AI. Van der Velden was stunned at the intensity of the outcry: “Tilly was meant to be for entertainment,” she says. “It’s not to be taken too seriously. I think people have taken her way too seriously.”

Across the industry, working actors, already facing shrinking opportunities, recoiled at the idea of a fabricated performer potentially taking real jobs. Some called for a boycott of any agents who might take on Norwood. Speaking to The Times, SAG-AFTRA President Sean Astin demanded that the real-life actors used for AI modeling be compensated. “They need to know that it’s happening,” he said. “They need to give permission for it and they need to be bargained with.”

As the coverage ricocheted far beyond the trades and went global, the reaction escalated just as quickly. Asked when she knew Tilly had struck a nerve, Van der Velden answers matter-of-factly: “When I got the death threats. That’s when I was like, oh — this has taken a very different turn.”

Van der Velden understands why the idea of a synthetic performer unsettled people, especially in a business already raw from layoffs, strikes and contraction. “Tilly is showing what we can do with the tech at this moment in time, and that is frightening,” she says. But she argues that much of the backlash rests on fears that, in her view, haven’t yet materialized — at least not in the way people imagine them.

Tilly Norwood, an AI construct created by Particle6.

(Particle6)

“There’s a bad reputation around AI,” she says. “People try to swing all sorts of things at it, like, ‘Oh, it’s taking my job.’ Well, I don’t know of anyone whose acting job has actually been taken by AI. And Tilly certainly hasn’t taken anyone’s job.”

Union representatives argue that displacement is already occurring through subtler mechanisms: background roles increasingly filled by digital doubles, commercials replacing actors with synthetic performers and projects that never get greenlighted because AI offers a cheaper alternative. The impact shows up not in pink slips but in opportunities that vanish before auditions are ever held.

Even as the controversy grew, Van der Velden says she began hearing something else privately. Producers and executives reached out, curious about what Tilly could do, with several asking about placing the character in traditional film or television projects — offers she says she declined. “That’s not what Tilly was made for,” she says.

Van der Velden insists the character was never intended to replace actors, framing Tilly instead as part of a different creative lineage, closer to animation. “I was an actor myself — I absolutely love actors,” she says. “I love pointing a camera at a real actress. Please don’t stop casting actors. That’s not the aim of the game.”

With a background in musical theater and physics, Van der Velden spent her early career in Los Angeles acting, improvising at Upright Citizens Brigade and making YouTube sketches. An alter ego she created, Miss Holland — designed to make fun of rigid beauty standards — won an online comedy award and helped launch her career in the U.K., where she founded Particle6.

Tilly began as an exercise: Could Van der Velden design a virtual character who felt instantly familiar, the kind of approachable young woman audiences would naturally be drawn to? “It’s like building a Barbie doll,” she says, noting at one point she considered making Tilly half robot. “I had fun making her. It was a creative itch.”

She pushes back on the idea that synthetic characters are simply stitched together from parts of real people. “People think you take this actress’ eyes and nose and that actress’ mouth,” she says. “That’s not how it works at all.”

Over six months, a team of about 15 people at Particle6 worked on developing Tilly, generating more than 2,000 visual versions and testing nearly 200 names before selecting Tilly Norwood, one that fit what Van der Velden calls the “English rose” aesthetic they were looking for and wasn’t already taken. “It’s very human-led,” Van der Velden says, likening AI tools to a calculator for creatives. “You need taste. You need judgment. You still have to call the shots.”

Even as the technology advances, the uncanny valley remains a stubborn barrier. Van der Velden says Tilly has improved over the last six months, but only through sustained human steering. “It takes a lot of work to get it right,” she says.

That labor, she says, is what separates an emerging form of storytelling worth taking seriously from AI slop. “I’ve seen some genuinely amazing work coming out of AI filmmaking,” she says. “It’s a different art form but a real one.”

She sees Tilly less as a provocation than as a reflection. “She represents this moment of fear in our industry as a piece of art. But I would say to people: Don’t be fearful. We can’t wish AI away. It’s here. The question is, how do we use it positively?”

Her focus now is on what she calls Tilly’s “inside” — the personality, memory and backstory that give the character continuity over time. That interior life is being built with Particle6’s proprietary system, DeepFame, software designed to give the character memory and behavioral consistency from one appearance to the next.

“People ask me things like what her favorite food is,” Van der Velden says. “I’m not going to answer for Tilly. She has a voice of her own. I’d rather you ask her yourself — very soon.”

Hollywood fights back

While Van der Velden wishes the industry were less afraid of what AI might become, Alexandra Shannon is helping Hollywood arm itself for what’s already here.

As head of strategic development at Creative Artists Agency, one of the industry’s most powerful agencies, Shannon works with actors, filmmakers and estates trying to navigate what generative technology means for their work — and their identities.

The questions she hears tend to fall into two camps. “First is, how do I protect myself — my likeness, my voice, my work?” she says. “And then there’s the flip side: How do I engage with this, but do it safely?”

Those concerns led to the creation of the CAA Vault, a secure repository for approved digital scans of a client’s face and voice. Shannon describes it as a way to capture a likeness once, then allow performers to decide when and where it can be used — for example, in one shot created for one film. It doesn’t eliminate uncertainty, she says, but it gives talent something they’ve rarely had since AI companies entered the picture: control.

“There’s a legitimate way to work with them,” she adds. “Anything outside that isn’t authorized.”

Creative Artists Agency’s headquarters in Century City, where talent representatives are grappling with how to protect clients’ likenesses.

(Robert Gauthier / Los Angeles Times)

Those risks are no longer abstract. Unauthorized AI-generated images and videos resembling Scarlett Johansson have circulated online. Deepfake ads have falsely enlisted Tom Hanks to promote medical products. AI-generated images have placed Taylor Swift in fabricated scenarios she never endorsed. Once a likeness becomes live and responsive, Shannon says, control can erode quickly.

For all the panic around AI, Shannon rejects the idea that digital likeness will undercut human stars overnight. “It’s not about all of a sudden you can work with Brad Pitt and you can do it for a fraction of the cost,” Shannon says. “That is not where we see the market going.”

What CAA is intent on preserving, she says, isn’t just a face or a voice but the accumulated meaning of a career.

“For an individual artist, their body of work is built over years of creative decisions — what roles to take, what brands or companies to work with, and just as importantly, what roles not to do, what companies not to support,” she adds. “That body of work is a fundamental expression of who they are.”

Shannon doesn’t dispute that the tools are improving or that some AI-native personas will find an audience. But she believes their growth will sharpen, not weaken, what distinguishes human performance in the first place. “In a world where there’s this vast proliferation of AI-generated content, people will continue to crave live, shared, human-centered experiences,” she contends. “I think it’s only going to make those things more valuable.”

Not everyone is convinced the balance will tilt so neatly.

“The genie’s out of the bottle,” Christopher Travers says by phone from Atlanta, where he runs Travers Tech, advising companies and individual creators on generative video and digital-identity strategy. “There are now more than a million characters across all sorts of media, from VTubers to AI-generated performers.”

Travers got his start in generative AI with the backing of Mark Cuban, founding Virtual Humans in 2019, a startup focused on computer-generated performers and digital identities. These days, his journey would have been much easier. “It costs nearly nothing now,” he says. “And when cost drops, volume increases. There’s pressure on celebrities to keep up.”

Having watched countless virtual characters come and go, Travers wasn’t particularly impressed with Tilly Norwood herself. What mattered to him was the reaction.

“Tilly is maybe 1% of the story,” he says. “The other 99% is the worry and the fear. What it did was strike a chord. We all needed to have this conversation.”

What stardom looks like now

Few people have spent more time inside Hollywood’s old star-making system than mega-producer Jerry Bruckheimer, whose films like “Beverly Hills Cop,” “Top Gun” and “Pirates of the Caribbean” helped turn actors into global commodities.

Even amid the disruption reshaping Hollywood, he believes the industry still knows how to discover and elevate stars. “It’ll happen,” he told The Times earlier this year. “Timothée Chalamet is a star and Zendaya is a star. Glen Powell is becoming a star — we’re going to bring him up. Damson Idris is going to be a star. Now they have to be smart and make good choices on what they do. That’s up to them.”

Stellan Skarsgård as Luthen Rael in the series “Andor.”

(Des Willie / Lucasfilm Ltd.)

The industry may still know how to make stars, but keeping them there has become harder. Chalamet’s biggest box office successes, like “Wonka” and the “Dune” films, have arrived as part of franchises rather than as standalone vehicles. Powell’s latest film, last month’s remake of “The Running Man,” fell short of expectations.

Bruckheimer himself has been pragmatic about AI. During postproduction on his recent Brad Pitt–led Formula One drama, an AI-based voice-matching tool was briefly used to replicate Pitt’s voice when the actor was unavailable for looping, a demonstration of how AI can extend a star’s reach rather than replace them. “AI is only going to get more useful for people in our business,” he says.

If Hollywood has been having more difficulty launching fresh faces, it has become adept at keeping familiar ones on the screen. AI tools can smooth a face, rebuild a voice or extend a performance long after an actor might otherwise have aged out. Stardom no longer has to end with retirement — or even death.

Stellan Skarsgård, for one, is uneasy with the idea. In recent years, the veteran actor — a current Oscar front-runner for “Sentimental Value” — has been part of two of Hollywood’s most valuable franchises, playing Luthen Rael in the “Star Wars” series “Andor” and Baron Harkonnen in the “Dune” films, roles built to carry on through sequels and spinoffs.

Asked about the prospect of an AI version of himself playing those characters after he’s gone, the 75-year-old Skarsgård bristles. The question carries particular weight. Three years ago he suffered a stroke, an experience that forced a reckoning with his craft and sense of mortality.

“SAG has been very adamant — there was a strike about it,” Skarsgård says. “And I do hope it won’t be like that in the future, that it will be controlled and that money won’t have all the rights.” He pauses. “You should have rights as a person, to your own voice, your own personality.”

Those questions — about control, consent and what survives a person — moved from the abstract to the practical last month at Hollywood X on the Fox lot.

Onstage, Jeff Clanagan mentioned a documentary that Hartbeat, Kevin Hart’s entertainment company, is producing with the estate of comedian Bernie Mac, who died in 2008. Built around Mac’s own audiobook narration, the documentary will rely on authorized existing recordings, not newly generated performances, pairing traditional animation with AI-assisted imagery to visualize moments Mac had already described. Clanagan said the technology offered a faster, less expensive way to bring those scenes to life.

But that took some convincing. An Oscar-winning director attached to the project initially wanted to tell the story entirely through traditional animated reenactments. Clanagan said it took months of persuasion — including creating sample scenes to demonstrate the approach — before that resistance eased. “Once he saw it, he was converted, and now we’re doing a little bit of a hybrid,” he said.

That work, Clanagan added, has become part of the job, not just externally but inside Hartbeat as well. “Part of it is educating the talent community on what you can do and still be aligned,” he said, noting that much of the hesitation comes from fear stoked by headlines and unfamiliarity with the tools. “It’s about helping people understand the process. People are starting to believe.”

As the Hollywood X panel ended, attendees filed out of a theater named for Darryl F. Zanuck, one of the architects of the studio-era star system, then crossed the Fox lot toward a reception. Along the way, they passed by cavernous soundstages, some painted with towering murals: Marilyn Monroe in “The Seven Year Itch,” Julie Andrews in “The Sound of Music,” Bruce Willis in “Die Hard.” Faces from another era, still watching as the industry weighs what will endure.

Thousands protest as EU leaders clash over trade pact farmers fear will flood Europe with cheaper South American goods.

Hundreds of tractors have clogged the streets of Brussels as farmers converged on the Belgian capital to protest against the contentious trade agreement between the European Union and South American nations they say will destroy their livelihoods.

The demonstrations erupted on Thursday as EU leaders gathered for a summit where the fate of the Mercosur deal hung in the balance. More than 150 tractors blocked central Brussels, with an estimated 10,000 protesters expected in the European quarter, according to farm lobby Copa-Cogeca.

It made for a twin-tracked day of febrile tension outside and inside at the EU summit as leaders were perhaps more focused on a vote to determine whether they are able to use nearly $200bn in frozen Russian assets to support Ukraine over the next two years.

Outside the gilded halls on the streets, farmers hurled potatoes and eggs at police, set off fireworks and firecrackers, and brought traffic to a standstill.

Authorities responded with tear gas and water cannon, setting up roadblocks and closing tunnels around the city. One tractor displayed a sign reading: “Why import sugar from the other side of the world when we produce the best right here?”

“We’re here to say no to Mercosur,” Belgian dairy farmer Maxime Mabille said, accusing European Commission chief Ursula von der Leyen of trying to “force the deal through” like “Europe has become a dictatorship”.

Protesters fear an influx of cheaper agricultural products from Brazil and neighbouring countries would undercut European producers. Their concerns centre on beef, sugar, rice, honey and soya beans from South American competitors facing less stringent regulations, particularly on pesticides banned in the EU.

“We’ve been protesting since 2024 in France, in Belgium and elsewhere,” said Florian Poncelet of Belgian farm union FJA. “We’d like to be finally listened to.”

France and Italy now lead opposition to the deal, with President Emmanuel Macron declaring that “we are not ready” and the agreement “cannot be signed” in its current form.

France has coordinated with Poland, Belgium, Austria and Ireland to force a postponement, giving critics sufficient votes within the European Council to potentially block the pact.

However, Germany and Spain are pushing hard for approval. German Chancellor Friedrich Merz warned that decisions “must be made now” if the EU wants to “remain credible in global trade policy”, while Spanish Prime Minister Pedro Sanchez argued the deal would give Europe “geo-economic and geopolitical weight” against adversaries.

The agreement, 25 years in the making, would create the world’s largest free-trade area covering 780 million people and a quarter of global gross domestic product (GDP).

Supporters say it offers a counterweight to China and would boost European exports of vehicles, machinery and wines amid rising US tariffs.

Despite provisional safeguards negotiated on Wednesday to cap sensitive imports, opposition has intensified. Von der Leyen remains determined to travel to Brazil this weekend to sign the deal, but needs backing from at least two-thirds of EU nations.

Brazil’s President Luiz Inacio Lula da Silva issued an ultimatum on Wednesday, warning that Saturday represents a “now or never” moment, adding that “Brazil won’t make any more agreements while I’m president” if the deal fails.

The sale of Warner Bros. — whether in pieces to Netflix or in its entirety to Paramount — is stirring mounting worries among Hollywood union leaders about the possible fallout for their members.

Unions representing writers, directors, actors and crew workers have voiced growing concerns that further consolidation in the media industry will reduce competition, potentially causing studios to pay less for content, and make it more difficult for people to find work.

“We’ve seen this movie before, and we know how it ends,” said Michele Mulroney, president of the Writers Guild of America West. “There are lots of promises made that one plus one is going to equal three. But it’s very hard to envision how two behemoths, for example, Warner Bros. and Netflix … can keep up the level of output they currently have.”

Last week, Netflix announced it agreed to buy Warner Bros. Discovery’s film and TV studio, Burbank lot, HBO and HBO Max for $27.75 a share, or $72 billion. It also agreed to take on more than $10 billion of Warner Bros.’ debt. But Paramount, whose previous offers were rebuffed by Warner Bros., has appealed directly to shareholders with an alternative bid to buy all of the company for about $78 billion.

Paramount said it will have more than $6 billion in cuts over three years, while also saying the combined companies will release at least 30 movies a year. Netflix said it expects its deal will have $2 billion to $3 billion in cost cuts.

Those cuts are expected to trigger thousands of layoffs across Hollywood, which has already been squeezed by the flight of production overseas and a contraction in the once booming TV business.

Mulroney said that employment for WGA writers in episodic television is down as much as 40% when comparing the 2023-2024 writing season to 2022-2023.

Executives from both companies have said their deals would benefit creative talent and consumers.

But Hollywood union leaders are skeptical.

“We can hear the generalizations all day long, but it doesn’t really mean anything unless it’s on paper, and we just don’t know if these companies are even prepared to make promises in writing,” said Lindsay Dougherty, Teamsters at-large vice president and principal officer for Local 399, which represents drivers, location managers and casting directors.

Dougherty said the Teamsters have been engaged with both Netflix and Paramount, seeking commitments to keep filming in Los Angeles.

“We have a lot of members that are struggling to find work, or haven’t really worked in the last year or so,” Dougherty said.

Mulroney said her union has concerns about both bids, either by Netflix or Paramount.

“We don’t think the merger is inevitable,” Mulroney said. “We think there’s an opportunity to push back here.”

If Netflix were to buy Warner Bros.’ TV and film businesses, Mulroney said that could further undermine the theatrical business.

“It’s hard to imagine them fully embracing theatrical exhibition,” Mulroney said. “The exhibition business has been struggling to get back on its feet ever since the pandemic, so a move like this could really be existential.”

But the Writers Guild also has issues with Paramount’s bid, Mulroney said, noting that it would put Paramount-owned CBS News and CNN under the same parent company.

“We have censorship concerns,” Mulroney said. “We saw issues around [Stephen] Colbert and [Jimmy] Kimmel. We’re concerned about what the news would look like under single ownership here.”

That question was made more salient this week after President Trump, who has for years harshly criticized CNN’s hosts and news coverage, said he believes CNN should be sold.

The worries come as some unions’ major studio contracts, including the DGA, WGA and performers guild SAG-AFTRA, are set to expire next year. Two years ago, writers and actors went on a prolonged strike to push for more AI protections and better wages and benefits.

The Directors Guild of America and performers union SAG-AFTRA have voiced similar objections to the pending media consolidation.

“A deal that is in the interest of SAG-AFTRA members and all other workers in the entertainment industry must result in more creation and more production, not less,” the union said.

SAG-AFTRA National Executive Director Duncan Crabtree-Ireland said the union has been in discussions with both Paramount and Netflix.

“It is as yet unclear what path forward is going to best protect the legacy that Warner Brothers presents, and that’s something that we’re very actively investigating right now,” he said.

It’s not clear, however, how much influence the unions will have in the outcome.

“They just don’t have a seat at the ultimate decision making table,” said David Smith, a professor of economics at the Pepperdine Graziadio Business School. “I expect their primary involvement could be through creating more awareness of potential challenges with a merger and potentially more regulatory scrutiny … I think that’s what they’re attempting to do.”

The NFL is advocating a more performance-driven model for its game officials, one linking bonuses and postseason assignments to regular-season grades as opposed to seniority.

The plan was outlined in a memo distributed to the league’s 32 teams Wednesday and obtained by the Los Angeles Times. It comes with the NFL’s collective bargaining agreement with game officials expiring at the end of May and negotiations slowed to a crawl.

The topic was part of a two-hour virtual owners meeting on Wednesday.

In the memo, sent by NFL Executive Vice President of Football Operations Troy Vincent and Management Council General Counsel Lawrence Ferazani Jr., the league said it is looking to implement changes that will “improve the performance of game officials, increase accountability, and ensure that the highest-performing officials are officiating our highest profile games.”

The NFL is pushing for mandatory training and development programs for low-performing and probationary officials, and contends the union is “resisting our efforts to give these officials access to more practice repetitions.”

The league is also seeking to extend the probationary period for assessing new game officials to have more flexibility to identify and remove those who are underperforming. According to the document, the union’s latest proposal seeks to eliminate the probationary period entirely.

“Our union’s negotiating committee is working diligently on behalf of members, and we will continue to respect that process,” said Scott Green, Executive Director of the NFL Referees’ Assn., in a statement. “We look forward to our continued conversations with the league as we make progress towards a new CBA.”

As it stands, the NFL has no communication with game officials following the Super Bowl through May 15. The league wants to shorten that so-called “dead period” and increase access to officials for rules discussions, video review and the like.

The league is also proposing a practice squad for game officials to deepen the bench of talent.

The next formal bargaining session between the NFL and officials union is scheduled for Dec. 30 in Atlanta.

It was just last Friday that Netflix announced a blockbuster $72-billion deal to acquire Warner Bros. film and television studios, HBO and HBO Max — a tie-up that could fundamentally change Hollywood.

Yet on Monday, the stakes got even higher, as Paramount swooped in with a $78-billion hostile takeover bid it plans to take directly to Warner Bros. Discovery’s shareholders.

Paramount Chief Executive David Ellison called the Netflix deal an “inferior proposal,” saying in a statement that it “exposes shareholders to a mix of cash and stock, an uncertain future trading value of the Global Networks linear cable business and a challenging regulatory approval process.”

It all sets the stage for a long and potentially bruising fight. And the Netflix deal would have to overcome some significant regulatory hurdles, experts told me.

“This is a deal that never should have left the boardroom,” said David Balto, an antitrust attorney and a former policy director at the Federal Trade Commission during the Clinton administration. “The competitive concerns are profound. This is going to face a lot of opposition at the Justice Department.”

For one, antitrust regulators are expected to scrutinize the market share that would be controlled by a combined Netflix and HBO Max.

Netflix outlasted its rivals in the so-called streaming wars to become the dominant platform in a crowded space. That position has led to concern that gobbling up HBO Max would give Netflix outsized power in the streaming space — potentially more than 30% — which would cross a threshold under antitrust law, according to a recent letter from Rep. Darrell Issa (R-Vista) to Atty. Gen. Pam Bondi and Federal Trade Commission Chairman Andrew N. Ferguson.

Netflix executives have argued that analysis of its market share should include YouTube.

In a UBS investor conference Monday, Netflix Co-Chief Executive Greg Peters pointed to Nielsen data, which show Netflix’s shares of U.S. TV viewing is still behind YouTube‘s. Netflix represents just 8% of U.S. TV viewing in October, behind YouTube’s 12.9%.

If Netflix were to combine with Warner Bros. Discovery’s 1.3% share of U.S. TV viewing, its 9.2% would still be less than that of YouTube. (Other Nielsen data show that Warner Bros. Discovery channels have greater viewership, but Netflix is only interested in one channel, HBO).

“We think there’s a strong fundamental case here for why regulators should approve this deal,” Peters said. (The deal’s overall value is $82.7 billion due to the absorption of debt)

But who would regulators consider a competitor to Netflix? Is it YouTube, with its emphasis on shorter-form content? Or would the main competitors be other streaming services with films and series, like Disney+, Paramount+ and Peacock?

“The analytical issue there is, how do you define the market?” said George Hay, a professor of law at Cornell University and former director of economics in the Justice Department’s antitrust division. “What is their combined market share, what do they compete in and what are the alternatives available to consumers?”

The consumer angle would also invite involvement from the Federal Trade Commission. With a shrinking marketplace, the agency would likely investigate whether this could increase streaming prices for customers.

“What keeps Netflix honest is knowing there’s an HBO Max that’s right over its shoulder,” Balto said. “But once they get rid of that, they can lead the easy life, and the need to cut prices or provide better services or bid aggressively for film content — all of that will be diminished.”

Meanwhile, Hollywood unions and the Cinema United trade group have also raised concerns that a Netflix ownership of Warner Bros. would lead to fewer films being released in theaters, due to the company’s longstanding resistance to traditional movie releases. Netflix has said it would honor Warner Bros.’ theatrical release commitments and that future films without those existing deals will also go to theaters.

Beyond the U.S. concerns, Netflix would also need the blessing of regulators across the globe, and could be challenged by even state attorneys general who might have a significant number of entertainment workers in their areas who would question the effect on industry jobs.

Then, there’s the politics of it all.

President Trump himself has said he “would be involved” in his administration’s decision to bless any deal and that the combined market share of Netflix and Warner Bros. “could be a problem.”

As my colleagues Meg James and Stacy Perman have reported, Trump has openly favored Paramount’s bid for Warner Bros. Discovery, though word of Paramount backer Larry Ellison’s close ties with Trump dampened enthusiasm for the bid in Hollywood. Trump’s son-in-law, Jared Kushner, is now also one of the investors participating in the renewed Paramount bid.

Despite this involvement, the Trump administration may not have the final say on the deal, just as in the case of the AT&T deal for Time Warner.

For his part, Netflix Co-Chief Executive Ted Sarandos has also been trying to make his own case to Trump and ventured to the White House last month, Bloomberg reported.

“It’s a case in which the political issues are going to play a role,” Hay said. “They’re so front and center, and Trump has shown an inclination to get involved.”

About the only thing that’s clear is that it’s not going to be a quick process.

“This entire matter is not going to get resolved in a hurry,” said Corey Martin, managing partner at Granderson Des Rochers. “The resolution of this matter is very likely to take place over months and potentially years, and not days and weeks.”

Stuff We Wrote

Film shoots

Number of the week

Universal Pictures and Blumhouse-Atomic Monster’s horror sequel “Five Nights at Freddy’s 2” ruled the domestic box office this weekend with a $63 million haul in the U.S. and Canada. While it doesn’t surpass the first movie’s $80 million opening weekend in 2023, it’s a massive boost for theaters, which have seen a string of slower months.

Menacing animatronic figures weren’t the only thing that brought moviegoers to theaters this weekend. Disney’s animated “Zootopia 2” brought in about $43 million domestically in its second outing. Globally, the sequel has now brought in a total of $915 million.

The strong recent showings for films such as “Zootopia 2” and “Wicked: For Good” have helped push 2025’s year-to-date domestic box office total to a little over $8 billion, up just barely — 0.8%, in fact — compared with last year.

Finally …

My colleague, Jeanette Marantos, wrote about the 105th anniversary of Altadena’s Christmas Tree Lane lighting ceremony and festival this past weekend, a bittersweet memorial for the community after a year of heartbreak.