union

Los Angeles County Museum of Art management on Wednesday declined to voluntarily recognize the union its employees announced they were forming last week. This means LACMA United cannot move forward with collective bargaining efforts until it is formalized by a National Labor Relations Board election. Complicating matters further, NLRB activities — including elections — are on hold amid the federal government shutdown.

The disconnect between staff — a clear majority of whom signed union authorization cards — and management comes at a significant moment in the museum’s history as LACMA works tirelessly to open its $720-million David Geffen Galleries. The new home for its encyclopedic permanent collection, designed by Pritzker Prize-winning architect Peter Zumthor, contains 110,000 square feet of gallery space and is scheduled to open to the public in April after more than a decade of planning, fundraising and building.

In a news release, the union noted that organizing efforts — in the works for more than two years — have taken on added urgency as workloads have increased in the face of opening the new building.

“Staff across departments — many performing demanding physical labor — are stretched thin as deadlines accelerate,” LACMA United wrote. “Without adequate protections, this pace is unsustainable and has already contributed to burnout and turnover among dedicated employees who deserve better from an institution they’ve helped build.”

The union’s organizing committee added in a statement, “We are disappointed that LACMA leadership has chosen to delay rather than embrace the democratic will of its workers. While the museum reimagines itself as a more collaborative, less hierarchical institution in its new David Geffen Galleries, it has declined to extend that same vision to its relationship with the very people who bring LACMA’s mission to life every day.”

“LACMA’s leadership has great respect for our team and for everyone’s right to make their own choice on this important issue,” Michael Govan, the museum’s director and chief executive, said in an email. “No matter the outcome, my commitment to our employees — to listen, to support them, and to continue building a strong and respectful workplace — remains unchanged.”

Management’s decision stands counter to those made by other cultural institutions across the city, including the Museum of Contemporary Art, the Academy Museum and the Natural History Museum, all of which voluntarily recognized their unions over the last six years.

LACMA United represents more than 300 workers from across all departments, including curators, educators, art installers, conservators, registrars, visitor services staff, facilities workers, researchers and designers. The union is asking for improved wages, benefits and working conditions in what has proved to be a challenging climate for museum workers across the county.

The union did not demonstrate at last week’s celebrity-packed LACMA Art + Film Gala, which was co-hosted by Leonardo DiCaprio and fashion designer Eva Chow, and raised more than $6.5 million in support of the museum and its programs.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stuff We Wrote

Film shoots

Number of the week

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

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

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

Finally …

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

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

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

During its 3rd grandiose summit in Luanda that brought together a distinguished panel of leaders, including the ministers of transport from Zimbabwe and Rwanda, the secretary-general of the African Civil Aviation Commission (AFCAC), the director of strategies at Morocco’s Ministry of Transport and Logistics, the CEOs of Ethiopian Airlines and TAAG Angola Airlines, as well as representatives from the World Bank Group and the European Commission (EC), the African Union finally earmarked $30 billion for aviation infrastructure.

In his opening address, João Manuel Gonçalves Lourenço, President of the Republic of Angola and Chairperson of the African Union (AU), stressed that Africa must invest between $130 billion and $170 billion annually to lay the foundation for sustainable growth. “We must move from words to action,” President Lourenço urged. “This summit represents a decisive step toward mobilizing the resources needed to enhance connectivity and integration across our continent.”

The ambitious investment plan strategically aims at modernizing the continent’s aviation infrastructure under the Single African Air Transport Market (SAATM), according to summit reports. Lerato D. Mataboge, African Union Commissioner for Infrastructure and Energy, during the high-level session on Financing and Modernizing African Civil Aviation Infrastructure to Promote Integrated Continental Airspace and Enable Free Movement Under SAATM, emphasized aviation’s pivotal role as both an engine of integration and a cornerstone of Africa’s economic transformation.

“Aviation is not merely a mode of transport,” Mataboge stated, speaking at the session. “It is a strategic engine of continental integration and a core enabler of Agenda 2063 and the AfCFTA. The Single African Air Transport Market will only succeed if we build the modern, safe, and efficient infrastructure that Africa’s growth demands.”

Citing findings from a Continental Aviation Infrastructure Gap Analysis conducted with AFCAC, ICAO, and the World Bank, Mataboge revealed that Africa needs between $25 and $30 billion over the next decade to close critical aviation infrastructure gaps. Passenger traffic is projected to triple from 160 million in 2024 to nearly 500 million by 2050, intensifying the urgency for investment.

Key funding requirements include US$10 billion for airport and aerodrome infrastructure and $8 billion for modernizing communication, navigation, and meteorological systems. The AU’s strategy aims to mobilize $10 billion in catalytic public finance to attract an additional $20 billion in private and institutional investment. Through partnerships with Development Finance Institutions (DFIs) and AUDA-NEPAD, the AU is aligning investment priorities with SAATM and the Programme for Infrastructure Development in Africa (PIDA).

The modernization plan integrates cutting-edge technologies such as Airport Collaborative Decision-Making (A-CDM) and System-Wide Information Management (SWIM) to enable seamless continental airspace. It also incorporates renewable energy solutions at airports to attract green financing and advance sustainability goals.

“As we modernize African skies, we are doing so sustainably,” Mataboge added. “Every project we prepare is designed to meet global green standards, reduce fuel consumption and CO₂ emissions, and make African aviation an attractive asset class for the world’s growing pool of climate-focused capital.”

Mataboge reaffirmed the AU’s commitment to ensuring that a modern, efficient, and sustainable aviation network drives Africa’s economic integration, connectivity, and global competitiveness. The AU’s officials reaffirmed their focus on Africa’s most strategic priorities, including building aviation infrastructure, digital data systems, and data interoperability. The discussion underscored the importance of collaborative efforts in building a better aviation sector across Africa.

Deals and Dollars: Concrete Commitments 

The summit moved beyond dialogue to secure tangible commitments, marked by the signing of three key Memoranda of Understanding (MOUs):

– A partnership between the African Social Security Association and AUDA-NEPAD to channel African pension funds into continental infrastructure.

– An MOU with Qatar Airways establishing a $500 million endowment for renewable energy and climate-aligned industrialization.

– The establishment of the Angola Export and Trade Facility to promote regional cooperation and trade.

Ms. Nardos Bekele-Thomas, CEO of AUDA-NEPAD, reported significant progress since the previous summit in Dakar, Senegal. She announced that the AU, alongside African financial institutions, has already raised $1.5 billion to execute high-impact cross-border projects.

“The lesson from Dakar is clear: we can no longer treat financing as a fragmented market of scattered deals. We must transform it into a unified strategy,” Bekele-Thomas stated. She detailed new financial instruments, including the Alliance for Green Infrastructure in Africa’s Project Development Fund, which has achieved a first close of $118 million and is managed by Africa50.

In his contribution, African Union Commission Chairperson Mahmoud Ali Youssouf emphasized that Africa is entering a new phase of self-determination, one in which the continent must take ownership of financing, planning, and implementing its own development. He underscored that infrastructure investment is not merely technical but deeply political and strategic, vital to Africa’s economic sovereignty, competitiveness, and unity. Highlighting progress made under the PIDA framework, he called for an African-driven ecosystem for development financing through domestic resource mobilization, stronger private sector participation, and greater access to climate funds.

Echoing the urgency of the Chairperson of the African Union Commission, framed infrastructure investment as a deeply political and strategic imperative for Africa’s economic sovereignty. “We are shifting from a logic of assistance to a logic of alliance, where partners align their engagement with priorities defined by Africa itself,” he declared. He concluded with a powerful vision: “What we are building here are not merely roads and bridges. We are building an Africa that is connected, confident, and sovereign.”

There were special sessions designed to facilitate in-depth due diligence and accelerate projects toward financial close. The summit for Africa’s infrastructure development stands as a definitive moment, signaling Africa’s unified resolve to finance its own destiny and build the interconnected, prosperous future its people deserve.

SUNNYVALE, Calif. — A young woman is desperate to raise $50,000 for her mom’s life-saving medical treatment. She will get the money, but only if she agrees to her stepsister’s unusual proposal: to marry her wayward fiance, who comes from a wealthy family but also has a rap sheet.

That’s the plot line for an episode of “The Double Life of My Billionaire Husband.”

That may sound like a telenovela. In fact, it’s a popular series that appears on ReelShort, an app where audiences can view on their smartphones over-the-top, dramatic tales reminiscent of soap operas called micro dramas.

Unlike a regular TV show, this drama unfolds over 60 episodes, each lasting one to three minutes. After six episodes, viewers hit the paywall, where they could continue watching ad-free with a $20 weekly subscription, watch ads or pay as they go.

Already, the series has garnered more than 494 million views since it launched in 2022 and ReelShort says it has made more than $4 million from the show.

With titles like “The Billionaire Sex Addict and His Therapist,” “How to Tame a Silver Fox” and “Pregnant by My Ex’s Dad,” micro dramas lean heavily into sensationalism and light on budgets, which are typically less than $300,000 per series. And many of them are filmed in Los Angeles.

Director and co-writer Cate Fogarty watches actor Diego Escobar on dual vertical monitors. The film, by platform DramaShorts, is shot vertically to be adapted for viewing on a phone screen.

(Juliana Yamada/Los Angeles Times)

Short serialized dramas first took off in China, where they are hugely popular and generated revenues of $6.9 billion last year, even surpassing domestic box office sales, according to DataEye, a Shenzhen-based digital research firm.

Now, Hollywood is starting to take note of the bite-sized format.

In August, the venture arm for Lloyd Braun — the former ABC executive and chairman of talent agency WME — and L.A.-based entertainment studio Cineverse formed a joint venture called MicroCo to build a platform for micro dramas.

“Traditional Hollywood moved away from a whole genre and storytelling that fans love, and I think micro dramas really took advantage of that and really leaned into that fandom,” said Susan Rovner, chief content officer of MicroCo.

Studio interest

Major studios are investing in micro dramas in an attempt to replicate China’s success and find new ways to appeal to younger audiences that are accustomed to watching short-form videos on TikTok, YouTube, Instagram and other platforms while on the go.

Fox Entertainment recently announced an equity stake in Ukraine-based Holywater, a producer of micro dramas. Under the deal, Fox Entertainment Studios (a division of Fox Entertainment) will produce more than 200 vertical video titles over the next two years for Holywater.

And Walt Disney Co.’s accelerator program, which invests in startups, recently named micro drama business DramaBox, whose parent company is based in Singapore, as part of its 2025 class.

David Min, Walt Disney Co.’s vice president of innovation, said he believes micro dramas will continue to do well, especially with younger audiences accustomed to watching entertainment on their phones.

“We have to be where everyone is consuming their content, so that’s an opportunity for us,” Min said in an interview. “…This is just another new platform to experiment with and explore and see if it’s right for the company.”

First assistant director Chakameh Marandi, left, and actress Leah Eckardt wait during filming at Heritage Props last month in Burbank.

(Juliana Yamada/Los Angeles Times)

This year, ReelShort, which is based in Sunnyvale, Calif., says it will produce more than 400 shows, up from 150 last year.

All of the productions are filmed in the U.S. and mostly in Los Angeles, said ReelShort CEO Joey Jia in an interview. The company plans to build a studio in Culver City that will adapt its most popular micro dramas into films.

“We offer a lot of opportunity,” Jia said.

Warsaw-based DramaShorts said in 2026 it aims to shoot 120 micro drama projects in the U.S., up from 45 to 50 this year. About 25% of those will be in the L.A. area.

DramaShorts co-founder Leo Ovdiienko says, “People are so used to consume content through social media, through TikTok, through Instagram, through Facebook and to share information.” .

(Juliana Yamada/Los Angeles Times)

“People are so used to consume content through social media, through TikTok, through Instagram, through Facebook and to share information,” said DramaShorts co-founder and Chief Operating Officer Leo Ovdiienko, 29, in an interview. “I believe it’s only a matter of time before the big players will also come to this stage.”

The company works with production partners in L.A. who employ actors, writers and crew members who work on the quick-turn projects, a bright spot in a struggling job market.

“The plus side of filming in L.A. is it is the epicenter of Hollywood,” said executive producer, writer and director Chrissie De Guzman, who has worked on DramaShorts projects. “We know how the state of our industry is doing right now, so a lot of talent have moved into the vertical space.”

Though vertical dramas are the length of a movie, they are spliced up into small chapters and produced quickly. A 100-page script might be shot in just one week as opposed to a month for a feature film.

Each chapter usually features a cliffhanger or dramatic moment — whether that’s a slap or a character in danger.

“It just hits every little emotional point,” said Caroline Ingeborn, chief operating officer at Palo Alto-based Luma AI, which provides micro drama companies with AI tools. “It hooks you in like this and because it’s so easy to press [Play]. You just need to see the next episode.”

The crew of vertical film “Sleeping Princess” break between scenes.

(Juliana Yamada/Los Angeles Times)

Labor tensions

With ultra-low budgets, many of the productions are non-union, prompting some writers and actors to work under pseudonyms to avoid facing sanctions from their unions, said several people who work on the shows.

In an effort to address the issue, performers union SAG-AFTRA recently announced it has created agreements that cover low-budget vertical dramas.

Writers Guild of America West President Michele Mulroney said in an interview the union is aware that “there are companies that are trying to do this work non-union, so the guild wants to help our members … in ways that they can work on verticals and make sure they get that work covered.”

Micro drama producers said they welcome talking with the unions, but questioned whether their business models could support union contracts.

“We’re not anti-union at all,” said Erik Heintz, executive producer at Snow Story Productions, which makes vertical dramas for platforms including DramaShorts.

Despite labor tensions, these short-form dramas have provided a key source of employment for Hollywood workers who’ve struggled to find jobs as production has moved out of California.

Corey Gibbons, 44, a director of photography, said vertical dramas kept him in the business when other work dried up.

“I have a feeling that we’re on the brink of something that’s really going to change,” Gibbons said. “I’m just excited to be a part of it.”

So was 27-year-old actor Sam Nejad, a former contestant on “The Bachelorette” who started acting in vertical dramas in January. He said he’s landed one or two lead roles a month since then and can earn $10,000 a week.

“It’s a new art,” Nejad said. “The new Tarantinos, the new Scorseses are all coming through this.”

ReelShort’s office in Sunnyvale looks more like a typical Silicon Valley startup than a Hollywood studio.

Jia, the chief executive, sits at a desk in an open floor seating area with his staff. Along the office walls are framed posters with titles like “Prince With Benefits,” “Never Divorce a Secret Billionaire Heiress” and “All the Wrong Reasons.” Jia proudly points out why each program was notable on a recent tour of the space.

“I don’t have money to hire celebrities,” Jia said. “I have 100% rely on story.”

The 46-year-old entrepreneur, who has an electrical engineering background, launched his business in 2022. At the time, there wasn’t much interest from Hollywood studios.

The skepticism followed the high-profile collapse of Quibi, the startup led by studio mogul Jeffrey Katzenberg and tech executive Meg Whitman, that worked with A-list movie stars on series that would appear on an app in short chapters. Quibi raised $1.75 billion, only to shut down roughly six months after launching.

Jia took a different approach. Rather than signing expensive deals with celebrities, he hired students or recent graduates from colleges like USC to work at his company.

Jia approves all of the micro drama stories at ReelShort, which he says is expected to generate $1 billion in revenue this year.

A ReelShort representative declined to disclose the company’s earnings but said the business is profitable.

Jia said ReelShort has 70 million monthly active users, with 10% of them paid users.

The churn — the rate at which customers drop weekly subscriptions — can be more than 50% at ReelShort, Jia said. That makes it paramount for the company to have a steady stream of content that entices customers to keep paying. Currently it has more than 400 in-house titles and roughly 1,000 licensed titles.

Like others in the genre, ReelShort and DramaShorts rely heavily on data metrics like customer retention and paid subscribers to make their content decisions.

“A lot of directors are thinking, when I shoot the film, ‘I don’t care how people think, this is my creation, it’s my story,’” Jia said. “No, it’s not your story. Your success… should be determined by the people.”

With the fate of President’s Trump’s right-wing agenda at stake, the California ballot measure crafted to tilt Congress to Democratic control has turned into a fight among millionaires and billionaires, a former president, a past movie-star governor and the nation’s top partisans.

Californians have been inundated with political ads popping up on every screen — no cellphone, computer or living-room television is spared — trying to sway them about Proposition 50, which will reconfigure the districts of the largest state congressional delegation in the union.

Besides opposing pleas from former President Obama and former California Gov. Arnold Schwarzenegger, the state’s powerful, left-leaning labor unions are another factor that may influence the outcome of the Nov. 4 special election.

Unions representing California school teachers, carpenters, state workers and nurses have plowed more than $23 million into efforts to pass Proposition 50, according to an analysis of campaign finance disclosure reports about donations exceeding $100,000. That’s nearly one-third of the six-figure donations reported through Thursday.

Not only do these groups have major interests in the state capitol, including charter school reform, minimum wage hikes and preserving government healthcare programs, they also are deeply aligned with efforts by Gov. Gavin Newsom and his fellow Democrats to put their party in control of the U.S. House of Representatives in the 2026 election.
“There are real issues here that are at stake,” said veteran Democratic strategist Gale Kaufman, who has represented several unions that have contributed to Newsom’s committee supporting Proposition 50.

“There’s always a risk when making sizable donations, that you’re putting yourself out there,” Kaufman said. “But the truth is on Proposition 50, I think it’s much less calculated than normal contributions. It really is about the issue, not about currying favor with members of the Legislature, or the congressional delegation, or the governor. Even though, of course, it benefits them if we win.”

High stakes brings in big money from across the nation

Newsom’s pro-Proposition 50 committee has raised more than $116 million, according to campaign disclosure filings through Thursday afternoon, though that number is sure to increase once additional donations are disclosed in the latest fundraising reports that are due by midnight Thursday.

The multimillion-dollar donations provide the best evidence of what’s at stake, and how Proposition 50 could determine control of the House during the final two years of Trump’s presidency. If the Democrats take control of the House, not only could that derail major parts of Trumps agenda, it probably would lead to a slew of congressional hearings on Trump’s immigration crackdown, use of the military in American cities, accepting a $400-million luxury airliner from Qatari’s royal family, the cutting of research funding to universities and the president’s ties to sex offender Jeffrey Epstein, among many others.

The House Majority PAC — the Democrats’ congressional fundraising arm — has donated at least $15 million to the pro-Proposition 50 campaign, and House Minority Leader Hakeem Jeffries (D-N.Y.) was in Los Angeles to campaign for the ballot measure last weekend. Obama joined Newsom on a livestream promoting the proposition Wednesday, and Democratic National Committee Chairman Ken Martin hosted a bilingual phone bank in Los Angeles on Thursday.

“Make no mistake about what they’re trying to do and why it’s so important that we fight back,” Martin said. “We’re not going to be the only party with one hand tied behind our back. If they want a showdown, we’re going to give them a showdown and in just a little under two weeks it starts right here with Prop. 50 in California.”

Billionaire financier George Soros — a generous donor to liberal causes and a bogeyman to Republicans — has contributed $10 million. Others have chosen to fund separate entities campaigning in favor of Proposition 50, notably billionaire hedge-fund founder Tom Steyer, who chipped in $12 million.

On the opposition side, the largest donor is Charles Munger Jr., the son of the longtime investment partner of billionaire Warren Buffett, who has contributed $32.8 million to one of the two main committees opposing Proposition 50. The Congressional Leadership Fund — the GOP’s political arm in the House — has donated $5 million to the other main anti-Proposition 50 committee and $8 million to the California Republican Party.

Although Republicans may control the White House and Congress, the California GOP wields no real power in Sacramento, so it’s not surprising that Republican efforts opposing Proposition 50 have not received major donations from entities with business before the state.

The California Chamber of Commerce opted to remain neutral on Proposition 50. Chevron and the California Resources Corp., petroleum companies that have given to California Republicans in the past, also remain on the sidelines.

In contrast, Democrats control every statewide office and hold supermajorities in both houses of the California Legislature. The pro-Proposition 50 campaign has been showered with donations from groups aligned with Sacramento’s legislative leaders — with labor organizations chief among them.

Among the labor donors, the powerful carpenters unions have donated at least $4 million. Newsom hailed them in July when he signed legislation altering a landmark environmental law for urban apartment developments to boost the supply of housing. The California Conference of Carpenters union has become one of the most pro-housing voices in the state.

“This is the third of the last four years we’ve been together signing landmark housing reforms, and it simply would not have happened without the Carpenters,” Newsom said at the time.

Daniel M. Curtin, director of the California Conference of Carpenters, pointed to a letter he wrote to legislators in August urging them to put redistricting on the ballot because of the effect of Trump’s policies on the state’s workers.

“These are not normal times, and this isn’t politics as usual. Not only has the Trump administration denied disaster assistance to victims of California’s devastating forest fires, he’s damaging our CA economy with mass arrests of law-abiding workers without warrants,” wrote Curtin, whose union has 70,000 members in the state. “The Trump administration is now unilaterally withdrawing from legally binding union collective bargaining agreements with federal workforce unions. The President has made it clear that this is just the beginning.”

Proposition 50 was prompted by Trump urging Republican leaders in Texas to redraw their congressional districts to boost the number of GOP members in the House and keep the party in control after the 2026 election. Newsom sought to counter the move by altering California’s congressional boundaries in a rare mid-decade redistricting.

With 52 members in the House, the state has the largest congressional delegation in the nation. But unlike many states, California’s districts are drawn by an independent commission created by voters in 2010 in an effort to end partisan gerrymandering and incumbent protection.

The state’s districts would not have been redrawn until after the 2030 U.S. census, but the Legislature and Newsom agreed in August to put Proposition 50, which would give Democrats the potential to pick up five seats, on the November ballot.

Money from California unions pours in

Although much of the money supporting the efforts comes from wealth Democratic donors and partisan groups aimed at helping Democrats take control of Congress, a significant portion comes from labor unions.

The Service Employees International Union, which represents more than 700,000 healthcare workers, social workers, in-home caregivers and school employees and other state and local government workers, has contributed more than $5.5 million to the committee.

On Oct. 12, the union celebrated Newsom signing bills ensuring that workers, regardless of immigration status, are informed about their civil and labor rights under state and federal law as well as updating legal guidance to state and local agencies about protecting private information, such as court records and medical data, from being misused by federal authorities.

“Thank you to Governor Newsom for … standing up to federal overreach and indiscriminate, violent attacks on our communities,” David Huerta, president of SEIU California, said in a statement.

Huerta was arrested during the first day of U.S. Immigration and Customs Enforcement raids in Los Angeles in June and charged with a felony. But federal prosecutors are instead pursuing a misdemeanor case against him, according to a Friday court filing.

An SEIU representative did not respond to requests for comment.

The California Teachers Assn., another potent force in state politics, has contributed more than $3.3 million, along with millions more from other education unions such as the National Education Assn., the California Federation of Teachers and the American Federation of Teachers.

CTA had a mixed record in this year’s legislative session.

Newsom vetoed a bill to crack down on charter school fraud, Senate Bill 414. The CTA opposed the bill, arguing that it didn’t go far enough to target fraud in some of the schools, and had urged the governor to reject it.

Newsom signed CTA-backed bills that placed strict limits on ICE agents’ access to school grounds. But he also vetoed union-backed bill that would have required the state Board of Education to adopt health education instructional materials by July 1, 2028.

CTA President David Goldberg said their donations are driven not only by issues important to the union’s members, but also the students they serve who are dependent on federally funded assistance programs and impacted by policies such as immigration.

“It’s about our livelihood but it really is about fundamental issues … for people who serve students who are just incredibly under attack right now,” Goldberg said.

“The governor’s support for labor would be exactly the same with or without Proposition 50 on the ballot. But he would acknowledge this year is more urgent than ever for labor and working people,” said Newsom spokesperson Bob Salladay. “Trump is taking a wrecking ball to collective bargaining, to fair wages and safe working conditions. He would be backing them up under any circumstances, but especially now.”

Critics of Proposition 50 argue that these contributions are among the reasons voters should oppose the ballot measure.

“The independent redistricting commission exists to prevent conflicts of interest and money from influencing line drawing,” said Amy Thoma, a spokesperson for the Voters First Coalition, the committee backed by Munger Jr., who bankrolled the 2010 ballot measure to create the independent commission. “That’s why we want to preserve its independence.”

Other labor leaders argued that although they are not always in lockstep with Newsom, they need to support Proposition 50 because of the importance of Democrats winning the congressional majority next year.

Lorena Gonzalez, the head of the powerful California Labor Federation, said the timing of the member unions’ donations of millions of dollars to Newsom’s ballot measure committee for an election taking place shortly after the bill-signing period was “unfortunate” and “weird.”

“Because we have so many bills in front of him, we were gun-shy,” she said, noting that the federation has sparred with the governor over issues such as the effect of artificial intelligence in the workplace. “Never be too close to your elected officials. Because we see the good, the bad, the ugly.”

Times staff writers Andrea Flores and Brittny Mejia contributed to this report.

If this World Series is going to turn into a food fight about the economics of baseball, Dave Roberts tossed the first meatball.

The Dodgers had just been presented with the National League Championship trophy. Roberts, the Dodgers’ manager, had something to say to a sellout crowd at Dodger Stadium, and to an audience watching on national television.

“They said the Dodgers are ruining baseball,” Roberts hollered. “Let’s get four more wins and really ruin baseball.”

The Dodgers had just vanquished the Milwaukee Brewers, a team that did everything right, with four starting pitchers whose contracts total $1.35 billion.

The Brewers led the major leagues in victories this year. They have made the playoffs seven times in the past eight years, and yet their previous manager and general manager fled for big cities, in the hope of applying small-market smarts to teams with large-market resources.

The Dodgers will spend half a billion dollars on player payroll and luxury tax payments this year, a figure that the Brewers and other small-market teams might never spend in this lifetime, or the next one.

The Brewers will make about $35 million in local television rights this year. The Dodgers make 10 times that much — and they’ll make more than $500 million per year by the end of their SportsNet LA contract in 2038.

Is revenue disparity a problem for the sport?

The owners say yes. They are expected to push for a salary cap in next year’s collective bargaining negotiations. A cap is anathema to the players’ union. At the All-Star Game, union executive director Tony Clark called a cap “institutionalized collusion.”

The union could say, yes, revenue disparity is the big issue and propose something besides a cap.

But that is not what the union is saying. The union does not agree that revenue disparity is the issue, at least to the extent that the players should participate in solving it. Put another way: Tarik Skubal should not get less than market value in free agency to appease the owner of the Pittsburgh Pirates.

For the most part, the union believes the owners should resolve the issue among themselves.

And the fundamental difference might be this: To most of the owners, the Dodgers’ spending is the big problem, or at least the symptom of a big problem. This was Commissioner Rob Manfred at the owners’ meetings last February: “Do people perceive that the playing field is balanced and fair and/or do people believe that money dictates who wins?”

To the union, the problem is not one of perception. The union believes the problem is that the Dodgers’ spending exposes other owners who would love a salary cap that would give them cover — not to mention cost certainty that could increase profits and franchise values.

“Players across the league show up every day ready to compete and ready to win,” Clark told The Times. “Excuses aren’t tolerated between the lines, and they shouldn’t be accepted outside them either.

“When decision-makers off the field mirror the competitive drive exhibited on it, everybody wins and baseball’s future is limitless. Fans and players alike deserve — and should demand — far more accountability from those to whom much is given.”

Tony Clark, executive director of the MLB Players’ Assn., speaks during a news conference in New York in March 2022.

(Richard Drew / Associated Press)

In its annual estimates, Forbes had the Dodgers’ revenue last season at a league-leading $752 million and the Pirates’ revenue at $326 million. The Pirates turned a profit of $47 million and the Dodgers turned a profit of $21 million, according to those estimates.

The Pirates — and other small-market teams — make more than $100 million each year in their equal split of league revenue (national and international broadcast rights, for instance, and merchandising and licensing) and revenue shared by the Dodgers and other large-market teams. That means the Pirates can cover their player payroll before selling a single ticket, beer, or Primanti sandwich stuffed with meat, cheese and fries.

“The current system is designed so larger markets share massive amounts of revenue with smaller markets to help level the playing field,” Clark said. “Small-market teams have other built-in advantages, and we’ve proposed more in bargaining — and will again.”

The union would be delighted to get a salary floor — that is, a minimum team payroll. The owners would do that if the union agreed to a maximum team payroll — that is, a salary cap.

Whether the owners believe recent and potential future changes — among them a draft lottery, more favorable draft-pick compensation for small-market teams losing free agents, providing additional draft picks for teams that promote prospects sooner and for small-market teams that win — can begin to mitigate revenue disparity is uncertain. Whether the players can condition revenue sharing on team progress also is uncertain.

And, perhaps most critically to owners, the collapse of the cable ecosystem means many teams have lost local television revenue that might not ever bounce completely back, even if Manfred can deliver on his proposed “all teams, all the time, in one place” service.

Whatever the issues might be, fans are not throwing up their hands and walking away. The league sold more tickets this year than in any year since 2017. Almost every week brought an announcement from ESPN, Fox or TNT about a ratings increase, and the league did not complain about the outstanding ratings the Dodgers and New York Yankees attracted in last year’s World Series.

Dodgers fans celebrate after Shohei Ohtani hits the second of his three home runs in Game 4 of the NLCS against the Brewers at Dodger Stadium on Oct. 17.

(Eric Thayer/Los Angeles Times)

Payroll is under the control of an owner. Market size is not.

Of the top 15 teams in market size, six made the playoffs. Of the bottom 15 teams in market size, six made the playoffs.

Is that a reasonable exhibition of competitive balance? Would the Dodgers winning the World Series in back-to-back years define competitive imbalance, even if they would become the first team in 25 years to repeat? The only other team currently dedicated to spending like the Dodgers — the New York Mets — has not won the World Series in 39 years.

The Kansas City Chiefs have played in the Super Bowl five times in six years, winning three times. That is because they have Patrick Mahomes, not because the NFL has a salary cap.

In the past three years, the Dodgers are the only team to appear in the final four twice — more diversity than in the final four in the NFL, NBA or NHL, each of which has a salary cap.

The league used to happily distribute information like that. After the winter chants about the Dodgers ruining baseball, the league started talking about how no small-market team had won the World Series in 10 years.

Payroll itself should not define competitive balance, but that becomes a self-fulfilling prophecy if an owner decides competing with the Dodgers would be no less futile by spending another $25 million on players.

It is premature to count heads now. However, at this point, you wonder whether any team besides the Dodgers and Mets would lobby against the league pursuing a salary cap in negotiations. If the owners really want a salary cap, they need to be prepared to do what the NHL did to get one: shut down the league for an entire season.

We should be talking about the magic of Shohei Ohtani and Mookie Betts. Instead, on its grandest stage, the talk around baseball will be all about whether its most popular team is ruining the game to the point of depriving us of it come 2027. Well done, everyone.

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

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

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

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

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

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

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

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

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

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

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

One reason: the allure of Oscar glory.

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

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

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

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

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

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

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

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

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

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

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

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

Stuff We Wrote

Film shoots

Number of the week

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

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

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

Finally …

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

SAN FRANCISCO — A federal judge blocked the Trump administration Wednesday from firing thousands of government workers based on the ongoing federal shutdown, granting a request from employee unions in California.

U.S. District Judge Susan Illston issued the temporary restraining order after concluding that the unions “will demonstrate ultimately that what’s being done here is both illegal and is in excess of authority and is arbitrary and capricious.”

Illston slammed the Trump administration for failing to provide her with clear information about what cuts are actually occurring, for repeatedly changing its description and estimates of job cuts in filings before the court, and for failing — including during Wednesday’s hearing in San Francisco — to articulate an argument for why such cuts are not in violation of federal law.

“The evidence suggests that the Office of Management and Budget, OMB, and the Office of Personnel Management, OPM, have taken advantage of the lapse in government spending and government functioning to assume that all bets are off, that the laws don’t apply to them anymore,” Illston said — which she said was not the case.

She said the government justified providing inaccurate figures for the number of jobs being eliminated under its “reduction in force” orders by calling it a “fluid situation” — which she did not find convincing.

“What it is is a situation where things are being done before they are being thought through. It’s very much ready, fire, aim on most of these programs,” she said. “And it has a human cost, which is really why we’re here today. It’s a human cost that cannot be tolerated.”

Illston also ran through a string of recent comments made by President Trump and other members of his administration about the firings and their intentionally targeting programs and agencies supported by Democrats, saying, “By all appearances, they’re politically motivated.”

The Trump administration has acknowledged dismissing about 4,000 workers under the orders, while Trump and other officials have signaled that more would come Friday.

Office of Management and Budget Director Russell Vought said Wednesday on “The Charlie Kirk Show” that the number of jobs cut could “probably end up being north of 10,000,” as the administration wants to be “very aggressive where we can be in shuttering the bureaucracy, not just the funding,” and the shutdown provided that opportunity.

Attorneys for the unions, led by the American Federation of Government Employees, said that the figures were unreliable and that they feared additional reduction in force orders resulting in more layoffs, as promised by administration officials, if the court did not step in and block such actions.

Illston, an appointee of President Clinton, did just that.

She barred the Trump administration and its various agencies “from taking any action to issue any reduction in force notices to federal employees in any program, project or activity” involving union members “during or because of the federal shutdown.”

She also barred the administration from “taking any further action to administer or implement” existing reduction notices involving union members.

Illston demanded that the administration provide within two days a full accounting of all existing or “imminent” reduction in force orders that would be blocked by her order, as well as the specific number of federal jobs affected.

Elizabeth Hedges, an attorney for the Trump administration, had argued during the hearing that the order should not be granted for several procedural reasons — including that the alleged harm to federal employees from loss of employment or benefits was not “irreparable” and could be addressed through other avenues, including civil litigation.

Additionally, she argued that federal employment claims should be adjudicated administratively, not in district court; and that the reduction in force orders included 60-day notice periods, meaning the layoffs were not immediate and therefore the challenge to them was not yet “ripe” legally.

However, Hedges would not discuss the case on its actual merits — which is to say, whether the cuts were actually legal or not, which did not seem to sit well with Illston.

“You don’t have a position on whether it’s OK that they do what they’re doing?” Illston asked.

“I am not prepared to discuss that today, your honor,” Hedges said.

“Well — but it’s happening. This hatchet is falling on the heads of employees all across the nation, and you’re not even prepared to address whether that’s legal, even though that’s what this motion challenges?” Illston said.

“That’s right,” Hedges said — stressing again that there were “threshold” arguments for why the case shouldn’t even be allowed to continue to the merits stage.

Danielle Leonard, an attorney for the unions, suggested the government’s positions were indefensible and directly in conflict with public statements by the administration — including remarks by Trump on Tuesday that more cuts are coming Friday.

“How do we know this? Because OMB and the president relentlessly are telling us, and other members of the administration,” Leonard said.

Leonard said the harm from the administration’s actions is obvious and laid out in the union’s filings — showing how employees have at times been left in the dark as to their employment status because they don’t have access to work communication channels during the shutdown, or how others have been called in to “work without pay to fire their fellow employees” — only to then be fired themselves.

“There are multiple types of harm that are caused exactly right now — emotional trauma. That’s not my word, your honor, that is the word of OMB Director Vought. Let’s cause ‘trauma’ to the federal workforce,” Leonard said. “And that’s exactly what they are doing. Trauma. The emotional distress of being told you are being fired after an already exceptionally difficult year for federal employees.”

Skye Perryman, president and chief executive of Democracy Forward, which is co-counsel for the unions, praised Illston’s decision in a statement after the hearing.

“The statements today by the court make clear that the President’s targeting of federal workers — a move straight out of Project 2025’s playbook — is unlawful,” Perryman said. “Our civil servants do the work of the people, and playing games with their livelihoods is cruel and unlawful and a threat to everyone in our nation.”

Illston asked the two parties to confer on the best date, probably later this month, for a fuller hearing on whether she should issue a more lasting preliminary injunction in the case.

“It would be wonderful to know what the government’s position is on the merits of this case — and my breath is bated until we find that,” Illston said.

After the hearing, during a White House news conference, Trump said his administration was paying federal employees whom “we want paid” while Vought uses the shutdown to dismiss employees perceived as supporting Democratic initiatives.

“Russell Vought is really terminating tremendous numbers of Democrat projects — not only jobs,” Trump said.

Colonel Randrianirina set to assume presidency in Madagascar after President Andry Rajoelina removed.

Military leader Colonel Michael Randrianirina will be sworn in as Madagascar’s transitional president on Friday, the country’s new leadership has announced, as the African Union (AU) said it would suspend the country after a coup to remove President Andry Rajoelina.

Randrianirina “will be sworn in as President of the Refoundation of the Republic of Madagascar during a solemn hearing of the High Constitutional Court” on October 17, said the statement, published on social media by a state television station on Thursday.

Rajoelina, who was impeached by lawmakers after fleeing abroad during the weekend, has condemned the takeover and refused to step down despite youth-led demonstrations demanding his resignation and widespread defections in the security forces.

Randrianirina led a rebellion that sided with the protesters and ousted Rajoelina on Tuesday in the sprawling country of about 30 million people off of Africa’s east coast. Since gaining independence from France in 1960, the country has had a history of coups and political crises.

The latest military takeover capped weeks of protests against Rajoelina and his government, led by youth groups calling themselves “Gen Z Madagascar”. The protesters, who also included labour unions and civic groups, have demanded better government and job opportunities, echoing youth-led protests elsewhere in the world.

Among other things, the Madagascar protesters have railed against chronic water and electricity outages, limited access to higher education, government corruption and poverty, which affects roughly three out of every four Madagascans, according to the World Bank.

Although some suggest the military seized power on the backs of the civilian protesters, demonstrators cheered Randrianirina and other soldiers from his elite CAPSAT unit as they triumphantly rode through the streets of the capital Antananarivo on Tuesday. The colonel has promised elections in two years.

The takeover was “an awakening of the people. It was launched by the youth. And the military supported us”, said the protest leader, Safika, who only gave one name as has been typical with the demonstrators. “We must always be wary, but the current state of affairs gives us reason to be confident,” Safika told The Associated Press news agency.

The protests reached a turning point Saturday when Randrianirina and soldiers from his unit sided with the demonstrators calling for the president to resign. Rajoelina said he fled to an undisclosed country because he feared for his life.

Randrianirina had long been a vocal critic of Rajoelina’s administration and was reportedly imprisoned for several months in 2023 for plotting a coup.

His swift takeover drew international concern. The African Union condemned the coup and announced the country’s suspension from the bloc. The United Nations said they were “deeply concerned by the unconstitutional change of power”.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stuff We Wrote

Film shoots

Number of the week

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

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

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

Finally …

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

WASHINGTON — A new round of layoffs at the Education Department is depleting an agency that was hit hard in the Trump administration’s previous mass firings, threatening new disruption to the nation’s students and schools in areas including special education, civil rights enforcement and after-school programs.

The Trump administration started laying off 466 Education Department staffers on Friday amid mass firings across the government meant to pressure Democratic lawmakers over the federal shutdown. The layoffs would cut the agency’s workforce by nearly a fifth and leave it reduced by more than half its size when President Trump took office Jan. 20.

The cuts play into Trump’s broader plan to shut down the Education Department and parcel its operations to other agencies. Over the summer, the department started handing off its adult education and workforce programs to the Department of Labor, and it previously said it was negotiating an agreement to pass its $1.6-trillion student loan portfolio to the Treasury Department.

Department officials have not released details on the layoffs and did not immediately respond to a request for comment. AFGE Local 252, a union that represents more than 2,700 department workers, said information from employees indicates cuts will decimate several offices within the agency.

All workers except a small number of top officials are being fired at the office that implements the Individuals with Disabilities Education Act, a federal law that ensures millions of students with disabilities get support from their schools, the union said. Unknown numbers are being fired at the Office for Civil Rights, which investigates complaints of discrimination at the nation’s schools and universities.

The layoffs would eliminate or heavily deplete teams that oversee the flow of grant funding to schools across the nation, the union said. They affect the office that oversees Title I funding for the country’s low-income schools, along with the team that manages 21st Century Community Learning Centers, the primary federal funding source for after-school and summer learning programs.

It will also hit an office that oversees TRIO, a set of programs that help low-income students pursue college, and another that oversees federal funding for historically Black colleges and universities.

In a statement, union President Rachel Gittleman said the new reductions, on top of previous layoffs, will “double down on the harm to K-12 students, students with disabilities, first generation college students, low-income students, teachers and local education boards.”

The Education Department had about 4,100 employees when Trump took office. After the new layoffs, it would be down to fewer than 2,000. Earlier layoffs in March had roughly halved the department, but some employees were hired back after officials decided they had cut too deep.

The new layoffs drew condemnation from various education organizations.

Although states design their own competitions to distribute federal funding for 21st Century Community Learning Centers, the small team of federal officials provided guidance and support “that is absolutely essential,” said Jodi Grant, executive director of the Afterschool Alliance.

“Firing that team is shocking, devastating, utterly without any basis, and it threatens to cause lasting harm,” Grant said in a statement.

The government’s latest layoffs are being challenged in court by the American Federation of Government Employees and other national labor unions. Their suit, filed in San Francisco, said the government’s budgeting and personnel offices overstepped their authority by ordering agencies to carry out layoffs in response to the shutdown.

In a court filing, the Trump administration said the executive branch has wide discretion to reduce the federal workforce. It said the unions could not prove they were harmed by the layoffs because employees would not actually be separated for an additional 30 to 60 days after receiving notice.

Binkley writes for the Associated Press.

The three other options tabled by the WRU include two proposals suggesting a reduction in one side by keeping three teams. These choices are now seriously being considered by the WRU board.

Cardiff are owned by the WRU after the side temporarily went into administration in April.

With WRU chief executive Abi Tierney having already said she cannot see a situation where professional rugby would not be played in the Welsh capital, Dragons, Ospreys and Scarlets will be nervously watching what happens.

Reddin says he hopes a consensus could be reached if regions needed to be cut, with mergers an option.

Ospreys chief executive Lance Bradley says he can not imagine any possible merger with west Wales rivals Scarlets – that prospect having previously come close in 2019.

“I credit myself as a rather imaginative person but even I can’t imagine that,” Bradley told BBC Radio Wales Sport.

“I can’t see how it could work. It was proposed a few years ago but there would be so many barriers to it now, that I find it very hard to imagine.”

Bradley says he hopes to have some clarity by the end of October.

“We have been working closely with the WRU but at the end of the day it will be them who has to make the decision,” said Bradley.

“We have had a lot of conversations and they have been constructive.

“We felt that in a meeting we had with Dave Reddin that he genuinely listened to what we said and we hope that will be taken on board.”

ROME — Pope Leo XIV urged labor union leaders from Chicago on Thursday to advocate for immigrants and welcome minorities into their ranks, weighing in as the Trump administration crackdown on immigrants intensifies in the pontiff’s hometown.

“While recognizing that appropriate policies are necessary to keep communities safe, I encourage you to continue to advocate for society to respect the human dignity of the most vulnerable,” Leo said.

The audience was scheduled before the deployment of National Guard troops to protect federal property in the Chicago area, including a U.S. Immigration and Customs Enforcement building that has been the site of occasional clashes between protesters and federal agents.

Chicago Cardinal Blase Cupich, who accompanied the labor leaders, said that Leo was well aware of the situation on the ground. In an interview with the Associated Press, Cupich said Leo has made clear, including in recent comments, that migrants and the poor must be treated in ways that respect their human dignity.

“I really didn’t have to tell him much at all, because he seemed to have a handle on what was going on,” Cupich told the AP afterward.

He said that Leo had urged U.S. bishops in particular to “speak with one voice” on the issue. Cupich said he expected the November meeting of the U.S. Conference of Catholic Bishops would make immigration a top agenda item.

“This has to be front and center right now. This is the issue of the day. And we can’t dance around it,” Cupich said.

Catholic leaders in the U.S. have denounced the Trump administration’s crackdown, which has split up families and incited fears that people could be rounded up and deported any time. The administration has defended the crackdown as safeguarding public safety and national security.

Leo “wants us to make sure, as bishops, that we speak out on behalf of the undocumented or anybody who’s vulnerable to preserve their dignity,” Cupich said. “We all have to remember that we all share a common dignity as human beings.”

Cupich said he was heartened by Leo’s remarks last week, in which the pope defended the cardinal’s decision to honor Illinois Sen. Dick Durbin for his work helping immigrants. The plans drew objection from some conservative U.S. bishops given the powerful Democratic senator’s support for abortion rights, and he ultimately declined the award.

It was the second meeting in as many days that history’s first American pope has heard firsthand from a U.S. bishop on the front lines of the migration crackdown. On Wednesday, El Paso Bishop Mark Seitz brought Leo letters from desperate immigrant families.

Cupich was in Rome for Vatican meetings and to also accompany a group of Chicago schoolchildren who got a special greeting from Leo during his Wednesday general audience. The kids had staged their own “mock conclave” in school this past spring, and footage of their deliberations went viral online as the real conclave unfolded in Rome. They arrived at the audience Wednesday dressed as cardinals, Swiss Guards and the pope himself.

Winfield writes for the Associated Press.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stuff we wrote

Film shoots

Number of the week

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

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

Finally …

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

SAN DIEGO — Six Democrats running for governor next year focused on housing affordability, the cost of living and healthcare cuts as the most daunting issues facing Californians at a labor forum on Saturday in San Diego.

Largely in lockstep about these matters, the candidates highlighted their political resumes and life stories to try to create contrasts and curry favor with attendees.

Former state Assembly Majority Leader Ian Calderon, in his first gubernatorial forum since entering the race in late September, leaned into his experience as the first millennial elected to the state legislature.

“I feel like my experience and my passion uniquely positioned me in this race to ride a lane that nobody else can ride, being a millennial and being young and having a different perspective,” said Calderon, 39.

Concerns about his four children’s future as well as the state’s reliance on Washington, D.C., drove his decision to run for governor after choosing not to seek reelection to the legislature in 2020.

“I want [my children] to have opportunity. I want them to have a future. I want life to be better. I want it to be easier,” Calderon, whose family has deep roots in politics. State leaders must focus “on D.C.-proofing California. We cannot continue to depend on D.C. and expect that they’re going to give a s—t about us and what our needs are, because they don’t.”

Former U.S. Health and Human Services Secretary Xavier Becerra, who also served as the state’s attorney general after a 24-year stint in Congress, argued that it is critical to elect a governor who has experience.

“Would you let someone who’s never flown a plane tell you, ‘I can fly that plane back to land’ if they’ve never done it before?” Becerra asked. “Do you give the keys to the governor’s office to someone who hasn’t done this before?”

He contrasted himself with other candidates in the race by invoking a barking chihuahua behind a chain-link fence.

“Where’s the bite?” he said, after citing his history, such as suing President Trump 122 times, and leading the sprawling federal health bureaucracy during the pandemic. “You don’t just grow teeth overnight.”

Calderon and Becerra were among six Democratic candidates who spoke at length to about 150 California leaders of multiple chapters of the American Federation of State, County and Municipal Employees.

The union has more than 200,000 members in California and is being battered by the federal government shutdown, the state’s budget deficit and impending healthcare strikes. AFSCME is a powerful force in California politics, providing troops to knock on voters’ doors and man phone banks.

The forum came as the gubernatorial field to replace termed-out Gov. Gavin Newsom is in flux.

Former Vice President Kamala Harris announced earlier this summer that she has opted against running for the seat. Former Senate Leader Toni Atkins suspended her gubernatorial campaign in late September.

Rumors continue to swirl about whether billionaire businessman Rick Caruso or Sen. Alex Padilla will join the field.

“I am weighing it. But my focus is first and foremost on encouraging people to vote for Proposition 50,” the congressional redistricting matter on the November ballot, Padilla told the New York Times in an interview published Saturday. “The other decision? That race is not until next year. So that decision will come.”

Wealthy Democratic businessman Stephen J. Cloobeck and Republican Riverside Sheriff Chad Bianco declined an invitation to participate in the forum, citing prior commitments.

The union will consider an endorsement at a future conference, said Matthew Maldonado, executive director for District Council 36, which represents 25,000 workers in Southern California.

Former Los Angeles Mayor Antonio Villaraigosa leaned into his longtime roots in labor before he ran for office. But he also alluded to tensions with unions after being elected mayor in 2006.

Labeled a “scab” when he crossed picket lines the following year during a major city workers’ strike, Villaraigosa also clashed with unions over furloughs and layoffs during the recession. His relationship with labor hit a low in 2010 when Villaraigosa called the city’s teachers union, where he once worked, “the largest obstacle to creating quality schools.”

“I want you to know something about me. I’m not going to say yes to every darn thing that everybody comes up to me with, including sometimes the unions,” Villaraigosa said. “When I was mayor, they’ll tell you sometimes I had to say no. Why? I wasn’t going to go bankrupt, and I knew I had to protect pensions and the rest of it.”

He pledged to work with labor if elected governor.

Labor leaders asked most of the questions at the forum, with all of the candidates being asked about the same topics, such as if they supported and would campaign for a proposed state constitutional amendment to help UC workers with down-payment loans for houses.

“Hell yes,” said former Rep. Katie Porter of Irvine, who teaches at UC Irvine’s law school and benefited from a program created by state university leaders to allow faculty to buy houses priced below the market rate in costly Orange County because the high cost of housing in the region was an obstacle in recruiting professors.

“I get to benefit from UC Irvine’s investment in their professionals and professors and professional staff housing, but they are not doing it for everyone,” she said, noting workers such as clerks, janitors, and patient-care staff don’t have access to similar benefits.

State Supt. of Instruction Tony Thurmond, who entered the gathering dancing to Dr. Dre and Tupac’s “California Love,” agreed to support the housing loans as well as to walk picket lines with tens of thousands of Kaiser health employees expected to go on strike later this month.

“I will be there,” Thurmond responded, adding that he had just spoken on the phone with Kaiser’s CEO, and urged him to meet labor demands about staffing, pay, retirement and benefits, especially in the aftermath of their work during the pandemic. “Just get it done, damn it, and give them what they’re asking for.”

Former state Controller Betty Yee agreed to both requests as well, arguing that the healthcare employers are focused on profit at the expense of patient care.

“Yes, absolutely,” she said when asked about joining the Kaiser picket line. “Shame on them. You cannot be expected to take care of others if you cannot take care of yourselves.”

AFSCME local leaders listening to former U.S. Health and Human Services Secretary Xavier Becerra speak at a gubernatorial forum Saturday in San Diego.

(Seema Mehta / Los Angeles Times)

On the day that Michele Mulroney was elected president of the Writers Guild of America West, writers won a significant victory. After writers protested ABC’s suspension of “Jimmy Kimmel Live!” for days, the network brought the late-night show back on air.

“Our currency is words and stories, and the freedom to be able to express ourselves is really important, and so our members could not feel more strongly about this and of course we will be speaking out and lobbying and working in any way we can to protect this fundamental right,” Mulroney said in a recent interview.

Mulroney, formerly the WGA West vice president and a writer on the 2017 “Power Rangers” movie and 2011 film “Sherlock Holmes: A Game of Shadows,” enters her new role at a time when the industry is facing significant challenges.

Those include major consolidation in the industry as studios look to cut costs and move TV and film production overseas because of hefty financial incentives. The climate has been tough for many writers who have struggled to find work after enduring a 148-day strike in 2023. After the walkout, writers did secure groundbreaking protections for AI in contracts, but they are still confronting AI models ripping off their work without compensation.

As the guild gears up for contract negotiations next year, Mulroney said she plans to build on earlier gains in AI and other areas, and aims to convince the studios to pay more for WGA’s health plans amid rising healthcare costs.

“It’s going to need some support from the companies,” Mulroney said. “Their drastic pullback in production and employment led to a pretty severe industry contraction that has contributed to some strain on our funds. We’ll be looking to them to help fix that with us.”

When asked about whether she thinks there is appetite among WGA’s members for another strike, Mulroney said “it’s way too early to speculate about that.”

“It’s really hard out there in the industry for all industry workers and for many of our members, but our members have shown time and again that when they have to, when it’s necessary, we are ready to fight for the contract we deserve,” Mulroney said.

The Alliance of Motion Picture and Television Producers declined to comment, but in an earlier statement said its members look forward to working with her “to address key issues for WGA writers and to strengthen our industry with fair, balanced solutions.”

A studio-side source who was not authorized to comment said that the WGA health plan faces “complex financial challenges that require a balanced approach to align with market norms and ensure long-term stability.”

To keep costs down, studios have been moving more productions to the U.K. and other countries offering significant financial incentives, shrinking job opportunities for entertainment industry workers in Southern California. Some have had to move out of state to look for jobs.

Unions including the WGA lobbied for California to boost annual funding for its film and TV tax credit program and succeeded in raising that amount to $750 million, from $330 million.

“This was a real bright spot of good news in an otherwise really bleak and tough time for our industry,” Mulroney said in an interview last week. “Now there needs to be federal action on this, too, so we’ll continue working with our allies to try to keep production in the U.S., and specifically in Hollywood, in Southern California.”

Mulroney declined to comment on President Trump’s renewed threat to impose a 100% tariff on foreign-made films.

Another big worry for writers has been artificial intelligence. The WGA has been outspoken about wanting studios to sue AI companies that writers say are taking their scripts for training AI models without their permission. Earlier this year, studios including Disney, Universal and Warner Bros. Discovery took legal action against AI companies over copyright infringement.

“We were glad to see some of the studios come off the sidelines and file lawsuits to protect their copyright from these AI companies that are stealing our members’ work to build their models,” she said. “I think we will probably be dealing with AI and wrangling that for the rest of our lives, right?”

Mulroney, 58, ran uncontested, receiving 2,241 votes or 87% of the votes cast, according to the union. CBS series “Tracker” writer and co-executive producer Travis Donnelly became vice president, and TV comedy show “Primo” executive producer Peter Murrieta became secretary-treasurer.

Mulroney grew up in the U.K., the daughter of a factory worker and a janitor. She’s served on the union’s board of directors for four terms and as an officer for six years prior to being elected president.

Mulroney’s background was in theater and theater directing, but she had always dabbled in writing. In her 20s, she worked in development for a British TV and film studio where she read a lot of scripts, which led her to think, “Maybe I could write one of those things.”

Her first writing gig was for a PBS children’s show called “Wishbone,” about a Jack Russell terrier who imagines himself as a character in literary classics. She’s been a screenwriter for 25 years and is based in West Hollywood with her husband and writing partner, Kieran.

Mulroney succeeds Meredith Stiehm, who led the union during the 2023 strike.

Kimmel coming back on air was a parting gift to Stiehm, said Mulroney, adding that the union is still watching the situation.

“We’re still monitoring,” Mulroney said. “I somehow doubt this is the last instance we’re going to see where censorship and free speech are going to be a topic.”

When Friedia Niimura moved to the U.S. from Japan in her mid-20s, she shared a dream with many Angelenos: acting, or maybe fashion. A TV and media personality in Japan, it seemed a natural fit, only she didn’t take to the competitive pace of Los Angeles.

So she dove into one of her other passions: paper.

“When I came to L.A., I noticed there weren’t a lot of specialty stationery boutiques,” Niimura says. “When you’re in Japan, they’re everywhere and you take them for granted. That’s how I would spend my days off. I would go to the stationery and browse and take my notebook and draw.”

Friedia Niimura outside her shop Paper Plant Co., which occupies two Chinatown storefronts and shares a space with Thank You Coffee. Niimura spent her teen years in Japan before changing her career.

(Juliana Yamada / Los Angeles Times)

Niimura created a place where one can do just that. Chinatown’s Paper Plant Co. is her stationery outpost, made of two small storefronts that share a space with Thank You Coffee and boast outdoor seating. A communal destination since 2020, the shop has earned a reputation for specializing in notebooks, stickers and pens from Japan. Or, as Niimura describes Paper Plant’s aesthetic: “cute.”

“When we pick something and we all go, ‘Oh my gosh, it’s so cute,’ then we know it’s going to do really well,” Niimura, 45, says. “I don’t know how in Japan they always come up with cute scenarios and cute scenes and cute gestures. It’s almost like there’s a school on how to draw dogs doing cute things, cats doing cute things.”

Paper Plant will on Oct. 11-12 play host to Bungu LA, believed to be the first proper stationery festival in the city. Niimura has handpicked Bungu’s 60 or so exhibitors, with the vast majority of them traveling here from Japan. Bungu is inspired by similar events Niimura has gone to in Tokyo or New York. Paper Plant, for instance, exhibited last year at a festival hosted by Brooklyn’s Yoseka Stationery.

“There was a line every day,” Niimura says, describing the New York fest. “It was just my store manager and I, and we were like, ‘How come L.A. doesn’t have one?’ And then who would do it? It always came back to us, since we have that relationship with Japanese creators.”

Like most everything Paper Plant-related, Niimura has been figuring it out on the fly. Paper Plant, for instance, was initially funded almost entirely by credit cards, a business plan Niimura wouldn’t recommend to others. Bungu will take over part of a concourse at downtown’s Union Station, and the hope is to make it an annual event. The goal for the first year is to simply break even, as Niimura jokes that she doesn’t yet know the final cost of staging a festival.

“We had to also rent out a front sidewalk, which was another $10,000 that I hadn’t added to the budget,” Niimura says.

The response, however, has been overwhelmingly positive. Popular Japanese firms such as Hobonichi will be in attendance, but Niimura says she made an effort to secure vendors that have never before sold in the U.S. Advance tickets of $25, for which about 1,500 were made available per day, have sold out. There will, however, be walk-up tickets sold each day of the show. Niimura is hoping to attract 2,500 people per day.

Stickers, says Paper Plant Co. owner Friedia Niimura, are hugely popular at the moment. (Juliana Yamada / Los Angeles Times)

Paper Plant Co. makes and sells original greeting cards. (Juliana Yamada / Los Angeles Times)

Niimura herself is still discovering new joys in the stationery world. She notes that only recently has she become smitten with fountain pens.

“In Japan, fountain pens are geared toward older gentlemen,” she says. “And they’re expensive. The really nice ones can be thousands of dollars. We have ones that are a couple hundred, but also beginner ones for about $20. I started off with those, but I recently got a couple hundred dollar ones, and it’s life changing — the way the ink comes out is so smooth. Once you have one, it’s hard to go back to a regular pen.”

As part of Bungu, Niimura is encouraging attendees to explore L.A.’s public transit and the walkability of Chinatown. Maps will be given out at Bungu for which guests can collect three stamps, one at the event, one at the Chinatown Metro Rail station and one at Paper Plant. Those who complete the mini scavenger hunt will be given a free gift at Paper Plant, which Niimura is keeping a secret.

With the rise of collage and zine-making workshops, younger generations are connecting with paper and Niimura notes that one-day planners and scrapbooking today have become especially popular.

“I feel like anything work-wise, people have on their phones,” Niimura says. “But there’s this trend of scrapbooking everything — receipts for the day, the coffee cup holder, stickers. They call it ‘junk journaling.’”

Junk journaling, says Niimura, is fueling in part the sticker trend of the moment. Paper Plant sells a wide array of stickers and also makes its own — a dog, for instance, wearing a Dodgers hat, or a man wearing a dog as a hat. “The mini stickers are for the journalers and the planners,” Niimura says. “They have really teeny-tiny ones. It’s for the calendar. You use a sandwich sticker for lunch with a friend.”

The charm of Paper Plant’s two storefronts, where one can find lamps shaped like bread, diaries with adorable cats on the cover and those fancy fountain pens, belies the fact that 2025 is a stressful time for the stationery business. Niimura sighs as she notes that she’s had to raise prices this year due to tariffs imposed by President Trump.

“Everything has kind of gone up,” Niimura says when asked how the tariffs have affected her business. “If its coming from China, it’s a lot. If it’s coming from Japan, it’s a little bit.”

And yet that doesn’t deter her optimism. Niimura notes that in a way, she’s living out one of her childhood dreams, as she once envisioned her retirement life including a gig at a stationery shop.

“I always thought I would do this later in life,” she says. “I thought I would be the old lady putting out a sign and being behind the register.”

And now, Niimura speaks of Paper Plant and Bungu as something of a mission.

Chinatown’s Paper Plant Co. occupies two Chinatown storefronts, and sells everything from stickers and stationary to lamps shaped like bread.

(Juliana Yamada / Los Angeles Times)

“This analog style of things shouldn’t die just yet,” she says. “I think it’s important. Creativity starts with a pencil and a paper. Now my son, too, doesn’t have a cursive class. That hurts. You can recognize someone by their handwriting. My son calls cursive ‘fancy writing,’ and I don’t want that to die.”

Think of Paper Plant and Bungu, then, as a way to keep a lost art alive.

The tone was set long before kick-off.

Howe has rotated his team while fighting on multiple fronts in the opening weeks of the season.

But it was rather telling that the Newcastle head coach only made two changes for this game – and one was enforced after Tino Livramento suffered a knee injury.

The Premier League’s joint-lowest goalscorers needed to catch fire.

“There has been a lack of good football in general,” Gordon told TNT Sports. “We have defended really well, been organised, but have lacked that spark and creativity. We really wanted to put emphasis on getting that back tonight.”

There was certainly no chance of Newcastle underestimating Union as the visitors looked to bounce back from the weekend’s painful defeat against Arsenal.

The Belgian champions may be newcomers in this competition, but they beat PSV in their first ever Champions League game last month and had not lost any of their opening nine top-flight fixtures.

Such has been Union’s progress in European competitions in recent years, they actually have a significantly higher coefficient than Newcastle.

It was hardly a surprise, then, that the visitors left no stone unturned before facing a side who had an extra day to recover and prepare.

As well as personally reviewing his opponent, as always, Howe familiarised his side with their new surroundings by training at Lotto Park on the eve of the game.

That did not go unnoticed by Union manager Sebastien Pocognoli.

“Maybe the opponent sometimes can be condescending, to look down on you,” he said. “They didn’t. They paid us full respect. They played a big match with their skills and qualities.

“They played top level, all the Newcastle players played top level, so it shows that they had great respect for us.”

Released by Arsenal as a youth player, Burgess went to university before he was offered a trial at Championship side Middlesbrough during his second year of study.

He earned a two-year professional contract, but was encouraged by then-manager Tony Mowbray to continue his education.

“It was something you couldn’t turn down,” he said of his first professional deal. “So I took it and finished my degree at Teesside University. They allowed me to transfer my first two years.

“Mowbray told me to make sure I finished it because the contract was a foot in the door, not a guaranteed career. I listened to his words and thankfully, I’ve been able to carve a career out with the game as well.”

Burgess enjoyed spells in League One with Peterborough and Portsmouth, before taking the plunge with a move to Belgium in 2020.

And, remarkably, he is not the only English centre-back who has swapped life in the third tier for a crack at the Belgian top flight.

Defensive partner Ross Sykes was picked up from Accrington Stanley in 2022 after Union “took a chance” on him.

The pair went on to help Union win their first league title in 90 years last season after Sykes, like Burgess, overcame adversity in his formative years.

Sykes may be 6ft 5in now, but he was previously released by Burnley because he was deemed to “too small” as a kid.

It ended up proving a turning point in his career.

“I didn’t want to keep going with academy football,” he said after he was let go at the age of 11. “But my mum and dad persuaded me to go on trial at Accrington Stanley one or two weeks later. I didn’t look back after that.”

Sykes and Burgess have gone on to make 318 appearances between them for Union on a journey that has taken the Belgian league leaders to Europe’s top table for the first time.

And Union’s 3-1 win against PSV in their first Champions League fixture did not come as a surprise to Sykes last month because his side are “not afraid to come up against anyone”.

Burgess certainly looked at home at Europe’s top table. The Union captain was rated 9.39 out of 10 by BBC Sport readers, finishing the match as the top-ranking player.

An Englishman who has only played one league game in the top two tiers of English football might not seem the most obvious to lead a European campaign – but Union have always taken the road less travelled.

“It’s a club built on the profile of bringing youngsters through from unknown leagues,” Burgess explains. “We have players from the Estonian, Latvian, Croatian, Austrian leagues and Union will give them a chance to shine if they see potential.

“My role is to help them and keep demanding high standards and usher them through, and then they get big moves all over Europe, which is a pleasure to see.”

Sept. 30 (UPI) — Hollywood’s actors union SAG-AFTRA on Tuesday sounded the alarm over reports that talent agents are interested in signing Tilly Norwood, an actress generated by artificial intelligence.

SAG-AFTRA’s statement opposing the replacement of “human performers by synthetics” comes days after Deadline reported that AI studio Xicoia has engaged with multiple agents who are interested in signing the digital creation Tilly Norwood for representation.

Studios’ use of AI technology was a central issue in the 2023 SAG-AFTRA-led strike that was the longest actors’ work stoppage in Hollywood history. Now, Norwood’s emergence points to an ongoing source of dispute between studios and actors.

“To be clear, ‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers – without permission or compensation,” SAG-AFTRA said in the statement. “It has no life experience to draw from, no emotion and, from what we’ve seen, audiences aren’t interested in watching computer-generated content untethered from the human experience.”

The union said that Norwood relies on “stolen performances” and will put actors out of work.

Norwood resembles a brunette twenty-something who speaks with a British accent and made her debut over the summer in a short AI-generated film. She already has an online presence.

Eline Van der Velden, an actor and technologist, revealed Saturday during a panel at the Zurich Summit that agents were interested in signing Norwood, the creation of the AI production studio Particle6 she founded, according to Deadline. She also said that studios and other entertainment companies were quietly embracing the technology.

“We were in a lot of boardrooms around February time, and everyone was like, ‘No, this is nothing. It’s not going to happen’. Then, by May, people were like, ‘We need to do something with you guys.’ When we first launched Tilly, people were like, ‘What’s that?’, and now we’re going to be announcing which agency is going to be representing her in the next few months,” said Van der Velden.

Van der Velden later responded to the initial backlash over Norwood, with a statement saying she is “not a replacement for a human being, but a creative work — a piece of art.”

But concerns about what Norwood means for the industry remain. Actress and producer Anne-Marie Johnson told Los Angeles NBC affiliate KNBC that “this is no laughing matter.”

“Our agents and our managers have to be partners in this because when we don’t get hired, they don’t get their commission,” she said.