union

PHILADELPHIA — For years, as stars such as Shohei Ohtani and Bryce Harper pleaded for the chance to play in the Los Angeles Olympics, and for Major League Baseball to back up its talk of growing the game internationally by participating in the world’s greatest sporting festival, the league was reluctant: Would the owners truly benefit from shutting down the season for a week and lending their best players to an event beyond their control?

Now that MLB is on board, the league wants the players to make an extraordinary commitment to back up their talk: If you’re selected to play in the Olympics, you must play. Or else.

The “or else” is not rhetorical. If a player is not on the injured list and is selected for the Olympics but declines to participate, the player would be subject to fine and/or suspension. In addition, the players would be ineligible to play for the first 14 days when the season resumes after the Olympics, according to a proposal from the commissioner’s office to the players’ union and obtained by The Times.

Under a tentative MLB plan, the first half of the 2028 season would end on July 9, with the All-Star Game on July 11. The Olympic baseball competition would start on July 13, with the second half of the season starting on July 21.

So as to discourage placement on the injured list as a way to avoid playing in the Games, a player selected for the Olympics but on the injured list as of July 9 would be excused, but he could not be reinstated to his team’s major league roster until Aug. 4, even if he had recovered from the injury before then.

“We went down the road on LA 2028 because we saw it as a unique opportunity to market the sport with our very, very best players,” Commissioner Rob Manfred said Tuesday in a meeting with the Baseball Writers Assn. of America.

“It is a disruptive undertaking for us … If we’re disrupting an entire season and we’re going to undertake that effort, we want our very best out there, so that people see how great our game really is.”

The league also does not want to undermine its All-Star Game, and it is reasonably foreseeable that some players might wish to skip the All-Star Game for a two-day summer break if they are going to play the next week at the Olympics.

In that scenario, under its proposal, the league would have the right to declare the player ineligible for the Olympics, and the player would be subject to fine and/or suspension as well as ineligibility for the first 14 days of the second half.

Bruce Meyer, the executive director of the players’ union, said the MLBPA plans a counterproposal.

“They want to make it mandatory for players who are selected to appear at the All-Star Game and the Olympics,” Meyer said Tuesday. “The proposals that they made in terms of what the discipline would be, the ramifications if a player doesn’t want to do that, in our view, are extreme.”

To use a Dodgers example, Yoshinobu Yamamoto was selected for this year’s All-Star Game, but Dodgers manager Dave Roberts said last week that he would not pitch.

Given that situation in 2028, if Yamamoto wished to pitch for Japan, he would have to be available for the All-Star Game. If not, Japan could lose him for the Olympics, and the Dodgers could lose him for his first two starts of the second half.

Meyer said the union is in “a very early stage of discussions” with the league. It is unclear how much time might be needed to resolve the issue, as well as what Meyer called “travel and accommodation” issues, which involve LA28.

It also is uncertain how long MLB would be willing to wait before committing to an All-Star site and date, although the league moved the 2021 game from Atlanta to Denver three months before the game date. San Francisco is expected to host the 2028 game, in large part because Los Angeles is a short flight away for an Olympic competition that would start two days later.

It is clear, however, that the league is getting tired of not always securing participation from marquee players in marquee events. The “you can’t pitch in the All-Star Game if you pitched on the previous Sunday” rule was intended to protect pitchers.

“It’s clear to me that teams are managing their pitching in a way to take advantage of the Sunday pitcher rule,” Manfred said. “I do think it’s really important that we always re-evaluate our approach to the All-Star Game in order to get the very, very best players that can participate in that game.”

The World Baseball Classic was a smashing success this year, even as the United States started a rookie pitcher in the championship game. Do we really need to mandate player participation in the Olympics, especially since so many great players already have said they want to be there?

“The WBC takes place at a point in time that the players are just beginning to ramp up for the season,” Manfred said. “There’s a whole host of reasons why, at that point in the calendar, players might not be ready to play.

“In contrast, the schedule for the Olympics is going to cover days that players otherwise would be playing in major league games — if they’re not on an injured list, they’d be out there playing. That is a huge difference.”

In another column, we could argue the merits of moving the final round of the WBC — the semifinals and championship game — to July, when players “otherwise would be playing in major league games.” That would grow the game, too.

But that is for another day. It would be absurd for MLB to miss out on the global marketing platform that is the Olympics. The issues MLB raises are legitimate; the solutions need not be so draconian.

The opening ceremonies in Los Angeles take place two years from Tuesday. The Olympics have taught us this about boycotts: No matter how worthy the cause, no one pays attention once the Games start. The Soviet Union boycotted the L.A. Games in 1984, and we had a grand time without the Russians.

No one cares if you’re not there. In MLB, a star-studded core wants to be there. Seize the moment.

SAN JUAN, Puerto Rico — Musicians and a DJ are among the dead in a plane crash in the Bahamas that killed 10, the Bahamas Musicians and Entertainers Union said Saturday.

The crash Friday prompted the government to temporarily ground Flamingo Air flights. It happened in North Andros, in waters just west of Nassau, the archipelago’s capital.

“Among the dearly departed are some of the talented and vibrant members of our entertainment community, including members of The Pond Band and a DJ,” the union said in a statement on X.

Their “passion, dedication, and artistry touched so many lives and helped to enrich the cultural fabric of The Bahamas,” the union added.

The plane had departed Lynden Pindling International Airport in Nassau and was headed to San Andros when it crashed, according to the Bahamian Aircraft Accident Investigation Authority.

The Ministry of Energy, Utilities and Aviation said in a statement that the suspension of Flamingo Air’s air operator certificate was a precautionary safety measure as officials investigate the cause of the crash. The ministry said the suspension is a result of two safety incidents that happened Friday.

During a news conference, Minister JoBeth Coleby-Davis said the first incident Friday involved another Flamingo Air plane. She said it was en route to Mayaguana when the pilot reported a concern and turned back to Nassau. After the plane landed and the passengers deboarded, the plane caught fire, she said. That incident also is under investigation.

Photo: Juan Barreto / AFP

In 1999, Hugo Chávez coined the ‘civic-military union’ as a founding concept for the Bolivarian Revolution. At its core, he sought to blur the line between soldier and militant: the armed forces would no longer be subordinate to the civilian authorities, but become active political actors, essential not only to build and sustain the Bolivarian project, but to merge with the rest of society in conducting the nation. The old fuerzas armadas, FFAA, formed by the Army, the Navy, the Air Force, and the National Guard, were transformed into a single Fuerza Armada Nacional Bolivariana, FANB. Soldiers were granted the right to vote. Officers flooded the bureaucracy and started to give orders to civilians. They were, in practice, sworn to a movement rather than a constitution.   

In its later years, chavismo stretched the phrase to unión cívico-militar-popular, supposedly integrating the whole of el pueblo into the martial body of the revolution. In 2008, Chávez created the Bolivarian Militia to provide military training to millions of civilians, and turned it into a branch of the armed forces in 2020, when it started to operate more as a propaganda and clientelism resource rather than a defensive corps. 

How, then, were Venezuela’s armed forces made “useful”?

A government and an armed forces that claim to be in union with its people were caught outside of the massive, spontaneous popular mobilization Venezuelans pulled off…

In the Maduro years, soldiers guarded the ration lines of CLAP boxes and the gasoline pumps of the country with the largest oil reserves in the world. Others were stationed in the southeast of the country to run the Orinoco Mining Arc, formally assigned to FANB, in tandem with non-state armed groups—some pocketing up to $800,000 a month in gold as bribes. The luckier or best-positioned of the bunch got handed high-ranking positions in public companies and ministries. The “popular” leg, then, was never el pueblo but its keepers, united to protect the Bolivarian Revolution and themselves over their fellow countrymen.

In the morning of June 24th, the Financial Times revealed that Caracas would acknowledge a debt of roughly 240 billion dollars and prepare for the largest restructuring on record. Hours later, two M7.2 and M7.5 earthquakes changed the landscape of the country. As the news broke, Venezuelan civilians quickly organized to save relatives, friends, and strangers. For the first forty-eight hours, a somewhat coordinated response from FANB was nowhere to be seen, even after Delcy Rodríguez said a joint staff led by a National Guard general was managing the emergency response. It was as if Venezuela didn’t have soldiers.

What the State guarded most jealously was not the living, but keeping the credit. A government and an armed forces that claim to be in union with its people were caught outside of the massive, spontaneous popular mobilization Venezuelans pulled off after the earthquake. When civilians pulled strangers from the rubble with their bare hands without waiting for an order, they proved that el pueblo is perfectly capable of being a body on its own, and most notably, that the State is not the vital organ that Chávez envisioned, but a dead weight.

So the aid had to be captured, rerouted, or rebranded. On June 27, Delcy Rodríguez ordered the militarization of roads and access points to devastated areas like La Guaira, slowing down the flow of ordinary citizens delivering supplies for survivors and machinery for those trying to find more of them. Just a day after the quake, opposition party Vente Venezuela reported that police had stopped a truck of supplies in Altamira and would let it move only if the cargo were transferred into the officials’ own vehicles, and the UCV student movement denounced that seven trucks of supplies en route from Bolívar to Caracas were seized by state agents before they could arrive.

“When you are [repressing] on the Francisco Fajardo highway, you are badasses. Show me you’re a badass here, then. Show me with a pickaxe and shovel.”

Organizers from a donation center at Escuela Francisco Pimentel were informed that CONAS, a joint unit of police commandos and National Guards, would be taking over the site and its supplies. Would they have done the same if a PSUV banner hung next to the supplies? A video shows the truck carrying the donations away belongs to SENIAT, the tax authority commanded by Diosdado Cabello’s brother for 18 years until yesterday. Even digital efforts were policed: a network matching volunteer interpreters to foreign rescue teams shut down and wiped its database after participants were allegedly harassed by DGCIM and SEBIN officers.

When the authorities did appear where they could help, soldiers and policemen scrolled on their phones, posed in front of the rubble and left before their uniforms got dirty. They were the last responders. Why so late, then so heavy? Incompetence covers part of it, but watch what the greens reached for in the most critical moments of this crisis and the reason why the ‘union’ has propped up chavismo for decades becomes clearer. 

DGCIM agents diverted an active rescue to recover an official’s rifles from a penthouse while people were still alive below. Neighbors stopped four CICPC policemen in Catia La Mar from trying to take cash found in the rubble, tearing the bills apart so they couldn’t. Chilean rescuer Francisco Lermanda says a soldier seized a colleague’s phone over suspicions of espionage after the crew videocalled their doctors to guide a rescue. At the Residencia Gradisca in La Guaira, where Mexican Topos had marked three points with signs of life, a Corpoelec crew sealed the site on a general’s order because a body, “por orden de arriba”, had to be recovered first. Our ‘protectors’ were filmed carrying off televisions and refrigerators, drinking the liquor they had found, lying on piles of donated clothes while giggling away.

When push came to shove, the union was not incompetent to protect the regime’s weapons, the regime’s secrets, the regime’s chain of command. The FANB did not forget how to save people during the earthquake. It never learned because saving people was not supposed to be part of the job. Faced with people to rescue instead of people to subdue, they stood guard over the dying. A man looking for his family among the collapsed buildings of Tanaguarena dared soldiers to be as brave as when they face dissidence: “When you are [repressing] on the Francisco Fajardo highway, you are badasses. Show me you’re a badass here, then. Show me with a pickaxe and shovel.”

It’s been about a month into the all-important summer box office season, and already, there is a noticeable boost in optimism.

I wrote last week about how the massive debut of Walt Disney Co. and Pixar’s “Toy Story 5” was a promising sign; many analysts and movie theater operators believe the summer’s theatrical revenue could finally reach pre-pandemic levels.

The cinema business has been propelled by the likes of Paramount Pictures and Miramax‘s “Scary Movie,” Universal Pictures’ “Disclosure Day” and, of course, A24’s “Backrooms” and Focus Features’ “Obsession.”

With more potential blockbusters on the way, my colleagues David Viramontes, audience editor for arts and entertainment, and Cerys Davies, who covers the business of the entertainment industry, joined me to give our best predictions for how this summer will shape up.

What will be the biggest movie of the summer?

Masunaga: After seeing how family movies — specifically, PG-rated films — were the winners of the last two years, I think we’ll be seeing “Toy Story 5” emerge at the top. The movie has already brought in more than $585 million worldwide less than two weeks after it opened, and if its billion-dollar-grossing predecessors are any indication, this franchise may still have a long life at the box office.

Viramontes: After the R-rated, three-hour drama “Oppenheimer” made nearly $1 billion at the worldwide box office in 2023, it would be professional malpractice not to pick Christopher Nolan’s “The Odyssey” as the biggest movie of the summer — and possibly the year. 70-millimeter IMAX screenings were sold out a year in advance and premium format tickets are still hard to come by in Los Angeles. Not to mention tentpole movies like this attract repeat viewings and even encourage viewers to seek out screenings in every format. And we haven’t even talked about how the film boasts one of the most stacked casts in recent history.

Davies: In an effort to play it safe, I’m going to pick a family movie and bet on “Toy Story 5.” Think about the dog days of summer — when the air gets heavy, a sense of inexplicable boredom takes over and it’s almost too hot to do anything. Deep down, you know the only reprieve is sitting in the comfort of your local theater chain’s air conditioning. But, at this point, you already saw “The Odyssey” with all your friends at the earliest available IMAX showing. What else will scratch that box office itch? I’m willing to bet it’ll be none other than the familiar faces of Woody, Jessie and Buzz Lightyear, as they fend off technology in their home.

Which movie’s marketing campaign will be the talk of the summer?

Masunaga: The marketing for “The Odyssey” has been less overt than that of other summer releases, giant Trojan horse in Venice Beach notwithstanding. But a film helmed by Nolan and starring a plethora of A-list actors basically markets itself. After all, both official trailers for the film have garnered more than 30 million views on YouTube.

Viramontes: I’m prepared for Spider-Man to be everywhere. From buses and billboards to talk shows and TikTok, the movie will reach full saturation. While “Brand New Day’s” marketing campaign hasn’t reached fever pitch just yet, I’m prepared to be inundated with activations, posters and commercials for the four-quadrant fave that’s poised to be one of Marvel’s biggest successes in years.

Davies: A massive orange monster named Irene with dozens of eyeballs has nearly engulfed the historic Carney’s restaurant on Sunset. A giant inflatable “Rich” minion, sporting a goatee and a blinged out chain, popped up on Fairfax. And minions have taken over Wendy’s frosty machines with a new banana flavor. At this point, Universal and Illumination could put a minion on every Los Angeles street corner, and I wouldn’t grow tired of them. (The ominous, goggle-wearing eye overlooking the 101 freeway just isn’t enough.)

What will be the biggest wild card of the summer?

Masunaga: The biopic “Young Washington” could make waves. Distributed by Provo, Utah-based Angel Studios, the movie has the backing of the studio’s 2 million Angel Guild members, who determine its slate and get other perks, including free movie tickets. That support proved crucial for 2023’s “Sound of Freedom,” which ended up grossing more than $250 million worldwide, and could end up being a factor here, too.

Viramontes: “The End of Oak Street” has been teasing a dinosaur adventure in trailers, but can the mystery box movie starring Anne Hathaway and Ewan McGregor attract audiences? There’s also potential counter programming to blockbuster hopefuls dotted throughout the summer with “Teenage Sex and Death at Camp Miasma.” But I’m putting my money on “Evil Dead Burn.” Horror movies put butts in seats, and this summer doesn’t have many other straight-down-the-middle scares in store for audiences.

Davies: There’s an Anthony Bourdain biopic called “Tony” hitting theaters in August. These days, it feels like Hollywood will make a biopic about just anyone, but something about seeing Dominic Sessa channel the chef’s undying passion for food and effortless swag on screen seems irresistible. Plus today’s audiences love stories about intense kitchens (“The Bear”) and debatable biopics (“Michael”) — let’s see what happens when the two marry.

Both Warner Bros.-owned DC Studios’ “Supergirl” and Sony Pictures‘ “Spider-Man: Brand New Day” are part of this summer’s lineup. Will we see a turnaround from the recent superhero fatigue at the box office?

Masunaga: This past weekend marked a disappointing debut for “Supergirl,” which brought in just $37.1 million in the U.S. and Canada and about $62.6 million worldwide on a reported budget of $170 million. Box office analysts had been expecting a domestic opening of about $47 million to $50 million. On the other hand, pre-sales for “Spider-Man: Brand New Day” have been extremely strong. Not every superhero movie prints money anymore, so even with a potentially big haul for “Spider-Man,” I don’t know that it’ll signify a complete turnaround for the genre as a whole.

Viramontes: If there’s any superhero with enough pull to rescue the genre from fatigue after “Supergirl’s” poor performance, it’s your friendly neighborhood box office king Spider-Man.

Davies: Tom Holland’s Spider-Man definitely has the potential to cure superhero fatigue, at least for a few months. But as soon as the internet’s favorite couple, Zendaya and Holland, stop walking red carpets and doing press together, audiences are likely to put superhero movies on the back burner once again.

Analysts and theater owners have predicted that this summer’s box office will reach pre-pandemic levels. Will that momentum continue for the rest of the year?

Masunaga: Yes. The lineup of movies this year is more plentiful and varied than in years past, and with massive blockbusters slated for the holiday season, I think it’s very possible we could see a year-end domestic box office total of $9 billion or more.

Viramontes: Yes. We’ll have an action horror in September with “Resident Evil,” Zach Cregger’s follow-up to “Weapons.” In October, Tom Cruise’s long-awaited “Digger” might hit pay dirt. Following that in November is the new “Hunger Games” movie, “Sunrise on the Reaping.” And I don’t even have to mention “Avengers: Doomsday” and “Dune: Part Three,” the juggernauts waiting for us in December, do I?

Davies: Given the overall excitement from audiences of all ages and the variety this summer’s box office has to offer, this season will definitely be the one to do it. When Christopher Nolan, Spider-Man, the minions and the toys from “Toy Story” join forces, there’s no stopping them.

“The Pitt” and its economic effect on California

As film and TV production has fled the Golden State in search of cheaper locales, HBO Max medical drama “The Pitt” stands out as a major contributor to California’s economy.

My colleague Meg James wrote about the economic impact of the show, which films almost entirely on the Warner Bros. lot in Burbank and has provided jobs for about 1,000 people. The show’s first season alone contributed $125 million to California’s gross domestic product, according to an estimate from Oxford Economics.

“We’re old men who didn’t want to go away from our homes any longer,” series star Noah Wyle, who also serves as an executive producer and writer on the show, said, half-joking. “We’ve all been plying our trades out of state, chasing tax credits and being away from our families for a really long time.”

Stuff We Wrote

Film shoots

Number of the week

Disney and Pixar’s “Toy Story 5” continued its dominance this weekend, pulling in $70 million in the U.S. and Canada to stay on top at the box office.

The animated film has now grossed more than $585 million worldwide in less than two weeks. The haul for “Toy Story 5” helped push Disney past the $3-billion mark at the global box office, making it the first studio so far this year to hit that milestone.

What I’m watching

I feel like I’m always catching up on shows, and this week was no exception. I’m just now starting Season 2 of Netflix’s “A Man on the Inside,” which continues the hilarious exploits of retired engineering professor-turned-private-investigator Charles, played by Ted Danson. As a fan of “The Good Place,” I’ve loved the similar humor of this latest Michael Schur show.

A new sales tax that would generate $345 million annually for the Los Angeles Fire Department will go before voters later this year, the City Council decided Tuesday, as a stubborn warehouse blaze burned for a seventh day on the city’s eastern edge.

The council voted 14-0 to put the half-cent sales tax hike on the Nov. 3 ballot, with supporters saying the additional funds would go toward more firefighters, new fire stations and new equipment, such as firetrucks and helicopters.

The vote came nearly 18 months after the outbreak of the Palisades fire, which destroyed thousands of homes in Pacific Palisades, Malibu and other coastal areas, leaving 12 people dead. But it more immediately coincided with the city’s fight to extinguish the blaze at the Boyle Heights cold storage facility, which has spread smoke across the region over the last week.

The campaign for the sales tax hike is being spearheaded by United Firefighters of Los Angeles City Local 112, the union that represents nearly 3,400 firefighters. Appearing before the council, union leaders pointed to the Boyle Heights fire as the latest sign that the city needs more money for emergency response.

“This is our plan to undo decades of under-investment in the department,” said Ryan Quigley, a 23-year firefighter/paramedic who also serves as the union’s secretary.

Mayor Karen Bass, through a spokesperson, said she is grateful to the union for bringing the tax proposal forward.

“[The mayor] has championed this measure from the very beginning,” the spokesperson, Paige Sterling, said in a statement.

The firefighters union began gathering signatures for the tax earlier this year, submitting them to the city clerk last month. Since then, backers have voiced confidence that it would pass, given the growing concern across the city about urban wildfires.

Still, the path to victory could be complicated by recent events.

Last month, Los Angeles County voters narrowly passed a different half-cent sales tax hike that’s expected to raise $1 billion annually to pay for healthcare. That measure, which received just above the 50% needed for passage, pushed the tax rate within the city of Los Angeles to 10.25 cents for every dollar of spending.

If voters approve the fire tax increase as well, the rate will jump to 10.75 cents per dollar.

The firefighters union also will be campaigning in a year when one of its recent leaders, Adam Walker, has been charged with one count each of grand theft and forgery. He has been accused of stealing more than $82,000 from a charity for injured firefighters to pay for his online gambling, his mortgage and other personal expenses.

Union President Doug Coates said Walker left his position two years ago. The union, he said, intends to make clear to voters that “the money is going to the right thing.”

So far, no one has emerged as an opponent of the tax increase. The Central City Assn., a downtown-based business group, is supporting the fire tax.

Susan Shelley, spokesperson for the Howard Jarvis Taxpayers Assn., said her organization has not taken a position on the proposal. Still, she argued that sales taxes in general are “extremely regressive,” hitting the hardest for Angelenos who can afford it the least.

“Our view is that the city budget should be prioritized to fund the fire department from the first dollar, not the last dollar,” Shelley said. “And that there shouldn’t be a need for a tax increase.”

The sales tax hike, if approved by voters, would represent the most significant public investment in the fire department since 2000, when voters passed a $532-million bond measure to pay for new facilities. Backers said the tax increase would help the department speed up emergency response times, while also building new fire stations and repairing existing ones.

The firefighters union began work on the tax proposal more than two years ago, before the inferno that erupted on Jan. 7, 2025, and carved a lethal path through Pacific Palisades and other communities. Still, the push for more funding gained greater attention in the wake of the fire.

While the flames were still raging, then-Fire Chief Kristin Crowley went on local and national television to accuse city leaders of failing to give her department the resources it needed. The media blitz shocked some at City Hall, who believed Crowley should have waited until the emergency was over before publicly assigning blame.

Crowley and the union said city leaders had forced the department to scale back its operations amid a budget crunch. Bass and the city’s policy analysts pointed out that fire department spending grew that year, largely because of pay increases given to firefighters.

Bass ultimately ousted Crowley, saying the chief failed to properly deploy firefighters amid warnings of dangerous Santa Ana winds. Crowley, who was demoted to another position, filed a lawsuit against the city, saying the mayor engaged in a retaliation campaign.

The fire that broke out last week at the Lineage Logistics cold storage facility has helped to rekindle calls for additional fire department funding.

Councilmember Eunisses Hernandez, whose Eastside district has been enveloped in smoke in recent days, told her colleagues Tuesday that climate change and corporate negligence are making such emergencies “more frequent and more severe.”

“Whether it’s the devastating fires that hit Altadena and the Palisades last year, or the Boyle Heights warehouse fire currently affecting air quality and public health across the whole city, every one of our districts is feeling the impacts,” she said, before voting to put the tax on the ballot.

Councilmember Traci Park, who represents the Palisades, said the fires in the Palisades and Boyle Heights have “exposed Los Angeles’ urgent need to modernize LAFD for the realities and demands of a modern century.”

Fire Chief Jaime Moore, in an interview Monday, said he asked Bass to declare a state of emergency last week so that his department could obtain additional resources to fight the Boyle Heights fire, including firefighters, firetrucks, drone pilots and hazardous materials teams.

“I had firefighters work Wednesday afternoon, Thursday, Friday, Saturday. I talked to my incident commander, and he goes, ‘Chief, these guys are getting their butts kicked.’ And that’s when I said, ‘I’m gonna reach out to the mayor, and I’m gonna see what I can do to get the state of emergency declared.’”

Supporters of the sales tax increase contend the department lacks the personnel to serve a city of nearly 4 million people. According to the union, L.A. has nearly 3,400 firefighters, roughly the same number as 50 years ago.

If voters pass the sales tax hike, the city would have the funds to bring the department up to 5,000 firefighters by 2050, union officials said.

It’s been more than 30 years, but Andy’s toys are proving irreplaceable at the box office.

Walt Disney Co. and Pixar’s “Toy Story 5” opened to a massive $160 million in the U.S. and Canada last weekend, marking the biggest domestic box office debut so far this year. Internationally, the film brought in $152 million for a worldwide total of $312 million.

With those numbers, “Toy Story 5” broke several franchise records for opening weekend totals. As my colleague Cerys Davies and I wrote last week, it’s a sign of the long-running juggernaut’s firm grip on audiences amid a sea of Hollywood sequels, reboots and spinoffs.

“‘Toy Story’ has been breaking ground since it first hit the screen more than 30 years ago,” Disney Entertainment Studios Chairman Alan Bergman said in a statement. “It’s wonderful to see ‘Toy Story 5’ continuing that tradition and connecting with audiences around the world to deliver the biggest opening for the franchise and the biggest of this year as well.”

For theater owners, “Toy Story” may have seemed like a surefire bet. After all, the franchise has grossed more than $3 billion in worldwide box-office revenue, and its third and fourth installments each made more than $1 billion globally.

The big opening weekend for “Toy Story 5” has no doubt brightened the outlook for many theater operators as the all-important summer movie season gets underway.

Already, last weekend’s box-office totals were a whopping 80% improvement compared with a year ago, when Universal Pictures’ live-action “How to Train Your Dragon” was in its second weekend in theaters. But more importantly, the domestic box office is now up 14% to $4.46 billion compared with the same time a year ago, according to data from Rentrak.

This summer’s lineup of films, including “Toy Story 5,” will play an important role in terms of whether 2026 will truly be the year that the theatrical business turns the corner from the COVID-19 pandemic and the dual Hollywood strikes of 2023.

In one promising sign, summer box-office revenue so far is up 15.2% to about $1.84 billion compared with the same May to mid-June period in 2025. (That summer ultimately ended in a dismal finish of $3.67 billion.) Compared with pre-pandemic 2019, this year’s summer box office to date is down just 1.9%.

Studio executives and theater owners have told me they feel good about this summer and are optimistic about the overall outlook for 2026.

It’s easy to see why. The deck is stacked, with upcoming titles such as Universal and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day.”

In a propitious sign, presales for “The Odyssey” and “Spider-Man” have already shown massive demand. Overall, there’s just more and varied movies in theaters now, which expands the pool of potential moviegoers, theater owners have said.

Take A24’s “Backrooms” or Focus Features’ “Obsession,” for instance. The two original and digital-native films shocked the industry by keeping a weeks-long grip on the box office, largely by attracting Gen Z audiences who were familiar with the 20-something directors from their followings on YouTube.

Beyond these two, as well as Steven Spielberg’s “Disclosure Day,” many of this summer’s films continue established franchises.

Although not all spinoffs have performed this year — including Disney and Lucasfilm’s “Star Wars: The Mandalorian and Grogu,” which saw ticket sales drop sharply after its late May opening — “Toy Story” has remained a consistent force in theaters over the decades.

Disney and Pixar executives credit the films’ focus on character relationships, particularly that of Tom Hanks’ Woody and Tim Allen’s Buzz Lightyear. And as the franchise spanned years, its appeal became generational.

“Having parents now that say, ‘I grew up with ‘Toy Story,’ and now I’m showing my kids,’ has been really gratifying,” Pixar Chief Creative Officer Pete Docter told me by phone a week before the movie’s opening.

“Toy Story” is now the most-watched franchise on the Disney+ streaming service, with more than 2 billion hours streamed. And its beloved characters have spawned 19 theme park rides, four themed lands, two hotels and roughly $1 billion a year in global retail sales.

That has no doubt kept the franchise front and center for both adults and children, as well as fueling interest in future stories.

Stuff We Wrote

Film shoots

Number of the week

The FIFA World Cup has been a major boost for broadcasters, as an average of 6 million viewers tuned in to Fox and cable network FS1 for the first 16 group stage matches, an increase of 128% compared with the last World Cup in 2022, according to Nielsen data released last week.

On Spanish language network Telemundo, which is owned by Comcast, the first 12 group stage matches drew an average of 7.5 million viewers, up 234% from four years ago. (The Telemundo telecasts are also streamed on Peacock.)

I was in the Bay Area last week on vacation and didn’t watch many of the games, but I did catch my colleague Clara Harter’s great read about the mutual love and respect between fans of Mexico and South Korea and how that has played out in Los Angeles.

What I’m watching

Since I was out of town last week, I didn’t watch a ton of TV. But I did make time to watch the series finale of “The Way Home,” a quirky time-travel drama on Hallmark that I’ve followed for all four seasons.

I’m a big fan of time-travel stories (The “Back to the Future” trilogy is one of my favorites), so the usual past-future questions, plus the complicated family dynamics anchored by matriarch Andie MacDowell, made this a must-watch for me. The series finale was a satisfying ending, though there are definitely some loose strings that deserve further exploration.

A former top officer of the Los Angeles Fire Department’s labor union was arrested Wednesday and charged with grand theft and forgery for allegedly stealing more than $82,000 from a charity for injured firefighters.

Prosecutors from the state attorney general’s office announced the charges against Adam Walker, former secretary of the United Firefighters of Los Angeles City, at a news conference.

Walker “abused a position of trust for personal gain,” Atty. Gen. Rob Bonta said alongside Los Angeles County Dist. Atty. Nathan Hochman.

Walker opened a foundation bank account and transferred funds to his personal accounts, Bonta said, attempting to conceal those transfers with fake reimbursement records and forging receipts to mislead auditors. He used the funds for personal expenses, including online gambling, Bonta said.

Walker has been under scrutiny since 2024, when the local union’s parent organization, the International Assn. of Fire Fighters, suspended him from his union position and accused him of improperly depositing more than $75,000 of the charity’s funds into his personal accounts from December 2022 to January 2024. The IAFF accused him of using $5,000 for personal expenses.

Walker, who continued to work as a firefighter, told The Times last year that those allegations were false. He said the account he drew from was not for the charity, the UFLAC Fire Foundation, but was set up for two golf tournaments to raise money for a disabled former firefighter. He said all of the deposits were reimbursements for his legitimate out-of-pocket expenses for the tournaments.

“Not one penny of the money was foundation money,” he said. He said he understood that the deposits “look bad” but were a reflection of his “poor bookkeeping” and not any wrongdoing.

The Washington D.C.-based IAFF also suspended Walker from his positions as chairman and director of the foundation, which aids injured firefighters and their families, provides scholarships and is helping firefighters who lost their homes in the January fires.

Ukraine has officially opened the first phase of membership talks with the European Union on Monday. President Volodymyr Zelenskyy welcomed the opportunity and said it sent a clear message that “Europe’s progress cannot be stopped.”

The European Union will begin accession talks with Ukraine and Moldova after Hungary’s new government withdrew its veto, paving the way for negotiations. Both countries believe EU membership would provide them with greater security against Russian aggression.

Adrian Vestea nominated as prime minister after previous choice, Eugen Tomac, withdraws.

Romanian President Nicusor Dan has nominated Adrian Vestea, a National Liberal Party member and former mayor, as prime minister to form a new government after the previous choice for the post withdrew.

“Eugen Tomac withdrew his mandate this morning and as such ‌I nominate Adrian Vestea as prime minister,” Dan, a centrist, said in a post on X on Sunday.

Vestea, 52, ⁠is the county council president of the central Romanian county of Brasov. Eugen Tomac had ⁠been seeking to lead a government of technocrats but lacked support from the parties in parliament.

Vestea, who served as a development minister from 2023 to 2024, said in a statement that he wants a “political government that will undertake real reforms and keep Romania on a pro-Western path”.

“We are the sixth largest country in Europe, and we need to put a major emphasis on development. Which I will do from day one,” he said.

Dan’s two nominations for the prime ministerial role this month come after a no-confidence vote toppled former Prime Minister Ilie Bolojan in May. A general election is not scheduled until 2028.

Dan said Vestea was suitable for the role because he had “gone through all the administrative stages” throughout his political career.

“He was a successful mayor, a successful county council president, a successful minister, and he attracted European funds, being focused on development, for example the Brasov airport, which is a success,” Dan said.

Parliamentary parties have previously said a minority government, whose members do not hold a ⁠majority of the seats in parliament, would be better ⁠than a government of technocrats.

Vestea will ⁠have 10 days to form ⁠a government and must win a parliamentary vote of confidence to take up his new post.

Romania has one of the highest budget deficits in the European Union and suffers from rampant inflation and a technical recession.

When a coalition government came to power in June 2025, it made reducing the budget deficit a priority. Bolojan was sworn in with the aim of ending one of Romania’s worst political crises in its post-communist history, but his government lasted less than a year.

WASHINGTON — The Supreme Court on Wednesday struck down part of a historic California law inspired by Cesar Chavez and the farm workers union, ruling that agricultural landowners and food processors have a right to keep union organizers off their property.

The justices by a 6-3 vote said the state’s “right of access” rule violates property rights protected by the Constitution, which states private property shall not be “taken for public use without just compensation.”

Writing for the court, Chief Justice John G. Roberts Jr. said “the access regulation is not germane to any benefit provided to agricultural employers or any risk posed to the public…The access regulation grants labor organizations a right to invade the growers’ property. It therefore constitutes a per se physical taking,” he wrote in Cedar Point Nursery vs. Hassid.

He cited as precedents a pair of California cases. One ruled for the owner of a beachfront home in Ventura who objected to giving the public access to the shore and a second from 2015 which ruled for a grape grower from Fresno who objected to giving his grapes to a government-sponsored cooperative.

“The upshot of this line of precedent is that government-authorized invasions of property — whether by plane, boat, cable, or beachcomber — are physical takings requiring just compensation,” Roberts said.

The three liberal justices dissented. They described the rule as a regulation, not a taking of property.

The California Legislature in 1975 became the first in the nation to extend collective bargaining rights to farm workers. Months later, a new agricultural labor board adopted the “right of access” rule to allow organizers to seek out those who were working on farmland.

Earlier this year, the state’s lawyers said the rule was still needed because farm laborers often worked in remote areas and were not fully aware of their rights to join a union.

It has come under attack in recent years by agribusinesses that have called it a “union trespassing” rule that violates their property rights.

A lawyer for the Pacific Legal Foundation, which represented the farm owners, cheered the ruling as “a huge victory for property rights.” It “affirms that one of the most fundamental aspects of property is the right to decide who can and can’t access your property,” said Joshua Thompson, a senior attorney for the group, based in Arlington, Va..

Karla Walter, a director of employment policy for the liberal Center for American Progress, called it a major setback for union organizing.

“Today the Supreme Court’s conservative majority overturned nearly a half-century of progress for California’s farm workers, who have struggled to exercise their right to bargain for decent wages and to protect their health and safety,” she said. “Reaching farm workers — the overwhelming majority of whom are Latinx and migrant workers — where they work is critical to protecting their rights and interests.”

The case decided Wednesday began in 2015. The owners of the Fowler Packing Co. in Fresno, which produces grapes and citrus fruit, refused to allow union organizers onto their property.

A few months later, union organizers entered a strawberry packing plant near the Oregon border and disrupted the work, according to Mike Fahner, owner of the Cedar Point Nursery.

The two companies then joined in a lawsuit seeking to have the California union access regulation declared unconstitutional. They lost before a federal judge and the 9th Circuit Court of Appeals in San Francisco, but the Supreme Court voted to hear their appeal.

Lawyers for the Pacific Legal Foundation representing the farm owners argued the Constitution “forbids the government from requiring you to allow unwanted strangers on to your property.”

In defense of the rule, California officials called it a temporary regulation of property, not a taking of the grower’s land. Union organizers may enter a farm for one hour before the start of the workday or for an hour at the end of the day.

The state’s lawyers said the rule is similar to federal and state laws that allow meat and poultry inspectors to go into packing plants or health and safety inspectors to visit warehouses, manufacturing plants or construction sites.

Progress for Kyiv’s membership bid given the green light after Hungary’s new government lifts Budapest’s veto.

The European Union has announced that the accession process for Ukraine and Moldova will launch next week.

At a meeting in Brussels on Friday, ambassadors from the 27 EU nations agreed to officially recommence negotiations with the two countries in Luxembourg on Monday.

EU leaders agreed to open accession talks with Ukraine and Moldova in December 2023. However, negotiations were paused due to opposition from Hungary, led at the time by pro-Russian Prime Minister Viktor Orban, to Kyiv’s membership bid.

Both Kyiv and Chisinau view EU membership as additional security against Russian aggression. Moscow insists that maintaining control over its “near abroad” – its term for the post-Soviet states – is key to its national security.

“All member states agreed to open the first accession negotiations cluster with Ukraine and Moldova,” European Council President Antonio Costa and European Commission President Ursula von der Leyen said in a joint social media post.

Hungary’s new government, which took power in May, agreed last week to drop Orban’s veto, allowing the accession process to resume.

“This is a recognition of the determination, courage and hard work shown by both countries in advancing reforms, even in the face of immense challenges,” Costa and von der Leyen said.

“Enlargement is a strategic choice,” they said, adding, “In a world marked by growing uncertainty, a larger European Union is in our common interest.”

Entry negotiations with Kyiv were formally opened in June 2024, kickstarting a complex process that usually takes years and involves negotiations on everything from agriculture to the rule of law.

The move was largely symbolic, intended as a powerful show of support for Ukraine after Russia’s full-scale invasion in 2022.

New Hungarian Prime Minister Peter Magyar struck a deal with Kyiv on the rights of Ukraine’s Hungarian ethnic minority last week. The issue has long been a sticking point between the neighbouring countries.

But Magyar has said Hungary does not support a fast-track procedure for Ukraine to join the EU.

He said Budapest will hold a referendum on Ukraine’s membership, should it “succeed in closing all 33 accession chapters within the next 10 to 15 years”.

Talks will begin on Monday with the opening of the “fundamentals” section of the process, Costa and van der Leyen said in their statement.

This covers basic principles such as rule of law that the two candidate countries will be expected to adhere to.

The Directors Guild of America’s national board on Friday unanimously recommended its membership vote in favor of a four-year contract with the major studios that would increase wages, boost contributions to its health plan and establish guardrails surrounding AI technology.

“We entered this negotiation with three main priorities: secure our Health Plan, protect jobs, and ensure that our members remain secure as AI continues to impact our industry,” DGA President Christopher Nolan said in a statement. “We succeeded in these areas and gained in many others.”

Under the proposed contract, major studios would increase their contributions to the DGA’s health plan by 24.4% over four years, the largest since the plan was founded. In return, the DGA would recommend changes to its plan’s trustees including “modest” increases to the eligibility threshold and annual premiums, the DGA said on Friday.

The contract also increases minimum salaries for most jobs by 2.5% in the first year and up 3% for each of the following years in the agreement. Directors of network non-prime time strip dramatic programs will see their minimum salaries increase 2.5% for each year under the agreement.

The union, which represents more than 19,500 directors and members of directorial teams in areas such as film, commercials and news, said the agreement helps the union’s push for a federal production incentive. Hollywood creatives believe such a benefit could prevent U.S. entertainment jobs from moving overseas where production costs can be significantly lower. The proposed agreement secures a commitment that most senior management at the major studios represented by the Alliance of Motion Picture and Television Producers “would engage in meaningful advocacy for a federal production incentive above and beyond the ongoing lobbying efforts of the Motion Picture Association,” according to the DGA.

The contract also adds more guardrails to AI technology, including treating footage created by artificial intelligence as the same as footage shot by a camera, meaning it will still be under the director’s control, according to the DGA. Major studios will also be required to notify the DGA if an employer decides to license a director’s work to train a generative AI system to create new work, the union said. The agreement also establishes an employer-funded program to enhance directors’ AI skills.

“With these gains, a four-year Agreement was both appropriate and necessary to provide stability and potential for growth at a moment when the industry has been experiencing contraction,” Nolan said in a note to members on Friday.

DGA and AMPTP reached the tentative contract earlier this week. At that time, AMPTP said “we appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry.”

DGA members will have until June 25 at 5 p.m. to vote on the plan. If approved, the contract would go into effect July 1 and run through June 30, 2030.

At a motion for a vote of no confidence against Arwa Elrayess, the first Palestinian president of the University of Oxford’s debating society, Oxford Union, she was accused by a 20-year-old student of contributing to “an atmosphere of hostility and harassment”.

In a video of the forum last week at the prestigious university, which was shared with Al Jazeera, Elrayess is seen replying to Ben Ashworth, “Not just in my career within the union but in my existence as a Palestinian, there seems to always be this post-mortem vilification of Palestinians.”

The room was full of onlookers as Elrayess, who became the head of the Oxford Union late last year, stood tall in a green sequinned dress.

“Palestinians, when they talk, are for some reason a danger. Our very existence is something that is scary,” she added.

The motion was filed after screenshots of text messages from Elrayess were quoted in outlets including The Telegraph and the BBC as saying that the Hamas-led incursion into southern Israel on October 7, 2023 was “proportional”.

The text also said groups branded as terrorists were often later “lauded as heroes”.

Ashworth cited the Sunday Telegraph directly in his accusation. The newspaper’s political editor, Camila Turner, whose father serves as chief executive of UK Lawyers for Israel, had carried the claim that Elrayess said Hamas would be “lauded as heroes”.

But Elrayess did not make any statement of support for Hamas.

Nine months ago – before Elrayess was president – she was in a group chat of students meant to discuss politics.

In the group chat, October 7 and Palestine – and broader conversations on resistance groups – were discussed.

“Analysing something is not giving it moral legitimacy,” she told Al Jazeera. “Even though I described explicitly in all the messages that I’m not describing this as legitimate or morally justified, I’m just providing analysis; all of this was stripped away when it was reported in The Telegraph or the Daily News.”

The full quote in question on the group chat read: “Any resistance group will inevitably be deemed a terrorist organisation by the West until they achieve their liberation, by which time they’ll be lauded as heroes as history has historically proven.”

‘Entirely misquoted’

The messages were not meant as commentary on Hamas specifically, she argued.

“It was entirely misquoted; I believe it was entirely intentional to frame as having said something that I simply did not say,” she told Al Jazeera.

To the Jewish Chronicle, though, Elrayess reiterated her position by saying, “I condemn Hamas’ targeting of innocent civilians, just as I condemn the targeting of innocent civilians by the [Israeli army] or any other actor.”

After refuting the allegation and misquotations, Ashworth is seen in the video yelling at Elrayess, asking whether she condemns Hamas again.

Ashworth, who is not Jewish, has faced criticism for recently visiting Israel with the Pinsker Centre, a think tank formerly known as the Pinsker Centre for Zionist Education.

The motion for a vote of no confidence overwhelmingly failed, receiving 126 votes, 116 of which were online signatures, far below the 150 needed to proceed to a poll.

This is not the first misinformation campaign against Elrayess.

In October 2025, just before her election as president of the debating society, falsified minutes were ratified by an unnamed member of the union, alleging that Elrayess “argues that alumni members shouldn’t be allowed to vote, reiterating her claims that they are incapable of making a rational judgement”.

Elrayess believes that the minutes were made up and spread to “paint me as someone who hates alumni of this institution”.

After an internal disciplinary process, the person who falsified the minutes was suspended from office and the minutes were de-ratified.

Shortly after her win, opposition within the Union brought forward a number of charges against Elrayess, ranging from misuse of social media to antisemitism. In January, it was found that the charges were un-evidenced. By this point, however, Elrayess had lost two months of her presidency.

Alongside this, an article was published in the Oxford Standard alleging that she was related to a leader of Hamas who happened to share the same surname as her, and that she had created and shared a cartoon of herself stepping on a lizard and a hook-nosed anti-Semitic caricature to celebrate her victory.

The claims, again, were false. The cartoon linked to an anonymous meme page that Elrayess had nothing to do with, and she had no family ties to Hamas. The article had no author attributed to it, and the Oxford Standard did not contact Elrayess or reply to her emails, fact-checking the article.

Within days, Elrayess had emails from journalists at The Jerusalem Post, Jewish Chronicle and The Telegraph, asking her to clarify her family affiliation with Hamas and her views of Jewish people, stemming from the stark untruths shared in the nameless Oxford Standard article.

The only cause for the allegations, some have observed, appeared to be Elrayess’s Palestinian identity.

A colleague and friend of Elrayess, who wished to remain unnamed, described to Al Jazeera a sense of distress among Elrayess and her friends.

“The level of attacks that Arwa and her friends received was astounding,” he said.

The Oxford Standard, which no longer exists, deleted both the article and their website altogether. But the rumours they began, with no facts to back them up, have snowballed into national news headlines of Oxford Union’s first Palestinian president being a supporter of Hamas and a proud anti-Semite.

Tweets by prominent Zionist influencers like Eylon Levy, former spokesperson for Israel, sharing the lie that Elrayess is a Hamas heiress, with now-broken Oxford Standard links and no factual corrections.

‘I’m a very proud Palestinian’

Elrayess’s dedication to debate and free speech has brought controversy to her tenure. She invited prominent Israel supporter Tommy Robinson to a debate, triggering widespread protest in Oxford, and has engaged with conservatives and Zionists in her union and her own appointed committee.

Oliver Jones-Lyons, director of finance of the Oxford Union, works alongside Elrayess and describes himself as a “pretty public Zionist”.

Still, despite their diametric positions, Lyons-Jones does not endorse the growing smear campaign against Elrayess.

“I have never felt oppressed, abused or discouraged from sharing my views openly, quite the opposite in fact,” said Jones-Lyons in a statement to Al Jazeera. “Me and Arwa obviously vehemently disagree on a lot of issues; however, our conversations about issues that are deeply personal to both of us have never once been aggressive and have always been productive, in fact I can certainly say Arwa has changed my mind on issues I never thought I would.”

Oxford Union member Oliver Goldstein said, “Personally, I like Arwa. I don’t agree with many of her comments, but do I feel unsafe as a Jewish student at the Oxford Union? No … I don’t think she’s an anti-Semite.”

Despite the inundation of misinformation, Elrayess remains determined.

“My father is from Gaza,” she said. “He would always tell me, ‘It doesn’t really matter what you say or do not say; people will always find a way to spin it in such a way that you become a target, because you’re already a target.”

She said she lives by her father’s words.

“I’m not resigning from my position. They can throw 1,000 different letters in 1,000 different articles. I’m very vocal, and I’m a very proud Palestinian.”

Al Jazeera’s Marthe van der Wolf explains what’s new.

The looming impact of federal Medicaid cuts has reignited a long-simmering, costly battle between California’s medical industry and one of its largest health worker unions.

SEIU-United Healthcare Workers West, with about 120,000 members, has put forward two ballot initiatives to cap the pay of medical executives and require community clinics to spend the bulk of their revenues on patient care.

The California Hospital Assn. has responded with its own ballot proposal that would make it tougher for unions to spend money on political initiatives in the future. It would require approval by a union’s rank-and-file membership for any spending of $1 million or more on statewide measures, or $100,000 or more on local ones.

The competing measures, which have drawn enough verified signatures to qualify for the November ballot, come at a time when the rising cost of healthcare is emerging as a top voter concern.

The Service Employees International Union affiliate has seized upon affordability angst to resurrect a proposal for a cap on healthcare executive compensation, which it has failed to achieve multiple times before. The proposed measure garnered more than 1 million petition signatures.

“This initiative reflects the serious crisis we face and that affordability is a real thing,” said Vikas Saini, president of the Lown Institute, a Massachusetts-based healthcare think tank. “I think it also reflects grassroots anger and a desire to do something.”

Mikey Vaughn, a certified nursing assistant at Cedars-Sinai Medical Center, said the hospital often lacks supplies and staffing levels that he and his colleagues need in order to do their jobs effectively and without undue stress, despite its reputation as the go-to place for the rich and famous.

“The executive pay initiative would, I hope, be used to hire staff and to actually provide better resources for our patients,” he said. Vaughn is also a member of SEIU-UHW’s executive board and political committee.

Thomas Priselac, then-president and CEO of Cedars-Sinai Medical Center, made $8.8 million in fiscal year 2024, according to the organization’s most recent available federal tax filing. Kaiser Permanente’s CEO, Gregory Adams, made nearly $13 million in 2024. Warner Thomas, head of Sutter Health, made just under $12 million.

Cedars-Sinai spokesperson Duke Helfand said the hospital would be unable to recruit and retain physicians, nurses, and specialists if the measure passed, dramatically impairing its ability to provide healthcare.

“Such a scenario would be disastrous not only for Cedars-Sinai but for hospitals across Los Angeles and California,” Helfand said.

The union wants to cap compensation at $450,000 a year for senior hospital and medical group executives, as well as other administrative and managerial staff. However, the initiative does not stipulate how dollars diverted from payroll must be spent.

The union has dubbed the latest proposal the Health Care Executive Compensation Act of 2026. A coalition of medical industry heavyweights opposing it — hospitals, physicians, and clinics, among others — has rebranded it the Health Care Endangerment Act.

Carmela Coyle, CEO of the hospital association, called the measure a cynical political ploy.

“It’s bad policy and it’s going to have bad consequences across California,” she said.

Glenn Melnick, a healthcare economist at the University of Southern California, said even if the initiative were fully implemented and pay cuts enacted, he doubts it would reduce the cost of healthcare for patients.

SEIU-UHW does not have an estimated total amount the initiative would claw back from pay packages that exceed the limit.

Opponents of the initiative note that it doesn’t just target executive pay; it would affect medical practitioners who are also managers. That could include chief medical officers and chief nursing officers, as well as heads of surgery, emergency rooms, oncology, obstetrics, cardiology and other specialties, they say.

It would be up to each hospital, health system and physician group to report which staff members exceed the cap and by how much.

Ultimately, who is subject to the pay cap “probably will have to be battled out in court,” Coyle said . “That’s why we are throwing everything we can at it.”

The second SEIU-UHW ballot initiative, on community clinics, is already in court. The California Primary Care Assn., which represents clinics, filed a federal lawsuit in April seeking to invalidate it before it reaches the November ballot.

The proposed measure would require federally designated community clinics to spend at least 90% of their revenues on activities directly related to their mission of providing care for low-income populations. If it were to pass, more than 90% of those clinic organizations would be on the hook for penalties totaling $1.7 billion in the first year alone and “would face similarly crippling penalties every year,” according to a report commissioned by the primary care association and conducted by the Berkeley Research Group, an international consulting company.

Louise McCarthy, president and CEO of the Community Clinic Assn. of Los Angeles County, said many pivotal services the clinics provide — such as translation and transportation — would likely not be counted toward the spending requirement.

“They are targeting a group of what they see as employers and we see as the safety net,” she said.

The lawsuit cites the harm to clinics and claims the proposed spending requirement would interfere with federal authority.

Renée Saldaña, a spokesperson for SEIU-UHW, characterized the lawsuit against the initiative as “a really desperate attempt by the clinic industry to try and avoid accountability.”

SEIU-UHW, proud of its political activism, is also behind a controversial billionaire tax proposal that would impose a one-time 5% levy on California residents with fortunes over $1 billion to backfill the funding gap created by federal cuts coming down the pike under Republicans’ One Big Beautiful Bill Act. The law, passed last July and signed by President Trump, is projected to squeeze nearly $1 trillion from the Medicaid health coverage program for low-income people by 2034, including as much as $30 billion annually in California.

The hospital association, the community clinic group and the California Medical Assn., which represents physicians, are neutral on the wealth tax proposal thus far. But Saldaña said all three of the union’s ballot proposals tie into an overarching strategy to counter the widening healthcare disparities caused by the federal law.

“We believe the primary concern of healthcare providers, including executives, should be to serve the community, heal patients, and not be in healthcare just to enrich themselves,” she said on the proposed pay cap.

Over the years, the union has submitted dozens of local and statewide ballot initiatives, including ones to cap the pay of hospital executives, regulate dialysis clinics, and raise the minimum wage of healthcare workers.

The hospital association calculates that SEIU-UHW has spent nearly $125 million on local and statewide initiatives since 2012. But healthcare industry groups have spent far more opposing them. The hospital association data shows that the union spent nearly $36 million on three ballot proposals to regulate the dialysis industry, but dialysis companies poured in $302 million to defeat them, according to state campaign finance records.

The union’s ongoing political efforts “threaten patient access to quality health care,” according to the hospital association’s ballot initiative, which could limit how much unions spend on future ballot measures.

Saldaña hinted at a possible lawsuit should that measure pass, saying “we don’t see the legal viability” of it. The proposal, she said, is an attempt “to silence the front-line healthcare workers.”

Ultimately, a ballot initiative won’t cure the ills that plague healthcare in the United States, said the Lown Institute’s Saini. What’s needed, he said, is “an evaluation and reimagination of healthcare.”

Wolfson writes for KFF Health News, a national newsroom that produces in-depth journalism about health issues and is one of the core operating programs at KFF — an independent source of health policy research, polling, and journalism.

Musicians have been left out of settlements between major record labels and AI companies, a new lawsuit alleges.

The American Federation of Musicians of the United States and Canada (AFM), which has 70,000 members, said Universal Music Group and Warner Music Group “received significant compensation” from the AI companies for past copyright violations and licensed “substantial” portions of their music catalogs to them, but haven’t shared that with the musicians.

UMG and WMG sued AI companies Udio and Suno in 2024, accusing them of copyright infringement. Both companies settled with Udio last year. In November, WMG announced a partnership with Suno, but Universal Music Group’s lawsuit against Suno is pending.

“While the Defendants protected their own interests and created a significant source of new revenue with the retrospective settlements and prospective licenses, they have refused to compensate the musicians whose work — created with their own instruments and through their talent, creativity, and hard work — is fed into AI machines for profit,” AFM said in its lawsuit, filed in U.S. District Court in New York on Friday.

AFM said it believes the AI settlements fall under the “new use” provision of its collective bargaining agreements, which requires music companies to notify the union of new licenses for purposes not covered by the contract and to compensate musicians, whose work was used to train AI models.

UMG and WMG said in statements that they are in negotiations on a collective bargaining agreement with AFM.

“Warner Music Group is growing the value of music by establishing guardrails and architecting a healthy AI ecosystem on behalf of artists everywhere,” the company said in a statement.

Universal Music Group said it will continue to work to resolve issues during the negotiations.

“Universal Music Group has been at the forefront of protecting the rights and advancing the interests of artists and songwriters in the age of AI — striking responsible AI licensing agreements to ensure they are compensated, leading the charge for legislation to further protect them and taking legal action against bad actors,” the company said in a statement.
“We expect to continue our strong working relationship with the AFM built on mutual respect for the talented musicians in our industry.”

AI has become more popular among consumers, dramatically changing the landscape in the entertainment industry. Many startups have popped up allowing users to type text prompts into AI systems to generate original songs, video clips and stories.

Some creatives say the AI tools help them brainstorm or illustrate bold ideas on a budget. But critics have raised concerns about whether AI systems are trained on copyrighted works without permission or payment to artists. Others are worried AI could eliminate their livelihoods.

Udio said it would create a new platform that would train on licensed and authorized music with artists having the ability to opt-in. Suno agreed to change its platform, launching new licensed models, and place download restrictions.

Bradford Auerbach, a partner at law firm OGC, said he expects to see more of these types of lawsuits filed by unions.

“You’ve got the unions always protecting the status quo, so you’ve got this invariable conflict of new technology coming in, and moving the cheese for a lot of people that were accustomed to having their business set up the way it was,” Auerbach said.

Both SAG-AFTRA and the Writers Guild East are condemning the recent firings at CBS’ “60 Minutes.”

Under the news network’s editor-in-chief Bari Weiss, on-air correspondents Scott Pelley, Cecilia Vega, Sharyn Alfonsi and the program’s executive producer, Tanya Simon, have all been ousted from the legacy newsmagazine. The two unions, which represent journalists, said the recent actions appear to compromise editorial independence.

WGA East president Tom Fontana wrote in a letter to members on Thursday that the changes at CBS News “are more than mere ideological interference with the news. They display a profound contempt for the journalism profession.”

He added, “it is clear that CBS brass is engaged in a near-constant level of editorial interference that would have previously been unthinkable.”

Tom Fontana joined WGA and SAG-AFTRA members on the picket line in the strike over contract negotiation at Netflix and Warner Bros. Discovery offices on Aug. 15, 2023, in in New York City.

(Lev Radin / VIEWpress via Getty Images)

SAG-AFTRA similarly said in a statement Thursday that these “decisions can only be seen as part of a broader strategy to gut the crucial independent journalism that is so important to our democratic system.”

A spokesperson for CBS News said in a statement, “There is no political interference at CBS News, not from ownership, not from Bari Weiss. The only ‘interference’ is the normal back and forth between editor and correspondent that happens in every newsroom.”

Pelley, one of the program’s most high-profile correspondents, was fired on Tuesday after speaking out during a team meeting. He reportedly said Weiss “is murdering ‘60 Minutes.’ … She does not love this place. She was brought in to kill it, and she’s been doing exactly that.” He also questioned the newly hired executive producer, Nick Bilton, and his ability to run the show, citing his lack of TV news experience.

Pelley accused CBS News management of favoring the Trump administration by instructing him to put “falsehoods and bias into a politically sensitive story.”

“I’ve been told to include assertions that are unverified,” he said in a statement. “To date, in every case, I have ignored these instructions or refuse them.”

“60 Minutes” is now down four correspondents, following Anderson Cooper’s departure and the firings of Vega and Alfonsi. These are only the most recent controversial moves from Weiss, who’s set on remaking the institution long defined by tradition. She arrived at CBS News in October with no television experience, installed by Paramount Chief Executive David Ellison after he acquired her digital news outlet, the Free Press, with a mandate to change the network.

Since her hiring, there was a significant round of layoffs and CBS News Radio was shut down.

“I’m only interested in working in a newsroom that is built on trust and mutual respect,” Weiss said of Pelley’s firing during a meeting on Wednesday morning. “That foundation was broken on Monday, and despite our attempts to engage with Scott Pelley and to find a way back, unfortunately we weren’t able to do so, and so we had to part ways.”

The lack of reporters means “60 Minutes” will have to line up new talent quickly to fill the correspondent roles, as production of the 2026-27 season is already underway.

WGA’s Fontana added, “To our friends and colleagues at CBS News: We see you, and you are not alone. Thousands of your union brothers, sisters, and siblings have your backs.”

SAG-AFTRA also said the union is prepared to take “legal actions related to the company’s conduct over the last several weeks.”

Times staff writer Stephen Battaglio contributed to this report.

Nearly 2,000 food and beverage workers at SoFi Stadium voted overwhelmingly Friday to authorize a strike just a week before the venue will stage the first World Cup game on U.S. soil in more than three decades.

Negotiations on a labor contract between Unite Here Local 11, the union representing the cooks, dishwashers, concession workers and bartenders at SoFi and, Legends Global, the stadium’s food-service operator, are expected to continue Monday despite the vote. But Kurt Petersen, the union’s co-president, said if an agreement isn’t reached workers will walk off the job and the 70,000 fans arriving for the June 12 match between the U.S. and Paraguay will be greeted by hundreds of picketers.

Union members have been working without a contract for a year and Petersen said Unite Here is demanding salary increases, protection against subcontracting and job loss through automation, and are protesting the collection of sensitive private information such as nationality and home addresses that FIFA, organizer of the World Cup, said it needs to accreditate workers.

Workers are also demanding the right to walk off the job if federal immigration enforcement enters the stadium and creates a reasonable fear for their safety. Ninety-six percent of the vote was in favor of strike authorization.

Legends Global, the stadium’s food-service operator, responded to the vote with a statement.

“Legends Global has presented progressive wage proposals to Unite Here Local 11 throughout our negotiations and remains confident an agreement is within reach,” it read. “While we expect a contract will be finalized in time, a contingency staffing plan is in place to ensure seamless operations and no disruption to fans. We remain committed to delivering an outstanding hospitality experience at the FIFA World Cup matches.”

That contingency plan would involve hiring replacement workers who would have to undergo the same detailed accreditation procedures demanded by FIFA, plus job training. SoFi Stadium is scheduled to play host to eight World Cup matches, including two of the U.S. team’s three group-stage games. The first of those is on June 12 when the U.S. faces Paraguay in its World Cup opener.

Petersen said the union is looking for “substantial increases” in hourly pay, to more than $30 an hour. Legends’ most recent proposal calls for wage freezes for some workers and a 25-cent hourly increase for cooks and dishwashers, the union said.

But perhaps the biggest sticking point is FIFA’s demand for workers’ sensitive personal information, including Social Security numbers and fingerprints, to process background checks. Under California privacy laws, workers have the right to know exactly what personal information their employer collects, how it will be used, and who it will be shared with. Local 11 said its members fears such information, if collected, could be made available to the Department of Homeland Security and ICE.

According to Petersen, when workers were originally hired by Legends they submitted the documentation necessary for employment, and under the current collective bargaining agreement the company does not have the right to request it again for FIFA.

FIFA has refused to comment on the contract talks, saying they are “between Legends Global and Unite Here Local 11.” But its insistence on collecting personal information is something Legends cannot address during contract talks, which makes a resolution impossible.

FIFA said it was partnering with the governments of the U.S., Canada and Mexico, the three countries in which the 39-day tournament will be played, “to enhance safety and security of all workers, staff, team members, vendors, journalists, volunteers, and spectators by mitigating potential insider threats. … Such name checks do not constitute pre-employment checks.”

All data collected during the name-check process, FIFA said, will be processed “in accordance with applicable data protection and privacy laws, and will be deleted by FIFA as soon as it is no longer needed for purposes of adjudicating requests for credentialed access to FIFA-controlled spaces.

SAG-AFTRA members overwhelmingly approved a four-year TV and film deal with major studios including Netflix, Disney and Warner Bros. Discovery on Thursday night, increasing minimum wages and addressing concerns about the use of AI performers.

The deal, which was expected to be approved, received the support of 91% of SAG-AFTRA members who voted on the agreement, which starts July 1 and ends June 30, 2030. The union represents 160,000 performers, including actors, stunt performers and influencers.

“This agreement builds on the foundation members fought to establish and carries that work into the next chapter of our industry,” said SAG-AFTRA President Sean Astin in a statement. “It delivers meaningful gains in compensation, strengthens protections around artificial intelligence and digital identity, reinforces the long-term security of members’ benefit plans and recognizes the realities of how performers work today.”

Under the new deal, the length of the agreement between SAG-AFTRA and major studios represented by the Alliance of Motion Picture and Television Producers expands from three years to four years.

It also boosts minimum wage by 3% annually, increases contributions to the health plan by 1% and expands the bonus to the union’s Success Bonus Distribution Fund based on residuals that performers get for popular streaming programs.

The contract also addresses concerns about the growing use of artificial intelligence in TV and film and its impact on actor jobs. Last year, many actors spoke out about Tilly Norwood, a computer-generated “actor” and whether synthetic characters like her could threaten their livelihoods. Some performers have also advocated for getting paid if their likenesses are used to create such characters made through AI systems.

Not all members were in favor of the contract, saying it did not go far enough in protecting performers against AI.

“It normalizes the use of AI replicas and synthetic performers rather than drawing a firm line protecting human performers and their jobs,” said Chuck Slavin, a background actor and performer.

Slavin, a former New England local board member, ran against Astin for SAG-AFTRA president last year.

Producers agreed to “a principle strongly favoring human performances” and that producers would only use a synthetic if it “brings significant additional value to the motion picture.” If a producer decided to use a synthetic in a role that could be done by a human, they would need to notify the union and bargain in good faith.

Additionally, the contract merges the pension plans of the Screen Actors Guild and the American Federation of Television and Radio Artists, which were previously separate but combined in 2012 to form SAG-AFTRA.

Their health plans were consolidated in 2017, but the pensions have remained separate . That was a major sticking point with members, some of whom couldn’t qualify for benefits as their contributions were split between two plans. Studios agreed to boost their overall contributions to the combined plan by 1%.

SAG-AFTRA’s deal comes after the Writers Guild of America members also approved an agreement with the AMPTP in April.

The groups were able to agree on contracts this year, without striking as they did in 2023.

“SAG-AFTRA’s leadership brought a genuine commitment to partnership, and together with the WGA agreement, these deals demonstrate what is possible when the industry works toward practical solutions that support its long-term stability,” AMPTP said in a statement.

The Directors Guild of America began negotiations with AMPTP last month, with its contract expiring on June 30.

Staff writer Cerys Davies contributed to this report.

At the AI on the Lot media conference last week in Culver City, speakers laid out a view of artificial intelligence that was very much complementary to human workers.

Artificial intelligence is a tool that must be wielded by humans, several said. The idea was to help skilled artists and production specialists do their jobs and experiment, others said.

Of course, to many in Hollywood, AI is not that simple.

Guardrails on its usage emerged as a central issue in the 2023 writers’ and actors’ strikes, and additional rules were added in the recent Screen Actors Guild-American Federation of Television and Radio Artists and Writers Guild of America contracts. There are still big questions about AI’s effect on jobs in the entertainment business, as well as copyright and ethical concerns.

Whether it’s good or bad or some combination of both, AI, in some form, is probably here to stay.

So, eight months ago Amazon MGM Studios opened an AI Studios division to start work on Project Nara, an AI production toolkit built on Amazon’s AWS cloud computing platform that could be used by teams of filmmakers. Project Nara is still in beta mode, and the company set up a GenAI Creators’ Fund to give filmmakers interested in using the toolkit financial support, while also giving the studio feedback.

The beta testers got eight weeks to produce an animated short and, out of those, the company greenlighted three animated series.

Shortly after the conference, filmmaker Jorge Gutierrez, whose stop-motion-style “Punky Duck” was chosen as one of the greenlighted series, pulled out after an online backlash over his use of AI.

“We respect Jorge’s decision, as well as his incredible talent, his voice and the world he created with ‘Punky Duck,’” an Amazon MGM Studios spokesperson said in a statement. “We continue to be excited about the innovative work moving forward at our studio and the GenAI Creators’ Fund.”

Before the flap over “Punky Duck,” I spoke with Albert Cheng, head of Amazon MGM Studios’ AI Studios, about the goal of the division, what’s next for AI and his belief that humans are at the center of creativity. The conversation has been edited for length and clarity.

Why was AI Studios formed?

AI Studios was started last fall because we wanted to learn how to leverage AI technology to build tools that would help enhance or redefine the workflows for film and TV production.

When you look at the horizon of what it takes to drive continued engagement of a global streaming service like Prime Video, we need more original programs. So if you can figure out how we take the same amount of money that we spend and be able to make more shows, that’s ultimately what we want, and we think AI is going to be a help to drive that.

With AI, now we’re looking at how does technology change the way we actually create our cinematic storytelling? It could mean that with AI, we will hear from a lot more voices. If we can actually get the biggest costs down, we will be able to have more voices, be able to take more risks and creative risks most of all.

There’s always concern about what does AI mean for jobs. We believe that it actually creates more jobs and different types of jobs. In fact, people with experience, plus the tools, become even more valuable in terms of their ability to produce excellent quality work. So it’s always about the human behind it.

You mentioned that some of these production crews had more than 100 people, but crews in the past would have been much larger. How do you respond to concerns about that?

You may have smaller crews, but we’ll do more of them [productions], and more in a short period of time. When you actually have smaller productions and you do more of them, you’re increasing your throughput. Your turnover rate of the available jobs is much faster, so your job totals are actually going to be bigger.

You spoke about the idea of AI filmmaking bringing jobs back to L.A. and expanding California’s production incentive eligibility to include AI-assisted filmmaking. Can you elaborate on that?

When you look at AI production, it can be done on a soundstage. We don’t need to go to London, we don’t need to go to other places.

We do have technology companies in California that are driving this, we have people here in the city that have experience, if given the AI tools, can produce great work. So, how can we not incentivize more companies to use our soundstages and finally make productions and make more of them?

Have you or anyone else at Amazon spoken with government officials about this idea of expanding the incentive criteria?

We’ve been talking to a number of bodies about whether it’s possible. The question is, who’s going to take the ball?

How much can you decrease a show’s production budget by using AI?

I think we can get a show to half the cost, [or] to almost a fifth of the cost.

What was the thinking behind the GenAI Creators’ Fund?

We wanted to provide a support and invest in creators who wanted to try it, and then also give us feedback.

We also wanted to show that storytelling is the thing that drives the content. It’s not the technology; the technology just enabled them to make it.

What is the biggest misconception of AI use in production?

There’s a narrative that AI can do so many things by itself, that you don’t need people. That’s absolutely not true. It’s just a technology, it can’t make decisions.

In order for something actually quality to be made, a person actually needs to be behind that, and that’s been proven over and over again. People are still responsible for the output.

Stuff We Wrote

Film shoots

Number of the week

Internet culture drove the box office over weekend, with A24’s “Backrooms” hauling in $81.4 million in the U.S. and Canada.

The $10-million horror flick, which stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement, was directed by 20-year-old YouTuber Kane Parsons and is based on his online series of the same name. Worldwide, the film made nearly $118 million in its debut weekend.

Focus Features’ “Obsession” also had a big weekend with a 10% jump in domestic box-office revenue in its third outing. The horror movie, which had a production budget of less than $1 million, was directed by Curry Barker, who also built his reputation on YouTube.

Together, the two films highlight the growing power of YouTube — and online culture as a whole — on the big screen. They beat out franchise film “Star Wars: The Mandalorian and Grogu,” which dropped 69% from its debut last weekend to rank third at the box office.

What I’m watching

I’m just one episode away from finishing this season of “Bridgerton” on Netflix. While I liked that the show dived into the social class dynamics behind Benedict and Sophie’s romance, I have to say that I loved the secondary focus on Violet Bridgerton and Lord Anderson finding a second chance at love.