Entertainment
Kanye West leaned into antisemitism. Now he's headlining L.A.'s Rolling Loud Festival
R.C. Hogue grew up with Kanye West’s music. The rapper was “a top-three artist for me and a big part of my upbringing,” said Hogue, a 30-year-old from Los Angeles. Even after West supported Donald Trump, Hogue tried to “separate the art from the artist, because a lot of artists have done messed up things.” But he couldn’t forgive West for saying, in 2022, that he’d go “death con 3 on JEWISH PEOPLE” and praised Adolf Hitler.
Hogue was looking forward to this weekend’s 10-year anniversary tour of the Rolling Loud hip-hop festival in Inglewood — until he saw West’s name, now just Ye, added to Thursday’s bill. Hogue is likely staying home, at least for the night West will perform.
“Time heals a lot of wounds, but with Kanye, it’s a little too soon to start listening to him again,” Hogue said. “He’s shown no remorse, no sign of admitting he’s wrong, and there’s no excuse for antisemitism. It would feel weird to be there.”
West’s unexpected return to Rolling Loud — the biggest rap festival brand in the world — alongside his collaborator Ty Dolla Sign suggests the music industry may be tentatively welcoming him back.
Some rap fans see West as a roguish outlaw who beat cancel culture. Local Jewish communities worry that booking him adds a sense of impunity around hate speech. Experts wonder why an acclaimed and successful festival would risk booking an artist famous for both antisemitism and ongoing struggles with mental health.
“A lot of music festivals will drop artists to protect their reputation,” Hogue said. “But Rolling Loud is doing the opposite.”
Representatives for Rolling Loud declined an interview request to discuss West’s booking. West’s new booking agent, Cara Lewis, did not respond to an interview request.
In the years after West acknowledged his bipolar disorder and grief following the death of his mother, fans and the industry tried to put his erratic behavior in the context of his mental health challenges. West’s music meant a lot to fans like Hogue, and they didn’t want to cast him out.
Ty Dolla Sign, left, and Ye will headline Thursday night’s Rolling Loud bill in Ye’s first live performance in L.A. since 2012.
(Jordan Strauss/Invision/AP; Evan Agostini/Invision/AP)
Yet in 2022, his shocking outbursts led to the dissolution of his multibillion-dollar apparel deal with Adidas; he was banned from social media sites and dropped by his talent and booking agents, and left with no record label. West’s career — one of music’s most influential and lucrative — seemed in shambles.
In December, at a small Las Vegas listening party, West falsely cited “60 million of us in America, 60 million Jews in the world,” and shouted “Jesus Christ, Hitler, Ye, third party, sponsor that.” In January, West wore a shirt from the Norwegian metal band Burzum, whose founder Varg Vikernes was convicted of murder and inciting racial hatred.
Yet some corners of the music industry may be ready to get back in business with him.
“I was surprised when I first heard that Kanye was headlining Rolling Loud because it seemed unnecessarily risky for the festival,” said Dave Brooks, Billboard’s senior director of live music and touring. “Ticket sales seemed to be doing well, and the risk that Kanye would say something offensive, have a meltdown or refuse to complete his performance poses a real threat to Rolling Loud’s brand.”
But after a few other listening events went off without incident, “I think the decision makes more sense,” Brooks added. “Kanye and Ty have successfully completed five listening party events. The Rolling Loud guys are definitely using the performance to drive ticket sales and are positioning themselves to look very smart if the show goes off without any major disruptions.”
West’s performance, booked as a collaboration with Ty Dolla Sign under the aegis of ¥$, is still shrouded in mystery, but it will be his first live performance in L.A. since his co-headlining set with Drake at a benefit show in 2021. He was booked to perform at Coachella in 2022, but dropped out weeks before showtime.
The duo’s new album, “Vultures 1,” topped the Billboard album charts for two weeks in February. It was West’s first album to spend multiple weeks atop the charts since 2011, and yielded a number-one single “Carnival.” The album is packed with guest stars like Travis Scott, Playboi Carti and Chris Brown. (West been teasing a “Vultures 2” release soon)
If West felt chastened by his recent blowback, it didn’t show on the album’s title track, where he alluded to his recent career immolation. “How am I anti-semitic?” West raps on “Vultures.” “I just f-ed a Jewish b-.”
Danya Ruttenberg, a feminist rabbi and author of “On Repentance And Repair,” said she was “absolutely grossed out” when she first heard that lyric. “It’s as vile as any sexualization of a people.”
But she’s more worried that this weekend, tens of thousands of young rap fans will sing along, just a few miles from where a white supremacist group, in 2022, hung a banner over the 405 freeway saying “Kanye was right about the Jews.”
“Anyone feeling validated by Kanye will feel more comfortable perpetuating literally medieval hate speech after this,” Ruttenberg said, of his booking at Rolling Loud. “This performance makes Jews less safe.”
From left: Tariq Cherif and Matt Zingler, who are co-founders of the Rolling Loud Hip-hop music festival.
(Gabriella Angotti-Jones/Los Angeles Times)
Ruttenberg also noted the apology that West wrote on Instagram after his Las Vegas tirade – a mea culpa written in Hebrew. (“I sincerely apologize to the Jewish community for any unintended outburst caused by my words or actions. It was not my intention to offend or demean, and I deeply regret any pain I may have caused.”)
“Most American Jews don’t read Hebrew,” Ruttenberg said. “The idea that we’re this other people with a mysterious other language, or that our real home is Israel, that we’re a global enterprise connected via language instead of citizens of this country, is all part of same trope.”
Given the backdrop of the Gaza conflict, which has led to antisemitic and anti-Muslim hate crimes in the U.S., some worry about making an artist with a history of bigoted statements seem acceptable – even edgy and alluring.
“Kanye has done horrific damage as far as contributing to the never-ending tsunami of antisemitism in this country,” said rabbi Abraham Cooper of the Simon Wiesenthal Center, a Los Angeles-based Jewish human rights group. “The struggle is to keep bigotry out of the mainstream, and there’s nothing more mainstream than a concert with 100,000 people. Putting him front and center is a signal to others that maybe they can sign on too.”
Cooper met with the TV personality Nick Cannon in 2020 after Cannon made antisemitic remarks, and said he was impressed by Cannon’s willingness to examine his prejudice and apologize. West, however, has done little to change, Cooper said.
“If someone wants to make amends, take them seriously,” Cooper said. “I’m not a censor of anything in the arts, but when people like Kanye have taken hate and made it cool, it projects hate into the mainstream of culture at exactly the worst time for our community.”
Festival goers attend Rolling Loud at NOS Events Center on December 12, 2021 in San Bernardino, California.
(Timothy Norris/WireImage via Getty Images)
West has burned many bridges in music since 2016, when after a troubling rant onstage at a Sacramento concert, he was hospitalized for mental health reasons and canceled his tour. Most fans and industry figures sympathized with his mental health challenges and were ready to support him again, even as he later met Donald Trump in the White House.
Some promoters took a chance on him, and got burned.
In 2022, the production company Phantom Labs, which helped build the Coliseum concert with Drake, sued West, claiming they were owed “$7 million by Kanye in outstanding fees for work on various projects over the past year.” West’s last-minute Coachella cancellation in April of 2022 left the fest scrambling for a replacement headliner (they ended up booking Swedish House Mafia and The Weeknd). West was slated to headline Rolling Loud’s flagship Miami festival in July 2022, but reneged five days before showtime. He was replaced by Kid Cudi, who was heckled offstage by fans angry West wasn’t performing.
At the time, Rolling Loud’s Tariq Cherif told the Times that “we’d never had a headliner pull out until Kanye did, and we don’t take that lightly. The platform we built deserves respect, and we didn’t like it.”
West’s conduct grew more troubling. He wore a “White Lives Matter” t-shirt at Paris Fashion Week, and dined with Trump and the white supremacist Nick Fuentes, who worked on Ye’s ill-fated presidential campaign. That rattled his business partners, concert bookers and talent agencies, who cut ties under public pressure.
Rolling Loud’s gamble that West can still draw crowds will be a test of his viability as a touring act. The fest-opening set will be open to Rolling Loud fans who already purchased passes to see Nicki Minaj, Post Malone and Future, with a limited number of single-day passes just for West and Ty Dolla Sign’s set.
“If Kanye impresses fans with his performance at Rolling Loud, then he has a real shot at booking future festival dates and one-off concerts this summer,” Brooks said. “That’s what I would expect coming out of a really strong showing at Hollywood Park – five to eight festival dates through the end of the year, but I don’t think a tour in 2024 is realistic at this point.”
Kanye West performs during Puff Daddy and Bad Boy Family Reunion Tour at Madison Square Garden on September 4, 2016 in New York City.
(Dimitrios Kambouris)
West previously complained in a February Instagram post that “when I call, people say there’s no [open dates] for me, and you know why that is.” His booker, Cara Lewis, was West’s agent at WME and CAA during the peak of his commercial career, when he was one of the most ambitious live performers in the world. His listening events for “Vultures 1,” like one last month at Chicago’s United Center, still pulled big crowds. Billboard estimated that his five listening party events for “Vultures 1” grossed $12 million.
“Many people – both fans and executives inside of the music industry – are struggling to make sense of Kanye’s return in light of all the antisemitic and terrible things he has said or written on social media,” Brooks said. “But there is clearly still a big market for Kanye and people willing to work with him. Some members of Kanye’s own inner circle are Jewish, and I assume that those individuals aren’t just motivated by money, but care about him and want to help. “
That troubles Ruttenberg. “This fest’s organizers can count themselves as responsible for giving him this platform,” she said. “It’s extremely unhelpful to say the least. This fest has basically said Jews, which include Jews of color, are not welcome. The other performers have some hard questions to contend with now.”
The Times reached out to several top artists at Rolling Loud, including the Jewish rapper BLP Kosher and Nicki Minaj, who denied West clearance of a 2020 verse for use on “Vultures 1,” about sharing a bill with West. All declined to comment or did not respond.
One could draw some parallels to West’s frequent collaborator Travis Scott. After 2021’s Astroworld disaster, where ten fans were crushed to death as Scott performed, Scott took a year off from performing and donated to affected families. He was not criminally charged, though many lawsuits remain. He later returned to headlining stadiums and major festivals without incident.
To judge by comments on Rolling Loud’s social media, many fans seem excited – or at least neutral – about West’s comeback performance, which will be a major event in hip-hop no matter what happens onstage. “As for the fans who support him, I assume they have either forgiven Kanye for his past comments,” Brooks said, “or they simply don’t care or in some cases, sadly, agree with Kanye.”
Longtime fans like Hogue are mulling those hard questions too, as they decide whether or not to attend Rolling Loud.
“Rolling Loud probably wanted to add value to their lineup and their number one priority is selling tickets, but it does make me raise an eyebrow,” Hogue said. “If you have a platform like this, you do have some duty to be moral.”
Mexican writer/director Michel Franco explores the dynamics of money, class and the border through the spiky, unsettling erotic drama “Dreams,” starring Jessica Chastain and Isaac Hernández, a Mexican ballet dancer and actor.
In the languidly paced “Dreams,” Franco presents two individuals in love (or lust?) who experiment with wielding the power at their fingertips against their lover, the violence either state or sexual in nature. The film examines the push-pull of attraction and rejection on a scope both intimate and global, finding the uneasy space where the two meet.
Chastain stars as Jennifer McCarthy, a wealthy San Francisco philanthropist and socialite who runs a foundation that supports a ballet school in Mexico City. But Franco does not center her experience, but that of Fernando (Hernández), whom we meet first, escaping from the back of a box truck filled with migrants crossing the U.S./Mexico border, abandoned in San Antonio on a 100-degree day.
His journey is one of extreme survival, but his destination is the lap of luxury, a modernist San Francisco mansion where he makes himself at home, and where he’s clearly been at home before. A talented ballet dancer who has already once been deported, he’s risked everything to be with his lover, Jennifer, though as a high-profile figure who works with her father and brother (Rupert Friend), she’d rather keep her affair with Fernando under wraps. He’s her dirty little secret, but he’s also a human being who refuses to be kept in the shadows.
As Jennifer and Fernando attempt to navigate what it looks like for them to be together, it seems that larger forces will shatter their connection. In reality, the only real danger is each other.
The storytelling logic of “Dreams” is predicated on watching these characters move through space, the way we watch dancers do. Franco offers some fascinating parallels to juxtapose the wildly varying experiences of Fernando and Jennifer — he enters the States in a box truck, almost dying of thirst and heat stroke; she arrives in Mexico on a private plane, but they both enter empty homes alone, melancholy. During a rift in their relationship, Fernando retreats to a motel while working at a bar, drinking red wine out of plastic cups with a friend in his humble room, ignoring Jennifer’s calls, while she eats alone in her darkened dining room, drinking red wine out of crystal.
These comparisons aren’t exactly nuanced, but they are stark, and for most of the film, Franco just asks us to watch them move together, and apart, in a strange, avoidant pas de deux. Often dwarfed by architecture, their distinctive bodies in space are more important than the sparse dialogue that only serves to fill in crucial gaps in storytelling.
Cinematographer Yves Cape captures it all in crisp, saturated images. The lack of musical score (beyond diegetic music in the ballet scenes) contributes to the dry, flat affect and tone, as these characters enact increasing cruelties — both emotional and physical — upon each other as a means of trying to contain their lover, until it escalates into something truly dark and disturbing.
Franco, frankly, loses the plot of “Dreams” in the third act. What is a rather staid drama about the weight of social expectations on a relationship becomes a dramatically unexpected game of vengeance as Jennifer and Fernando grasp at any power they have over the other. She fetishizes him and he returns the favor, violently.
Ultimately, Franco jettisons his characters for the sake of unearned plot twists that leave the viewer feeling only icky. These events aren’t illuminating, and feel instead like a bleak betrayal. The circumstances of the story might be “timely,” but “Dreams” doesn’t help us understand the situation better, leaving us in the dark about what we’re supposed to take away from this story of sex, violence, money and the state. Anything it suggests we already know.
‘Dreams’
(In English and Spanish with English subtitles)
1.5 stars (out of 4)
No MPA rating (some nudity, sex scenes, swearing, sexual violence)
Running time: 1:35
How to watch: In theaters Feb. 27
A bartender who worked at Soho House’s exclusive Soho Warehouse in downtown Los Angeles is alleging a supervisor at the posh membership club and hotel drugged and raped her, according to a lawsuit filed in Los Angeles Superior Court on Wednesday.
The woman, who filed as Jane Doe, said in her complaint that she was “subjected to repeated sexual advances and unwelcomed physical touching” by one of her supervisors, Leonard Marcelo Vichique Maya, immediately after she began working as a bartender at Berenjak, the club’s restaurant, in September 2025.
Doe is suing Vichique Maya, Soho House, Soho House Los Angeles and Soho Warehouse for sexual harassment, retaliation and other claims..
“This is as egregious an instance of callous corporate indifference to workplace sexual violence that anyone can experience,” said her attorney Nick Yasman of Los Angeles-based West Coast Trial Lawyers in a statement.
Representatives for Soho House and Vichique Maya were not immediately available for comment.
Doe has further alleged that Vichique Maya made “numerous comments” about her appearance, propositioned her to be his “hook-up buddy” and told her that she “would be pregnant by now” had they met earlier, all within earshot of her supervisors and colleagues.
After two weeks on the job, Doe said that she reported Vichique Maya’s conduct to two male supervisors, including Soho House’s floor manager and food and beverage director, states the complaint, but “neither took any semblance of corrective or investigatory action.”
According to the suit, Doe claims that despite “his pattern of harassing behavior and complaints,” the company, did not address his alleged misconduct. ”
She claims his behavior escalated after a “team-bonding” work event on Sept. 13, where Doe said she became disoriented after drinking with supervisors and co-workers, eventually losing consciousness, and woke up naked in Vichique Maya’s apartment.
“Paralyzed and speechless despite her consciousness slowly returning, Plaintiff was condemned to simply watch in horror as [sic] MARCELO repeatedly raped her inanimate body,” states the suit.
The next day, Doe said that she reported to her floor manager that Vichique Maya had “sexually assaulted her.”
She said her general manager “confirmed” that he “appeared to be preying” on her during the work event, telling her that “These things happen between coworkers.”
When she proclaimed that she could no longer work with Vichique Maya,” she said the general manager dismissed her concerns telling her: “I have a restaurant to run; I can’t have it blow up on me.”
Despite informing three managers that she was “raped,” Doe said she was continuously scheduled to work shifts with Vichique Maya during which he repeatedly sexually harassed her.
In December, Doe filed a complaint with Soho House human resources, and she was assured that an investigation would be opened and “immediate corrective action” taken.
However, during the investigation, Doe said that she was placed on indefinite leave while Vichique Maya continued working. A month later, she was informed the company had completed its investigation and found her report of rape “was uncorroborated” and he “would not be disciplined.”
In February, the plaintiff said that she was forced to quit her job.
One of the first, exclusive members-only social clubs, Soho House debuted in London in 1995 and quickly became the bolt-hole of choice for celebrities and the deep-pocketed. It expanded globally with 48 houses in 19 countries.
It drew high-profile investors, including Ron Burkle through his investment fund Yucaipa.
In 2021, the company filed for an initial public offering on the New York Stock Exchange, but it has faced financial challenges. .
Last year, Soho House went private, selling itself to a group of investors including Apollo Global Management and actor Ashton Kutcher, who also joined its board of directors, at a $2.7-billion valuation.
Movie Reviews
MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times
“Mercy”
(Thriller/Crime: 1 hour, 39 minutes)
Starring: Chris Pratt, Rebecca Ferguson, Kali Reis
Director: Timur Bekmambetov
Rated: PG-13 (Violence, bloody images, strong language, drug content and teen smoking)
Movie Review:
“Mercy” is a science fiction movie based on one of the more common themes of moviedom lately, artificial intelligence (AI). This crime thriller cleverly creates an intriguing story using technology and the justice system, yet it fails to be consistently interesting and intelligent throughout. The conclusion is less significant than the initial setup, as the concluding scenes become typical action sequences.
Detective Chris Raven (Pratt) of the LA Police Department is a huge supporter of the city’s new judicial courtroom. Crimes are now judged by an AI program (Ferguson) in the Mercy Court. The court is run by an artificial program that makes decisions based on all of the evidence before it without any prejudice. Detective Raven is all for this system until he is convicted of killing his wife. Now he must use all of the data, including the AI‘s ability to tap into everyone’s electronic devices, security cameras, and even into government files, within reason, to prove he did not murder his wife.
Mercy is an interesting movie. It entertains throughout, even when the story gets sloppy and characters’ actions are irrational. This mainly occurs during the final scenes. The movie tries too hard to insert unneeded narrative twists. This is disappointing because the story is interesting. What makes it fascinating is that it happens in real time. This is the most brilliant facet.
All the other theatrics are unnecessary. Director Timur Bekmambetov (“Profile,” 2018; “Wanted,” 2008) and “Mercy’s” producers should have just kept the ending simple, no plot twists or superfluous action sequences.
Grade: C (This flick needs some mercy. Let the trial begin.)
“Return to Silent Hill”
(Horror: 1 hour, 46 minutes)
Starring: Jeremy Irvine, Hannah Emily Anderson and Robert Strange
Director: Christophe Gans
Rated: R (Bloody violent content, strong language and brief drug use.)
Movie Review:
“Return to Silent Hill” is about one man’s quest to return to the love of his life. The problem is she has moved on to the afterlife. Meanwhile, audiences lose part of their life watching this movie, which is unlike any of the two prequels in this series. This one is a psychological horror that bores.
Artist James Sunderland (Irvine) decides to return to Silent Hill, a place where many people died during a devastating illness that nearly enveloped the entirety of the city’s population. What is left there is a horror show of freakish creatures, all with violent intent. Still, Sunderland searches for the love of his life, Mary Crane (Anderson).
Think of this movie as a slow suicide, where a guy goes back to retrieve his dead girlfriend. To do so, he must travel to the modern land of the dead that Silent Hill has become. This one is a type of swan song by the main character, and the movie becomes less scary while lackluster romantic notions wander aimlessly.
Grade: D (Do not return to see this.)
“Sentimental Value”
(Drama: 2 hours, 13 minutes)
Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas and Elle Fanning
Director: Joachim Trier
Rated: R (Language, sexual reference, nudity and thematic elements)
Movie Review:
“Sentimental Value” is a Norwegian film that won the Grand Prix in France’s Cannes Film Festival and was nominated for nine Academy Awards, including Best Motion Picture. It is a solid drama filled with symbolism and family connections. It is brilliant performances by a talented cast under the direction of Joachim Trier (“The Worst Person in the World,” 2021).
This screenplay is about Gustav Borg (Skarsgård). He is a father, grandfather and a famed film director. He stayed away from his two daughters, actress Nora Borgwhile (Reinsve) and historian Agnes Borg Pettersen (Lilleaas), while he was creating works as a filmmaker. The director comes back into the lives of his daughters after the death of their mother. Their reunion leads to a rediscovery of their bond at their family home in Oslo.
Stellan Skarsgård is always a solid actor. He takes his roles and makes them tangible characters that seem like you know them, even when they’re speaking a foreign language. That is the quality of his act and why he gets nominated for multiple awards each season.
“Sentimental Value” is a valuable movie filled with enriching sentiment. It is an enjoyable film for those who value a good drama. The acting and original writing alone make the movie worth it. “Sentimental Value” starts in a very simple way, but everything in between, even when low-key, remains potent. Joachim Trier and writer Eskil Vogt have worked together on multiple projects such as “The Worst Person in the World” (2021). Their pairing is once again worthy.
Grade: A- (Any motive valuable movie.)
“In Cold Light ”
(Crime: 1 hour , 36 minutes)
Starring: Maika Monroe, Allan Hawco and Troy Kotsur
Director: Maxime Giroux
Rated: R (Violence, bloody images, strong language and drug material)
Movie Review:
“In Cold Light” sticks to a very straightforward story, primarily taking place over a short period. The problem is the story leaves one in the cold. Audiences have to guess what is being communicated because this movie uses American Sign Language (ASL) without subtitles. For those moviegoers who do not know ASL, they are left deciphering characters’ actions and facial expressions during some pivotal scenes.
Ava Bly (Monroe) attempts to start a legit life after prison. Her life changes when Ava’s twin, Tom Bly (Jesse Irving) is murdered while seated next to her. As her brother’s killers pursue her, Ava must evade law enforcement, which contains some crooked cops led by Bob Whyte (Hawco).
For a brief moment, this movie hits its exceptional moment when Oscar-recipient Helen Hunt enters the picture as a motherly Claire, a crime boss who seems more like a social worker/psychologist. Her long scene is wasted as it arrives too late.
French Canadian director Maxime Giroux’s style has potential in his first English-language film, but it does not fit a wayward narrative. A rarity, this crime drama has characters commit many dumb actions at once.
Moreover, Giroux (“Félix et Meira,” 2014) and writer Patrick Whistler forget to let their audiences in on their story. They allow much to get lost in translation, especially during heated conversations between Monroe’s Ava and her father, Will Bly, played by Academy Award-winning actor Troy Kotsur (“CODA,” 2021).
Grade: C- (Just cold and dark.)
More movie reviews online at www.valdostadailytimes.com.
Joshua Jackson Works Out Shirtless at a Boxing Gym in LA, On Video
Trump vowed to end wars. He is now opening a new front against Iran
USC men routed by Nebraska after building halftime lead
Activists hail ‘historic’ EU’s decision on accessible abortion
A long-buried recording and the Supreme Court of old (CT+) : Consider This from NPR
Florida High School Football Rankings: Top 25 teams – Oct. 21
Cleary's 21 help Le Moyne down Central Connecticut State 69-64 in OT
How old is Bo Nix? What to know about Oregon quarterback ahead of 2024 NFL Draft
99th annual Pony Swim held in Virginia
Indiana Members Credit Union announced as new anchor tenant at Bottleworks District
Activists hail ‘historic’ EU’s decision on accessible abortion
A long-buried recording and the Supreme Court of old (CT+) : Consider This from NPR
2 Survivors Describe the Terror and Tragedy of the Tahoe Avalanche
Iran fires missiles at US bases across Middle East after American strikes on nuclear, IRGC sites
Israel strikes two schools in Iran, killing more than 50 people
-
World3 days agoExclusive: DeepSeek withholds latest AI model from US chipmakers including Nvidia, sources say
-
Massachusetts3 days agoMother and daughter injured in Taunton house explosion
-
Montana1 week ago2026 MHSA Montana Wrestling State Championship Brackets And Results – FloWrestling
-
Louisiana6 days agoWildfire near Gum Swamp Road in Livingston Parish now under control; more than 200 acres burned
-
Denver, CO3 days ago10 acres charred, 5 injured in Thornton grass fire, evacuation orders lifted
-
Technology1 week agoYouTube TV billing scam emails are hitting inboxes
-
Technology1 week agoStellantis is in a crisis of its own making
-
Politics1 week agoOpenAI didn’t contact police despite employees flagging mass shooter’s concerning chatbot interactions: REPORT