Business
'Fight Night' producer Will Packer says he's 'living proof' that diverse content is good business
Will Packer knows that diversity in movies is good business.
The producer has become a standout in Hollywood, making films with mostly Black casts that cater to an underserved audience — and that audience has rewarded him for it. His 2017 film “Girls Trip,” starring Tiffany Haddish, Regina Hall, Queen Latifah and Jada Pinkett Smith, was the highest-grossing comedy of that year. Comedies “Think Like a Man” and “Ride Along” have seen massive success at the box office.
He’s since branched out into projects for streaming, documentary features and television (both scripted and unscripted), diversifying his slate at a time when the industry is seeing upheaval in its business model. His next project is “Fight Night,” a true-story limited series for Peacock that chronicles the biggest heist in the state of Georgia’s history, starring Kevin Hart, Samuel L. Jackson and Taraji P. Henson. But Hollywood’s current contraction shouldn’t mean that diverse projects should be abandoned in favor of the bottom line, he said.
“It takes folks pushing the industry to see the economic benefit of doing organically diverse content,” Packer said. “And I like to think that I’m one of the people that is doing the pushing.”
This year is the 10th anniversary of Will Packer Productions. What are you most proud of?
Sustainability and longevity in the context of a very fickle industry where not a lot of companies last that long. As the ever-changing industry has continued to shift, we have somehow been able to stay relevant and valuable to our media partners and to audiences, which is most important.
What has helped you stay relevant?
I like to think it’s because two of the things that I really try to focus on are commerciality and authenticity. We focus on things that will be appealing to our core audience and do it at a time when we realize they don’t have to consume your stuff.
It’s laughable to me how self-important as an industry we can be. And I have peers who think that if you build it, they will come. And it’s like no, not at all. Not when you’re in an oversaturated environment. Audiences want something that they can’t get elsewhere that feels urgent, that’s loud, provocative, oftentimes — something that’s going to speak to them.
What more needs to be done to diversify Hollywood?
You know, I’m an eternal optimist. There definitely has been progress — you look at the voices in front of and behind the camera, and they’re more diverse than ever before. But we started from where there was such a dearth of any kind of real, authentic diversity, we have so far to go. Even though I’m optimistic, I don’t have any delusions of thinking that we’ve turned some incredible corner. If anything, when you have a constriction of content now, studios pulling back, the first things that get cut are things that are considered, you know, diversity initiatives.
I’m living proof that diverse content is good business. Unfortunately, we’re seeing it become tougher for diverse filmmakers, because it’s tougher for all filmmakers, but it always hits the marginalized voices first and hardest. And we’re seeing it now.
What projects are you excited about?
I’m on my way to set right this very minute on a project I’m very excited about called “Fight Night.” It is a limited series that I’m doing for Peacock. It is a true story based on the biggest heist in Georgia’s history, and one of the biggest heists in the country, actually. It happened after a Muhammad Ali fight back in 1970 when he couldn’t get sanctioned to fight anywhere; he’d been blackballed because of his stance against the Vietnam War. An interesting collection of white government officials, Black entrepreneurs, promoters and, frankly, out-and-out hustlers came together to put together this unsanctioned boxing match. And afterward, there was this underground casino party that attracted celebrities, athletes, entertainers and gangsters from all over the country. And that party got robbed. We’re telling the true story of that night.
Rapid-fire questions
What are you listening to now?
I’m listening to an audiobook called “Tools of Titans.” Music-wise, I’ve been listening to the Kendrick-Drake tracks. When I work out, that’s good energy. And then earlier this year, I went to Trinidad for Carnival, so I’ve been playing soca since then.
How do you get focused?
Focus has never been a big problem for me. I can’t afford to not be focused. So, I am somebody that always has a million things going on, but I’m a very good compartmentalizer.
What do you do to relax?
Sit on the beach. I’m an amateur boater; I love to go out and be near the water. That’s where my soul kind of finds peace, that’s where I can unplug.
Business
Angry Ferrari fans say the Italian company’s new EV is too Californian
Ferrari’s first-ever fully electric vehicle triggered some fans who said it looks more like an iPhone than an Italian supercar.
The $640,000 Ferrari Luce, which was unveiled on Wednesday, looks like a distant relative of many Apple products. It was built with the help of Jony Ive, the person who designed the look and feel of the Cupertino company’s iPhone, iPod and Macintosh through 2019.
“Legend has it that if you pull the Ferrari badge off the side of the new Luce you see an Apple logo underneath,” one user wrote on X.
A meme circulated portraying the Luce with iPhone applications photo-shopped onto the top, and another showing the car upside down and plugged into an iPhone charger.
To accommodate more batteries and seats, the new EV is bigger and boxier than most classic Ferraris. Ive’s design firm, LoveFrom, which he started in San-Francisco after leaving Apple, was brought in to try to meld the traditions of Ferrari with the new functionality and form allowed by a battery-powered engine.
In a marketing video, Ferrari’s chief design officer, Flavio Manzoni, said he sees the Luce “acting as a bridge between San Francisco and Maranello,” the northern Italian city where Ferrari is headquartered.
The four-door, five-seat car comes onto the scene at a difficult moment for electric vehicles, an industry that has been battered by President Trump’s policies.
Trump has cut EV incentives for manufacturers and customers, prompting several major automakers to move away from EV efforts and focus on gas-powered options.
A luxury EV effort from Sony and Honda, a high-tech vehicle dubbed Afeela, was shut down before it ever hit the road due to Honda paring back its EV offerings.
Legacy automakers such as Ferrari face a particularly difficult landscape for launching an EV, as die-hard fans are attached to traditional, gas-powered models.
Ferraris are known for roaring engines and bold, angular designs, a far cry from the smooth, rounded exterior of the Luce.
To be sure, aggressive redesigns often attract ridicule. The early electric Mustang models were shunned by some but have become popular.
One X user posted a meme with a photo of fictional Italian gangster Tony Soprano saying, “I don’t want any California bulls—.”
The online launch page for the car emphasizes that the Luce is “100% Ferrari.”
Still, Luca di Montezemolo, Ferrari’s former chairman, told reporters on Tuesday that the automaker is “risking the destruction of a legend.”
Ferrari shares have fallen about 8% since the launch of the Luce, signaling investors’ concerns that the car won’t resonate with customers.
Business
Donald E. Newhouse, newspaper publisher and heir to media empire, dies at 96
NEW YORK — Donald E. Newhouse, president of one of the largest family-controlled publishing companies in the nation and a former board chairman of the Associated Press, died Tuesday. He was 96 and died at his home in New Jersey, his family said.
During his career, Newhouse served as president of the Star-Ledger in Newark, N.J., and head of Advance Publications’ newspaper group, which he navigated into the internet age.
“You reveled in his company. He filled you with energy and humor when you felt doubtful and weak,” said Anna Wintour, the global editorial director of Vogue and Conde Nast’s chief content officer.
“He was scrupulous about not interfering in editorial business, but if you turned to him for counsel, he invariably offered judicious advice,” she said in an obituary released Tuesday night by the Newhouse family.
Newhouse, who lived in New York, spent nearly 50 years overseeing the 35 newspapers of Advance Publications, the media business started by his late father, Samuel Irving Newhouse Sr., in 1922. His older brother, S.I. Newhouse Jr., was chairman of the company and oversaw Conde Nast magazines. He died in 2017.
Louis D. Boccardi, retired president and chief executive of the AP, said Newhouse was an extraordinary chairman for the cooperative.
“His voice was never the loudest in the room, but it was often the wisest,” Boccardi said. Newhouse was instinctively private, but behind that, Boccardi said, was a generous man, at home anywhere and curious about everything.
“He could come across as self-effacing and deferential, but in Don’s skilled hands those were qualities that made him an enormously strong and effective leader,” Boccardi said. “You don’t often see the adjective ‘warm’ attached to a titan of industry, but it applied to him.”
A man who didn’t chase the spotlight
Newhouse, born in 1929, was known for staying out of the public eye. A reporter once asked him to list the biggest chances he took in his career. The answer: “Inviting your questions.”
The usually reserved Newhouse did step into the spotlight when he took on the role of chairman of the Newspaper Assn. of America from 1993 to 1994 and then chairman of the AP board of directors from 1997 to 2002. He had served on the AP board for nine years before becoming its chairman.
“He was a smart and shrewd businessman but as thoughtful and kind a man as you’ll find. Being in his presence was always a joy,” said Doug Clifton, editor of one of Newhouse’s papers, the Plain Dealer in Cleveland, from 1999 to 2007.
Newhouse attended Syracuse University but never graduated, heading into the family’s newspaper business instead. He would regularly visit his newspapers but left the ultimate authority of running them to his publishers.
“Each of our newspapers operates independently, with publishers who are strong, who set policy for their individual organizations and who have the authority and responsibility of carrying out the policies they set,” he said in 1993 when taking over as chairman of the newspaper association.
Newhouse was known for spending money to make sure that papers got the best stories. Jim Willse, editor of the Star-Ledger in Newark, N.J., from 1995 until 2010, said he would give “us all the resources we needed to make the Ledger really special.” Willse said Newhouse loved newspapers and newspaper people.
“He especially enjoyed it when we’d have a story about some politician caught with his hand in the cookie jar, or a spicy feature about stuffed shirts behaving badly,” Willse said.
Newhouse’s philosophy of spending money to produce quality coverage and a hands-off approach toward his editors led to many successes, including multiple Pulitzers.
Many of those newspapers were able to thrive and remain profitable because they dominated their market, but Newhouse said he was very much aware of what he called the “dramatically changing media landscape” and how people get their news.
“The 15th-century revolution was epitomized by the printing of the Gutenberg Bible; ours by Ted Turner’s cable news network and by web-based news sites — news in real time from anywhere to everywhere,” he said in 2004 at the rededication of a communications school named after his father at Syracuse University.
Three years later, he told one of his papers, the Post-Standard of Syracuse, N.Y., that newspapers can survive “by producing content that is relevant, interesting, accurate and entertaining for newspapers and the internet.”
He steered through financial struggles
Yet the papers did ultimately struggle financially.
Advance was known in the industry for a pledge that employees who weren’t in a union would have jobs regardless of economic downturns or technological advances. In 2009, the company announced that the pledge would be withdrawn.
The company also moved away from daily publishing of several papers. In 2012, it announced that the Post-Standard; the Times-Picayune in New Orleans; the Patriot-News in Harrisburg, Penn.; and the Birmingham News, the Press-Register of Mobile and the Huntsville Times, all in Alabama, would cease daily publication and would only offer print editions on Wednesdays, Fridays and Sundays. Those changes were accompanied by hundreds of layoffs.
“His conservative approach left both the papers and its employees somewhat unprepared for the realities of the internet,” said Thomas Maier, who wrote a 1994 biography of the family.
Newhouse’s eldest son, Steven, spearheaded the company’s growth on the internet and on mobile devices. Steven Newhouse is currently co-president of Advance Publications.
“My dad spent his life in the newspaper business and was devoted to it, built it up and enjoyed many good years. When it became more challenging, he was first in line to work through, finding solutions to keep the local journalism franchise going,” he said.
Newhouse is also survived by another son, Michael, daughter Katherine Mele and grandchildren. His wife, Susan, died in 2015.
Mayerowitz writes for the Associated Press.
Business
Child safety groups want FTC to investigate Roblox
Child safety advocates say the massively popular gaming platform Roblox could be bad for kids.
Fairplay and the National Center on Sexual Exploitation have requested the Federal Trade Commission to investigate if the games on Roblox are designed to make kids spend an unhealthy amount of time and money on their screens.
Roblox’s core users are young kids.
In a letter submitted to the FTC, the groups argue that Roblox’s engagement-maximizing design features, virtual currency system, and voice and text chat communication features are inappropriate for the platform’s user base and pose a substantial risk of harm.
“Alone and in combination, these three components capitalize on young users’ developmental vulnerabilities, exploit their desire for authentic self-expression, monetize their lack of impulse control, and turn in-game purchasing power into a form of social status,” the groups noted in the letter submitted Thursday to the FTC.
Roblox allows the purchase of virtual assets — clothing and dance moves, for example — which can only be purchased with the platform’s in-game currency, Robux. The platform obscures the exchange rate between dollars and the in-game currency, leaving young players to navigate a complex system of fluctuating conversion rates that increases the amount of real-world money players spend, according to the letter.
For instance, players can receive more Robux per dollar by purchasing larger bundles of currency or buying a “Roblox Premium” subscription, making it harder for children to perform financial calculations on how much they are spending on the platform.
The letter pointed to instances of unexpected Roblox charges, as one parent discovered that his daughter spent more than $5,000 on Roblox without understanding that she was spending real money.
The letter also outlined examples of “scarcity marketing” techniques that increase demand through limited-quantity assets and time-based reward to drive sales of virtual items, driving a false sense of urgency. Some see it as a strong-arm sales technique that should not be used on children:
“Items only available for a limited time encourage both rapid purchases and returning to the platform frequently — sometimes multiple times per day — to avoid missing out on items,” the letter said.
A Roblox spokesperson said that the company “strongly disputes these claims. Our platform is designed to provide a positive, healthy and enjoyable experience — we build for fun and connection, not short-term engagement. While no system can be perfect, we have a set of safeguards designed to support a safe and civil environment, and clear policies for game creators that require fair treatment of players.”
The groups pointed out that third-party games developed on Roblox are designed to profit from in-game purchases, and have “gambling-like” engagement mechanisms such as lootboxes, in which players cannot see what’s inside until after they have purchased it — and the items vary in value.
“We have clear policies prohibiting both actual and simulated gambling, and a set of rules governing how game creators can use gameplay mechanics like paid random items,” the Roblox spokesperson said. “Most games on Roblox are free to play and no one is required to purchase Robux. In the first quarter of 2026, only 1.4% of our 132 million daily active users were payers on the platform.”
The letter also alleged that the voice and text chat features on the platform expose children to sexual content, and argue that recent changes to age checks have not eliminated opportunities for adult-minor contact.
-
Los Angeles, Ca25 minutes agoFamily members searching for 2 missing Southern California girls
-
Detroit, MI49 minutes agoDetroit police revise initial account after body cam shows man fatally shot himself during search of home
-
San Francisco, CA1 hour agoSan Francisco rapper Frak blends hip-hop, comedy and Jewish culture
-
Dallas, TX1 hour agoFederal, local agencies tout results of North Texas anti-crime operation before World Cup
-
Boston, MA1 hour agoEast Boston couple accused in alleged racist attack on restaurant patio after calling in noise complaint
-
Denver, CO1 hour agoRep. Hurd emphasizes need for consistent, predictable energy policies at Denver roundtable
-
Seattle, WA2 hours ago
Pollen forensic technique links missing woman cold case to the Pacific Northwest
-
San Diego, CA2 hours agoA South San Diego Mother questions SDPD’S response to her teenage son’s death