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Apple has made splashy bets in Hollywood. Are they paying off?

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Apple has made splashy bets in Hollywood. Are they paying off?

In the first episode of the Apple TV+ show “The Studio,” Oscar-winning director Martin Scorsese sells his script to the fictional Continental Studios, only to be told later by a studio chief played by Seth Rogen that the project, about Jonestown, has been killed.

Instead, the company is fast-tracking a soulless brand-based cash grab: a Kool-Aid movie.

“Just give me back my movie and let me go sell it to f— Apple, the way I should have done it in the first place,” a despairing Scorsese says.

The line could practically be an ad for how Apple TV+, the Cupertino tech giant’s streaming service, has positioned itself as a creative haven for filmmakers trying to sell bold, original ideas.

The service, which was introduced in 2019 with a splashy event featuring Oprah Winfrey and Steven Spielberg, found success with comedy shows like “Ted Lasso” and 2022 best picture Academy Award winner “CODA.”

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But the question hanging over the company was, just how serious was it about its Hollywood ambitions? Would it be the next big power player? Or would it become just another deep-pocketed short-timer? For years after they joined the company, Apple TV+ leaders Jamie Erlicht and Zack Van Amburg were dogged by rumors that their jobs were in jeopardy.

Lately though, its efforts have come more into focus. It’s been on a run of critical success with shows such as “Severance,” “The Studio” and “Your Friends & Neighbors.” Apple Chief Executive Tim Cook said in a call with investors on Thursday that Apple TV+ “has become a must-see destination” and posted record viewership in the quarter.

Some have compared it to HBO — before Warner Bros. Discovery began making cuts — developing a reputation for being willing to pay big for A-list stars and creatives.

“It’s been brilliant at defining its niche … and the quality of what it does is simply superb,” said Stephen Galloway, dean of Chapman University’s Dodge College of Film and Media Arts. “The question is, is the niche big enough to justify the expense?”

Apple TV+’s subscriber base remains small compared to competitors, including Netflix. It lacks the deep, established libraries of Walt Disney Co. or Warner Bros. Discovery’s Max, which helps keep customers paying every month and not switching to another service. While it has good shows and movies, critics say, it lacks the volume and breadth of its competitors.

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And the quality over quantity approach has its doubters. Wedbush Securities managing director Daniel Ives estimates Apple TV+ has 57 million subscribers, which he called “disappointing.” Wall Street had hoped to see 100 million or more subscribers by now, he said.

Apple has “built a mansion [and] they don’t have enough furniture, and that’s a problem from a content perspective with Apple TV+,” Ives said.

Further, tech and business news site the Information reported that Apple TV+ is losing $1 billion a year. The company’s strategy has left some rivals scratching their heads.

“I don’t understand it beyond a marketing play, but they’re really smart people,” said Netflix co-CEO Ted Sarandos in a March interview with Variety. “Maybe they see something we don’t.”

Apple declined to comment.

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Observers noted that it can take a long time for streaming services to become profitable. NBCUniversal’s Peacock is still losing money, for example.

In recent years, subscription streaming services have been under pressure by investors to produce more profit. In an industry where there’s a lot of competition and Netflix has been declared the winner, there’s anxiety about how many platforms can survive on their own.

But Apple thinks differently about entertainment compared to its more traditional studio rivals, people familiar with the company say.

Apple TV+ is just one part of the company’s larger strategy to grow its subscription services business under Eddy Cue, which includes Apple Music, iCloud storage and Apple News, among other options.

The services category represented 25% of Apple’s overall sales of $391 billion in its last fiscal year. The company’s largest money maker remains the iPhone, which represented 51% of Apple’s total revenues in its last fiscal year.

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In its most recent quarter, services reached a revenue record of $26.6 billion, up 12% from a year ago, the company said.

Apple TV+ is “a small piece of all the services that you provide,” said Alejandro Rojas, vice president of applied analytics with Parrot Analytics. “You want this to add to the overall brand experience, but without also crossing a massive gap in resources and investments.”

Apple TV+’s programming strategy has taken a talent-friendly approach, tending to favor projects with big-name stars.

One of its early major bets was “The Morning Show” with Jennifer Aniston, Reese Witherspoon and Steve Carell. Drama “Your Friends & Neighbors” stars Jon Hamm from “Mad Men.” Its February survival drama film “The Gorge” stars Miles Teller and Anya Taylor-Joy.

One of Apple’s biggest movie releases will happen this summer with Formula 1 film “F1” (featuring Brad Pitt), which hits theaters in June, including on Imax screens. Warner Bros. is handling the theatrical release for the big-budget movie, directed by Joseph Kosinski (“Top Gun: Maverick”).

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Paul Dergarabedian, senior media analyst at Comscore, hopes “F1” will play like “Top Gun: Maverick” on a racetrack. Some of Apple’s previous filmmaker-driven, star-studded movies struggled at theaters, including “Fly Me to the Moon” and “Argylle.”

“This is a huge movie for Apple,” Dergarabedian said. “I think they picked a perfect project to really amplify their filmmaking acumen and their filmmaker relationships.”

The way Apple treats talent has a personalized touch, said creatives who have worked with the company.

Tomorrow Studios president Becky Clements said she was “forever grateful” that Apple took a shot on “Physical,” an original series starring Rose Byrne about a 1980s housewife who struggles with an eating disorder and finds strength through aerobics.

“It’s an original piece, which is often a difficult thing to pull off in the marketplace,” Clements said.

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Clements credited Apple with supporting the filmmakers and not micromanaging the show, which delved into difficult material.

Ben Silverman, an executive producer on upcoming Apple TV+ series “Stick” (starring Owen Wilson), said the show’s budget allowed for traveling to North Carolina for filming, where prominent golf commentators Trevor Immelman and Jim Nantz were located during the PGA Tour.

“I think a lot of platforms are supportive of their creators right now, but they may not have the bandwidth to go as deep as Apple can on individual projects because they’re just not doing as many,” said Silverman, chairman and co-CEO of L.A.-based Propagate Content.

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Not all creatives have been happy with Apple.

It threw observers for a loop when it did a short and limited theatrical release for last year’s Brad Pitt and George Clooney action-comedy movie “Wolfs,” instead of a more traditional wide release.

Director Jon Watts told Deadline he backed out of a sequel because he was surprised by Apple’s “last minute” shift and that Apple ignored his request to not reveal that he was working on a follow-up. Apple has not addressed the controversy publicly.

Like other streamers, over time, Apple TV+ has made changes to help generate more revenue, cut costs and increase customers. Last month, Apple cut the price of its streaming service temporarily to $2.99 a month. Its base monthly fee is $9.99. Last year, Apple TV+ reached a deal to sell subscriptions through Amazon.

In February, Apple TV+ captured 30% of its sign-ups via Amazon Channels, said Brendan Brady, director of strategy at research firm Antenna. High-profile releases including the new “Severance” season and “The Gorge” drove sign-ups, he added.

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“It’s a combination of content driving their acquisition, and also that opening up of their distribution attracting a new audience,” Brady said.

Apple’s overall business faces macroeconomic challenges, such as the Trump administration’s trade war with China.

Government officials have warned that tariffs on smartphones made in China are coming — which would harm Apple’s iPhone because many are made in the country. Increased costs to Apple’s overall business could eventually squeeze other areas of the company including Apple TV+, analysts said.

Some people who work with Apple said it’s too early to judge Apple’s success based on its estimated subscriber counts so far, and they’re placing chips on the venture succeeding in the long run.

“It’s about investing early and long-term,” Silverman said. “I’m always an entrepreneurial spirit who wants to lean in early to these platforms and partnerships, hoping that I can build a beachfront relationship.”

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Southwest’s open seating ends with final flight

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Southwest’s open seating ends with final flight

After nearly 60 years of its unique and popular open-seating policy, Southwest Airlines flew its last flight with unassigned seats Monday night.

Customers on flights going forward will choose where they sit and whether they want to pay more for a preferred location or extra leg room. The change represents a significant shift for Southwest’s brand, which has been known as a no-frills, easygoing option compared to competing airlines.

While many loyal customers lament the loss of open seating, Southwest has been under pressure from investors to boost profitability. Last year, the airline also stopped offering free checked bags and began charging $35 for one bag and $80 for two.

Under the defunct open-seating policy, customers could choose their seats on a first-come, first-served basis. On social media, customers said the policy made boarding faster and fairer. The airline is now offering four new fare bundles that include tiered perks such as priority boarding, preferred seats, and premium drinks.

“We continue to make substantial progress as we execute the most significant transformation in Southwest Airlines’ history,” said chief executive Bob Jordan in a statement with the company’s third-quarter revenue report. “We quickly implemented many new product attributes and enhancements [and] we remain committed to meeting the evolving needs of our current and future customers.”

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Eighty percent of Southwest customers and 86% of potential customers prefer an assigned seat, the airline said in 2024.

Experts said the change is a smart move as the airline tries to stabilize its finances.

In the third quarter of 2025, the company reported passenger revenues of $6.3 billion, a 1% increase from the year prior. Southwest’s shares have remained mostly stable this year and were trading at around $41.50 on Tuesday.

“You’re going to hear nostalgia about this, but I think it’s very logical and probably something the company should have done years ago,” said Duane Pfennigwerth, a global airlines analyst at Evercore, when the company announced the seating change in 2024.

Budget airlines are offering more premium options in an attempt to increase revenue, including Spirit, which introduced new fare bundles in 2024 with priority check-in and their take on a first-class experience.

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With the end of open seating and its “bags fly free” policy, customers said Southwest has lost much of its appeal and flexibility. The airline used to stand out in an industry often associated with rigidity and high prices, customers said.

“Open seating and the easier boarding process is why I fly Southwest,” wrote one Reddit user. “I may start flying another airline in protest. After all, there will be nothing differentiating Southwest anymore.”

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Contributor: The weird bipartisan alliance to cap credit card rates is onto something

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Contributor: The weird bipartisan alliance to cap credit card rates is onto something

Behind the credit card, ubiquitous in American economic life now for decades, stand a very few gigantic financial institutions that exert nearly unlimited power over how much consumers and businesses pay for the use of a small piece of plastic. American consumers and small businesses alike are spitting fire these days about the cost of credit cards, while the companies profiting from them are making money hand over fist.

We are now having a national conversation about what the federal government can do to lower the cost of credit cards. Sens. Bernie Sanders (I-Vt.) and Josh Hawley (R-Mo.), truly strange political bedfellows, have proposed a 10% cap. Now President Trump has too. But we risk spinning our wheels if we do not face facts about the underlying structure of this market.

We should dispense with the notion that the credit card business in the United States is a free market with robust competition. Instead, we have an oligopoly of dominant banks that issue them: JPMorgan Chase, Bank of America, American Express, Citigroup and Capital One, which together account for about 70% of all transactions. And we have a duopoly of networks: Visa and Mastercard, who process more than 80% of those transactions.

The results are higher prices for consumers who use the cards and businesses that accept them. Possibly the most telling statistic tracks the difference between borrowing benchmarks, such as the prime rate, and what you pay on your credit card. That markup has been rising steadily over the last 10 years and now stands at 16.4%. A Federal Reserve study found the problem in every card category, from your super-duper-triple-platinum card to subprime cardholders. Make no mistake, your bank is cranking up credit card rates faster than any overall increase.

If you are a small business owner, the situation is equally grim. Credit cards are a major source of credit for small businesses, at an increasingly dear cost. Also, businesses suffer from the fees Visa and Mastercard charge merchants on customer payments; those have climbed steadily as well because the two dominant processors use a variety of techniques to keep their grip on that market. Those fees nearly doubled in five years, to $111 billion in 2024. Largely passed on to consumers in the form of higher prices, these charges often rank as the second- or third-highest merchant cost, after real estate and labor.

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There is nothing divinely ordained here. In other industrialized countries, the simple task of moving money — the basic function of Visa and Mastercard — is much, much less expensive. Consumer credit is likewise less expensive elsewhere in the world because of greater competition, tougher regulation and long-standing norms.

Now some American politicians want caps on card interest rates, a tool that absolutely has its place in consumer protection. A handful of states already have strict limits on interest rates, a proud legacy of an ethos of protecting the most vulnerable people against the biblical sin of usury. Texas imposes a 10% cap for lending to people in that state. Congress in 2006 chose to protect military service members via a 36% limit on interest they can be charged. In 2009, it banned an array of sneaky fees designed to extract more money from card users. Federal credit unions cannot charge more than 18% interest, including on credit cards. Brian Shearer from Vanderbilt University’s Policy Accelerator for Political Economy and Regulation has made a persuasive case for capping credit card rates for the rest of us too.

At the very least, there is every reason to ignore the stale serenade of the bank lobby that any regulation will only hurt the people we are trying to help. Credit still flows to soldiers and sailors. Credit unions still issue cards. States with usury caps still have functioning financial systems. And the 2009 law Congress passed convinced even skeptical economists that the result was a better market for consumers.

If consumers receive such commonsense protections, what’s at stake? Profit margins for banks and card networks, and there is no compelling public policy reason to protect those. Major banks have profit margins that exceed 30%, a level that is modest only compared with Visa and Mastercard, which average a margin of 45%. Meanwhile, consumers face $1. 3 trillion in debt. And retailers squeeze by with a margin around 3%; grocers make do with half that.

The market won’t fix what’s wrong with credit card fees, because the handful of businesses that control it are feasting at everyone else’s expense. We must liberate the market from the grip of the major banks and card processors and restore vibrant competition. Harnessing market forces to get better outcomes for consumers, in addition to smart regulation, is as American as apple pie.

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Fortunately, Trump has endorsed — via social media — bipartisan legislation, the Credit Card Competition Act, that would crack open the Visa-Mastercard duopoly by allowing merchants to route transactions over competing networks. Here’s hoping he follows through by getting enough congressional Republicans on board.

That change would leave us with the megabanks still controlling the credit card market. One approach would be consumer-friendly regulation of other means of credit, such as buy-now-pay-later tools or innovative payment applications, by including protections that credit cards enjoy. Ideally, Congress would cap the size of banks, something it declined to do after the 2008 financial crisis, to the enduring frustration of reformers who sought structural change. Trump entered the presidency in 2017 calling for a new Glass-Steagall, the Depression-era law that broke up big banks, but he never pursued it.

Fast forward nine years, and we find rising negative sentiment among American voters, groaning under the weight of credit card debt and a cascade of junk fees from other industries. Populist ire at corporate power is rising. The race between the two major parties to ride that feeling to victory in the November midterm elections and beyond has begun. A movement to limit the power of big banks could be but a tweet away.

Carter Dougherty is the senior fellow for antimonopoly and finance at Demand Progress, an advocacy group and think tank.

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Lockheed Martin, PG&E, Salesforce and Wells Fargo team up to help battle wildfires

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Lockheed Martin, PG&E, Salesforce and Wells Fargo team up to help battle wildfires

Lockheed Martin, PG&E Corp., Salesforce and Wells Fargo are teaming up to help firefighters and emergency responders prevent, detect and fight wildfires more quickly.

On Monday, the four companies said they’re forming a new venture called Emberpoint to advance technology while making wildfire prevention more affordable.

The ultimate vision is, you know, eliminating megafires in the United States, and maybe beyond that,” said Jim Taiclet, Lockheed Martin’s chief executive, president and chairman, in an interview.

The Emberpoint team and its technologies will be created in the coming months and demonstrations are expected some time this year. Wells Fargo is helping to fund the investment and partners have already committed more than $100 million to the new venture, Taiclet said.

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Lockheed Martin already makes aircraft and satellites to fight wildfires, but the company has also worked on integrating data from the space, ground and air to help predict where a fire might start so firefighters and helicopters can better position themselves. A lightning strike, downed power lines, improperly extinguished campfires and other events can spark wildfires. The venture’s first service will focus on firefighting intelligence.

PG&E has wildfire mitigation efforts, such as installing power lines underground in high-risk areas, and has weather stations equipped with AI-powered cameras to help detect wildfires. The company will bring its expertise to this new venture but plans to seek regulatory approval to share information with its partners as part of this new venture.

“We can actually share and return to our customers the investments they’ve made in wildfire technology, and return those investments back to customers while making our own system safer and making the state safer,” PG&E Corp. Chief Executive Patti Poppe said.

San Francisco software company Salesforce, which is behind messaging app Slack and a platform that helps companies deploy AI agents, will help organizations coordinate so they can respond to wildfires faster. The company will also help bring data from different streams into a “unified, real-time response engine.”

AI agents can help firefighters better combat a blaze by providing information such as the blaze’s perimeter and the most dangerous areas, Taiclet said.

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The partnership comes as wildfires across the globe become larger and more destructive, damaging homes, businesses and other buildings while also disrupting power. In California, where warmer temperatures, drier air and high winds fuel flames, wildfires have caused billions of dollars in damage and claimed lives. Last year, the Eaton and Palisades fires killed more than two dozen people and destroyed more than 16,000 structures, with the estimated loss totaling more than $250 billion.

The path of destruction left by wildfires has prompted major tech companies such as Nvidia and Google, along with startups and universities, to experiment with artificial intelligence to improve firefighting and detection. Drones, sensors, satellite imagery, autonomous aircraft and cameras are among tools used to manage and fight wildfires.

Lockheed Martin has teamed up with tech companies before to help battle wildfires. The defense and aerospace contractor, headquartered in Maryland, also has offices and employees throughout California, including Silicon Valley. It has roughly 10,000 employees in California.

In 2021, the company partnered with Nvidia along with state and federal forest services to create a digital version of a fire that allows firefighters and incident commanders to better understand how it spreads and find the best ways to put it out.

Last year, the California Department of Forestry and Fire Protection said it was working with Sikorsky, a Lockheed Martin company, on a five-year initiative that would enhance autonomous aerial firefighting technologies. The effort also includes exploring the development of an autonomous Sikorsky S-70i Firehawk helicopter, an aircraft used to drop gallons of water onto flames. Sikorsky has worked with California software company Rain to test out autonomous wildfire suppression technology as well.

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And Lockheed Martin has built satellites that help U.S. forecasters get images of wildfires, hurricanes and severe weather conditions.

“If we can get prediction better, detection quicker and response more robust, I think we’ve had a real chance at making a big difference here for safety of both the citizens and the firefighters,” Taiclet said.

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