Business
The WGA and AMPTP are talking again. Why the studios were motivated to return to the table

When film and television writers went on strike 108 days ago, most assumed the studios and streamers would hunker down for a long fight.
The companies, many of which are saddled with debt, could save money by cutting costly producer deals and pausing production of movies and TV shows. Industry news outlet Deadline quoted an anonymous executive who suggested that studios were ready to hold out until writers started losing their homes, which stoked outrage on picket lines.
As the negotiations resume, it’s still uncertain how much the Writers Guild of America and the studios are willing to bend to reach a compromise, or what precise shape a deal wouldtake. Sources close to the negotiations say the sides remain far apart on key issues.
But it’s become increasingly clear that the major studios and streamers, represented by the Alliance of Motion Picture and Television Producers, are motivated to end the work stoppages that have roiled Hollywood. The SAG-AFTRA actors’ union joined the WGA by going on strike last month.
What changed? Several factors have prompted a new sense of urgency, according to interviews with multiple people close to the negotiations who were not authorized to comment.
The actors’ strike dramatically upped the stakes, wreaking havoc on production plans and creating more economic uncertainty for the major companies, including streaming giant Netflix, the Walt Disney Co., Warner Bros. Discovery, Paramount Global and NBCUniversal.
The economic reverberations have been felt throughout the city, with businesses including prop houses and other small firms struggling to make ends meet, prompting politicians such as Los Angeles Mayor Karen Bass to demand an end to the strikes.
“With each day that goes on, the economic damage is further intensified,” said Todd Holmes, associate professor of entertainment media management at Cal State Northridge, who estimated that the economic damage of the dual strikes on California was at least $3 billion so far and that it could balloon to $4 billion to $5 billion if the strikes were to stretch into October.
Media executives, many of whom remember the bruising writers’ strike 15 years ago, have insisted that they never wanted a prolonged fight, for these very reasons. The chief executives also recognized that they needed to be more involved after weeks of little progress.
Netflix co-Chief Executive Ted Sarandos and Sony Pictures chief Tony Vinciquerra were initially among the most active executives to try to facilitate compromises, but in the last two weeks other leaders, including Universal’s Donna Langley and CBS Chief Executive George Cheeks — have helped to find common ground among the various companies.
Disney Chief Executive Bob Iger has also taken a more active role, along with producer and former studio chief Peter Chernin, who played a prominent role in the previous writers’ strike.
In recent weeks, movie studio executives have grown increasingly worried about the threat to their 2024 release slates. The studios need A-list talent to help them promote their projects, and they need to finish the ones in production. Sony recently pushed back the release of films including “Spider-Man: Beyond the Spider-Verse.”
“You don’t want to give the audience more reasons to leave,” said one veteran executive.
Streamers are also under pressure, but for their own reasons.
Netflix’s Sarandos has advocated for renewing talks, sources say, despite the fact that many writers blame his company for fueling the labor dispute, which some have dubbed the “Netflix strike.”
Also, the writers’ strike has shined a harsh light on labor tensions Netflix is facing in such countries as Korea, home of the popular series “Squid Game.” Korean artists, including actors and writers such as “Squid Game” creator Hwang Dong-hyuk, are pushing Netflix for more pay for creators — echoing demands of writers marching outside the company’s Sunset Boulevard offices.
In earnings presentations this year, Sarandos has struck a conciliatory tone, saying he was “super committed” to getting agreements done. Other executives have taken a similar tack to tamp down the rhetoric. Iger, who previously took heat for describing union demands as “not realistic,” more recently told investors that he was “personally committed” to finding solutions to the WGA and SAG-AFTRA strikes.
The alliance that represents the major studios met with the WGA negotiating committee Tuesday, during which the union responded to the companies’ latest proposals. The AMPTP declined to comment. The WGA has not commented on any of specifics of the alliance’s new offer.
Union members such as “The Wire” creator David Simon have warned fellow writers against trusting press leaks from studio sources, calling such disclosures “tactical.”
There has been movement on two major sticking points, sources said, raising hopes that the two sides might finally find a path to a deal.
The WGA has demanded that there be a minimum number of staffing for TV series writers’ rooms. Writers said they have suffered economically as the number of episodes in a season has gotten shorter on streaming services, with fewer writers involved in development.
Studios have attempted to address that issue in their latest proposal, which indicates a step forward. Variety reported that showrunners would get “significant authority to set the size of the staff,” factoring in a show’s budget. It is not clear, however, that such a system would sufficiently address the WGA’s concerns.
The topic is fraught for studios, in part, because they don’t want writers to set quotas on the number of people the companies must hire. Studio executives said some writer-producers have indicated that they want more flexibility to determine their own staffing needs.
Studio executives say they want a solution that would allow some leeway while providing more opportunities for early-career writers to be more involved in the process to learn what it takes to run a show.
Streamers also have been criticized by actors and writers for not providing enough data to explain how they determine success. Writers are seeking a payment system that would reward them financially in the event that their shows were to succeed. The studios offered to share data on how many hours people watched programs on streaming services, Bloomberg first reported.
Despite glimmers of hope, the strikes drag on.
Bryan Behar, a writer, executive producer and showrunner on “Fuller House,” posted on social media this week that while a lot of his enthusiasm had gone after 106 days of striking, his “resolve” hadn’t gone away.
“And it won’t,” Behar posted on X, formerly known as Twitter, with a selfie at the Fox lot. “Not until the AMPTP steps up to make a fair deal. Hasn’t happened yet.”

Business
The Imports the U.S. Relies On Most From 140 Nations, From Albania to Zimbabwe

President Trump’s on-and-off tariffs have created deep uncertainty about the cost of imported goods — and it’s not always clear what goods will be most affected with any given country.
The largest U.S. imports from many countries are oil and gas, electronics, cars and pharmaceuticals. But there’s another way to look at what Americans import: trying to measure a country’s distinct contribution to the U.S.’s total needs.
For example, China’s largest exports to the U.S. — by dollar value — are electronics. But the U.S. also imports large quantities of electronics from elsewhere. Nearly 100 percent of imported baby carriages, however, come from China.
Switzerland, meanwhile, is responsible for nearly all of America’s imported precious metal watches. Ethiopia, on the other hand, sends the U.S. around 2 percent of its imported knit babies’ clothes — but that’s a larger share than for any other item it exports to the U.S.
The table below shows the item the U.S. relies on most from each of 140 trading partners. (We took out items that the U.S. also exports in large quantities, such as petroleum.)
What the U.S. is most reliant on from each country
COUNTRY | ITEM | Pct. of U.S. imports from here |
|
---|---|---|---|
Canada | Live pigs | >99% | |
Peru | Calcium phosphates | >99% | |
South Africa | Chromium ore | 98% | |
Switzerland | Precious metal watches | 98% | |
China | Baby carriages | 97% | |
Mexico | Self-propelled rail transport | 94% | |
Portugal | Natural cork articles | 93% | |
India | Synthetic reconstructed jewelry stones | 89% | |
Italy | Vermouth | 86% | |
Indonesia | Palm oil | 85% | |
Madagascar | Vanilla | 80% | |
Turkey | Retail artificial filament yarn | 79% | |
Brazil | Semi-finished iron | 76% | |
Vietnam | Coconuts, brazil nuts, and cashews | 75% | |
Australia | Sheep and goat meat | 74% | |
New Zealand | Misc. animal fats | 73% | |
Gabon | Manganese ore | 71% | |
Chile | Refined copper | 71% | |
Netherlands | Bulbs and roots | 70% | |
Spain | Olive oil | 62% | |
Taiwan | Tapioca | 62% | |
Argentina | Groundnut oil | 60% | |
Colombia | Cut flowers | 60% | |
Bolivia | Tungsten ore | 59% | |
Dominican Republic | Rolled tobacco | 59% | |
Cote d’Ivoire | Cocoa paste | 59% | |
Germany | Felt machinery | 58% | |
Finland | Cobalt oxides and hydroxides | 56% | |
Japan | Pianos | 52% | |
Israel | Phosphatic fertilizers | 50% | |
Philippines | Coconut oil | 50% | |
France | Insect resins | 50% | |
Thailand | Sugar preserved foods | 47% | |
Malaysia | Rubber apparel | 46% | |
Ireland | Sulfonamides | 45% | |
Pakistan | Light mixed woven cotton | 43% | |
Singapore | Glass with edge workings | 39% | |
Guatemala | Bananas | 38% | |
Ecuador | Cocoa beans | 38% | |
South Korea | Rubber inner tubes | 33% | |
Jamaica | Aluminum ore | 33% | |
Bangladesh | Non-knit babies’ garments | 31% | |
Austria | Handguns | 29% | |
United Kingdom | Antiques | 28% | |
Cambodia | Gum coated textile fabric | 25% | |
Nicaragua | Rolled tobacco | 24% | |
Guyana | Aluminum ore | 24% | |
Ukraine | Seed oils | 24% | |
Belgium | Flax woven fabric | 22% | |
Bahrain | Stranded aluminum wire | 22% | |
Sri Lanka | Coconut and other vegetable fibers | 21% | |
Morocco | Barium sulphate | 20% | |
Romania | Steel ingots | 19% | |
Norway | Carbides | 19% | |
Sweden | Stainless steel ingots | 17% | |
Costa Rica | Bananas | 16% | |
Honduras | Molasses | 16% | |
Paraguay | Wood charcoal | 16% | |
Denmark | Casein | 15% | |
Tunisia | Pure olive oil | 15% | |
Russia | Phosphatic fertilizers | 15% | |
Fiji | Water | 15% | |
Hong Kong | Pearls | 13% | |
Nepal | Knotted carpets | 13% | |
Poland | Processed mushrooms | 12% | |
Lebanon | Phosphatic fertilizers | 12% | |
Croatia | Handguns | 12% | |
Bulgaria | Non-retail combed wool yarn | 12% | |
Laos | Barium sulphate | 12% | |
Mozambique | Titanium ore | 11% | |
Ghana | Cocoa beans | 11% | |
Bahamas | Gravel and crushed stone | 10% | |
Greece | Dried, salted, smoked or brined fish | 10% | |
Jordan | Knit men’s coats | 10% | |
Czech Republic | Rolling machines | 10% | |
El Salvador | Molasses | 10% | |
Egypt | Spice seeds | 10% | |
United Arab Emirates | Raw aluminum | 9% | |
Uganda | Vanilla | 9% | |
Nigeria | Raw lead | 9% | |
Uruguay | Bovine, sheep, and goat fat | 9% | |
Latvia | Book-binding machines | 9% | |
Kazakhstan | Ironmaking alloys | 8% | |
Cameroon | Cocoa paste | 8% | |
Lithuania | Wheat gluten | 8% | |
Oman | Metal office supplies | 8% | |
Hungary | Seed oils | 7% | |
Belize | Molasses | 7% | |
Faroe Islands | Non-fillet fresh fish | 6% | |
Qatar | Pearls | 6% | |
Myanmar | Misc. knit clothing accessories | 5% | |
Zambia | Precious stones | 5% | |
Slovenia | Packaged medications | 5% | |
Senegal | Titanium ore | 5% | |
Algeria | Cement | 4% | |
Haiti | Knit T-shirts | 4% | |
Kenya | Titanium ore | 4% | |
Liechtenstein | Iron nails | 4% | |
Georgia | Ironmaking alloys | 4% | |
Liberia | Rubber | 4% | |
Serbia | Rubber inner tubes | 4% | |
Iceland | Fish fillets | 4% | |
Democratic Republic of the Congo | Refined copper | 3% | |
Botswana | Diamonds | 3% | |
Chad | Insect resins | 3% | |
Zimbabwe | Leather further prepared after tanning or crusting | 3% | |
Luxembourg | Polyamide fabric | 3% | |
Panama | Non-fillet fresh fish | 3% | |
Albania | Ironmaking alloys | 3% | |
Estonia | Fishing and hunting equipment | 2% | |
Ethiopia | Knit babies’ garments | 2% | |
Namibia | Wood charcoal | 2% | |
Venezuela | Processed crustaceans | 2% | |
Slovakia | Rubber tires | 2% | |
Lesotho | Knit men’s shirts | 2% | |
Tanzania | Precious stones | 2% | |
Papua New Guinea | Vanilla | 1% | |
Mauritius | Processed fish | 1% | |
Saudi Arabia | Iron nails | 1% | |
Moldova | Wine | ||
Suriname | Non-fillet fresh fish | ||
Angola | Pig iron | ||
Armenia | Diamonds | ||
Trinidad and Tobago | Non-fillet fresh fish | ||
Macau | Knitted hats | ||
North Macedonia | Curbstones | ||
Togo | Fake hair | ||
Bosnia and Herzegovina | Non-knit women’s coats | ||
Republic of the Congo | Antiques | ||
Azerbaijan | Ironmaking alloys | ||
Iraq | Antiques | ||
Libya | Misc. vegetable products | ||
Cyprus | Olive oil | ||
Kuwait | Ironmaking alloys | ||
Malta | Air conditioners | ||
British Virgin Islands | Diamonds | ||
Brunei | Knit T-shirts | ||
Cayman Islands | Phones | ||
Equatorial Guinea | Knitted hats | ||
Sint Maarten | Hard liquor |
Curious where the U.S. imports a particular item from? You can look it up below.
Searchable table
Computers $138.5 billion in imports | ||
Mexico | 35% | |
China | 26% | |
Taiwan | 19% | |
Vietnam | 11% | |
Thailand | 5% | |
Phones $119 billion | ||
China | 42% | |
Vietnam | 17% | |
Mexico | 9% | |
India | 7% | |
Thailand | 7% | |
Packaged medications $100.4 billion | ||
Ireland | 16% | |
Switzerland | 12% | |
India | 12% | |
Italy | 7% | |
China | 6% |
About the data
We analyzed U.S. International Trade Commission data on goods imported for consumption in 2024. We used product descriptions from the Observatory of Economic Complexity to label the goods, and edited these descriptions lightly.
We grouped goods using the first four digits of their code in the Harmonized Tariff Schedule, which lists categories of products.
We excluded goods that are widely produced in the U.S., using export data to remove goods where the U.S. exports at least 25 percent of what it imports by value.
We included only trading partners that export at least $50 million of goods each year to the U.S.
Business
From 'Squid Game' to 'Frankenstein,' Netflix takes brand promotion to a new level at Tudum
Vanessa Agabo-Davalos has spent hours watching the dystopian drama “Squid Game” on Netflix. But nothing could prepare the 21-year-old college student for seeing one of the show’s actors walk the red carpet a few feet in front of her.
She found herself starstruck in the presence of Kang Ae-sim, who portrays Geum-ja (Player 149) on the South Korean thriller. All the more so when they snapped a photo together.
“You forget everything. You forget how to talk — it’s just like ‘Wow, I saw you on TV,’” said Agabo-Davalos, who traveled an hour from the Inland Empire and can’t wait to see the final season this month. “I feel like it’s a dream come true for the ones that really enjoyed these shows.”
She was among the more than 9,500 Netflix fans who gathered Saturday at the Kia Forum in Inglewood for Netflix‘s Tudum live event, an hours-long extravaganza meant to hype up audiences for upcoming series, movies and returning franchises.
People traveled from all over the world to celebrate their love for shows including “Squid Game,” Addams Family series “Wednesday” and sci-fi show “Stranger Things.”
During Netflix’s variety-show like program onstage at the famed venue, the company showed off how its computer animated version of Tony Tony Chopper, a toddler-sized reindeer-boy character in the live action pirate series “One Piece,” would appear in the upcoming season.
Oscar-winning director Guillermo del Toro unveiled a new teaser trailer for his November Netflix movie, “Frankenstein,” starring Oscar Isaac and Mia Goth, who both appeared onstage with the filmmaker. Fans also saw the first six minutes of the first episode of Season 2 of “Wednesday,” which will be released in August.
The event, named after the sound that plays before a Netflix program begins (“tuh-dum”), was part of Netflix’s ongoing effort to harness the enthusiasm its viewers have for its most popular programs and inspire them to keep streaming.
“It is about celebrating fans and giving something back to them,” Netflix’s Chief Marketing Officer Marian Lee told The Times after the event. “Of course it is also about promoting … we have a huge slate coming up.”
Netflix hosted the first Tudum event in 2020 in São Paulo, which came from the company’s Brazil team, which had an idea for an event that rewarded the streamer’s fans of young adult shows. That later led to Tudum evolving into different formats including festivals and livestreams, events that were more like a fan convention.
In 2023, Netflix held Tudum again in São Paulo, drawing more than 35,000 attendees and more than 78 million views through Netflix’s social channels.
But Saturday’s festivities in Inglewood took Netflix brand promotion to a new level.
It was the first time Tudum was livestreamed directly on Netflix, rather than on YouTube or social media outlets. The event played like a roughly two-hour live variety show, featuring “ask me anything” segments, as well as performances from music artists including Lady Gaga, who appears in the next season of “Wednesday.”
Xavier Woods, left, and Kofi Kingston attend Netflix Tudum 2025: The Live Event at the Kia Forum on Saturday in Inglewood.
(Emma McIntyre/Getty Images for Netflix)
There was plenty of cross promotion of Netflix content during the show, as WWE wrestlers talked about why people should tune into their weekly live show on the platform, while also speaking about their love for “One Piece,” based on manga.
Tudum host Sofia Carson touted her upcoming Netflix movie, “My Oxford Year,” which also stars Corey Mylchreest, known for portraying King George III in Georgian era romance series “Queen Charlotte” from the “Bridgerton” universe. Sesame Street‘s Cookie Monster also made an appearance with actors Ben Affleck and Matt Damon, who star in the new Netflix movie “The RIP.”
“I don’t think another studio can pull this off in the way that we did,” Lee said. “Fandoms can be unique and distinct. They’re putting all those fans in a room together, WWE fans next to [mystery movie] ‘Knives Out’ fans next to Lady Gaga fans for ‘Wednesday.’ That’s an incredible achievement. That is something only Netflix can do.”
To some people, Tudum is a page borrowed from Walt Disney Co., which hosts the biennial D23 fan convention in Anaheim, pulling together disparate fandoms (Disney princesses, Marvel, Pixar, Star Wars) to converge in the same place. It raises the question: Does Netflix, a streaming service that produces shows from just about every genre for just about every kind of audience, have fans in the same way that Disney does?
Over the years, Netflix has expanded its live events and in-person experiences to keep viewers engaged. Those have included “Bridgerton” balls, Netflix-themed eateries and retail stores selling merch based on “Stranger Things” and other shows.
Lee declined to say how much Netflix spent on the event. Some fans bought tickets, ranging from $25 to $75, while others said they scored free tickets. Netflix said tickets sold out in about a week.
Netflix doesn’t have iconic animated characters like Mickey Mouse or storied franchises like “Star Wars” or Marvel. But Netflix’s strategy is to have something for everyone, and because of that, people are reluctant to quit it, industry observers say, even as economic anxieties run rampant.
“That is the competitive advantage of Netflix,” said Larry Vincent, a marketing professor at USC Marshall School of Business. “It really has become the big tent of streaming. They’ve invested pretty significantly to develop a stockpile of content.”
The streamer said last year it had more than 301 million subscribers globally. On Saturday, the attendees reflected that expansive audience.
Netflix Tudum 2025: The Live Event at the Kia Forum on Saturday in Inglewood.
(Adam Rose/Netflix)
Fans dressed up as their favorite characters from Netflix shows. People wore black dresses similar to Wednesday’s attire, straw hats in support of “One Piece” and green tracksuits like the ones players wear in the deadly “Squid Game.”
When Cookie Monster appeared behind a DJ booth on the “N” shaped red carpet to sing “‘C’ is for Cookie,” adults in “Squid Game” tracksuits joined in the chorus.
“It’s all-encompassing and global and passionate,” Tudum host Carson, known for starring in Netflix movies including “Carry-On” and “Purple Hearts,” said in an interview after the event ended. “It is truly extraordinary to feel the love from every single part of the world — it crosses languages, it crosses cultures.”
Shaheidi Jimenez, 21, came to the Netflix event as a fan of “Wednesday” and “Squid Game.” She hadn’t watched “Stranger Things,” but seeing the screaming fans for the show’s actors on the red carpet made her more curious about the sci-fi series.
“When I see the cast, it makes me want to watch it now,” Jimenez said. “I’m familiar with them more. It makes me want to watch the show and probably get into it.”
Business
L.A. wildfire victims uncertain about returning to their burned neighborhoods

A new survey of victims of the Palisades and Eaton fires shows most would like to return to their old neighborhoods, but they’re worried that government officials can’t make it happen soon enough.
The vast majority of burned-out homeowners surveyed said they intend to rebuild the homes destroyed in the devastating January fires — yet half say they are unwilling to wait more than three years to return.
Urgency on all fronts is paramount to a successful revival of the lost neighborhoods, Los Angeles real estate developer Clare De Briere said.
She helped oversee the survey conducted by Project Recovery, a group of public and private real estate experts who compiled a report in March on what steps can be taken to speed revival as displaced residents weigh their options to return to Pacific Palisades, Altadena, Malibu and other affected neighborhoods.
The report was compiled by professors in the real estate graduate schools at USC and UCLA, along with the Los Angeles chapter of the Urban Land Institute, a real estate nonprofit education and research institute.
For the follow-up survey, Project Recovery tracked down nearly 350 homeowners who experienced total loss or significant damage to their properties to determine their preferences for the future. Most would like to return, but are skeptical about their chances to get back in the near future and will only wait so long before settling in elsewhere.
“For every year it takes to at least start the rebuilding, 20% of the population will find another another place to go,” De Briere said. “If that statistic is right, then after five years, you’re going to have a whole new community there, so it won’t be the same.
“You won’t have the same people remembering the same parades and the same soccer teams, or the librarian who used to have story hour in the local library. All that sort of cultural memory gets, gets wiped out,” she said.
The Project Recovery report outlines a plan to get homes rebuilt within three years after the land is cleared for redevelopment, but it requires close, constant cooperation between builders and public officials overseeing construction approval and restoration of infrastructure such as water and power.
In the recent survey, the top concern of displaced homeowners “was about the lack of leadership, both on the city and the county side to get it done,” she said.
That response came as a surprise to De Briere, who expected affordability to be the chief concern, since many homeowners are indeed worried that they won’t have enough money to rebuild the way they want.
But it typically takes up to 18 months to get a building permit in Los Angeles, a process that needs to be reduced to one to two months, Project Recovery said.
That would require using an expedited process being explored by Los Angeles officials that would allow licensed architects, engineers and design professionals to “self-certify” building plans and specifications as compliant with objective building code requirements. Artificial intelligence could crosscheck their assertions far faster than human staff would be able to do it.
Other major concerns among homeowners surveyed was that rebuilding would take too long and that their communities may never be the same.
Homeowners also worry about being in a fire zone or a landslide zone, she said.
The report authors hope that the rebuilding process will bring better knowledge about managing the ways homes interact with the potentially combustible environment around them.
“If we don’t do it differently, we’re going to have the same thing happen in Beverly Hills, and Bel Air, in Silver Lake, Los Feliz and Echo Park,” De Briere said. “This is what happens when we’re living this close to nature and we’re not managing it right.”
Other findings of the survey included:
- Two-thirds of those affected by the Palisades fire say they are uncertain they will have sufficient resources to fully cover rebuilding expenses and additional living costs that are not covered by insurance. In the Eaton fire area, 82% either do not have or are uncertain they will have sufficient resources.
- In the Palisades area, 70% of homeowners may not return if it takes more than three years to rebuild. In the Eaton fire area, 63% may not return after three years.
- A “look-alike” rebuild within 110% of their prior home size is planned by 77% of people who want to return to the Palisades fire area, while 84% plan a similar rebuild in the Eaton fire area.
- On average, homeowners in both areas expect about 70% of their rebuilding costs to be covered by insurance. On the low end of anticipated insurance support, 13% from the Palisades fire area and 19% from the Eaton fire area expect that between zero and 50% of their rebuilding costs will be covered by insurance.
- Owners estimate it will cost about $800 per square foot to rebuild in the Palisades fire area and $570 per square foot in the Eaton fire area.
- Cost is the top concern for owners in the Palisades fire area with a net worth of less than $5 million, and quality is the No. 1 concern for those with a net worth of less than $1 million in the Eaton fire area.
- More than 60% of homeowners in both areas are willing to forgo customization of their new homes if financial compromises are necessary.
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