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Ynon Kreiz: The CEO Mattel (and Hollywood) needed in the darkest hour

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Ynon Kreiz: The CEO Mattel (and Hollywood) needed in the darkest hour

The day “Barbie” hit theaters in July, Mattel Chief Executive Ynon Kreiz was in New York City visiting his oldest daughter and the pair decided to walk to a nearby theater for some real-time market research. Kreiz, who had been the driving force behind the decision to bring Mattel’s iconic doll to life on the big screen, loved the film, but with its fate now in the hands of the ticket-buying public, his opinion didn’t much matter. He wanted to see how people were reacting.

His answer came quickly. As he and his daughter approached, they found themselves walking among droves of people dressed in Barbie’s signature pink. And when they poked their heads into each of the five packed theaters showing the movie, they were met with roars of laughter. Some viewers were crying.

Discover the changemakers who are shaping every cultural corner of Los Angeles. This week we bring you The Disruptors. They include Mattel’s miracle maker, a modern Babe Ruth, a vendor avenger and more. All are agitators looking to rewrite the rules of influence and governance. Come back each Sunday for another installment.

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“Feeling that reaction — that audience reaction — was very telling,” he said, “and very exciting.”

What happened after opening night is now the stuff of Hollywood legend. The Greta Gerwig-directed film became an instant hit at the box office, raking in more than $1.4 billion, and kicked off a cultural phenomenon. Less well known, though, is the role the film has played in the story of Mattel’s revival. It’s a story that was written in large part by Kreiz, 59, who took the reins when the El Segundo-based company was struggling and who over his roughly six years at the helm has orchestrated a remarkable turnaround, making Mattel into one of the biggest corporate success stories of recent years.

At the heart of his plan was a move that seemed obvious to him, but which previous leaders failed to execute: Mattel needed to make a splash in the film business. To Kreiz, Mattel’s intellectual property was a gold mine. The company had a roster of instantly recognizable characters beloved by children and adults alike that he was confident could become enormously lucrative if they were exploited wisely.

For skeptics, that remains a big if. Mattel, in need of a big win in a dark hour, understandably chose to come out of the gate with its most reliable brand. The question now is whether Barbie’s success earned the toy maker’s film division enough industry respect, and breathing room, for the studio to re-create last summer’s magic with other, less potent brands, such as Hot Wheels, Polly Pocket and the card game Uno. Complicating the already uncertain road ahead, earlier this year an activist investor began agitating for the company to jettison some of its key brands to boost its middling stock price.

“This is not a novel concept where you take a strong brand in one vertical and import it to others,” Kreiz said at a conference last fall. “At Mattel, we haven’t done it. … You have ‘Fast and Furious,’ 10, and Hot Wheels, zero.” He believes with certainty that there’s an audience for such a film. After all, Mattel already sells nearly 800 million of the die-cast cars a year.

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Mattel’s consumers, Ynon Kreiz said, are more than just consumers — they are fans.

Kreiz, who gets up around 4:30 or 5 a.m. to kiteboard or get some other workout in before work, brings a similar intensity to the office. He stays impressively on message when talking about Mattel, with seemingly effortless sound bites ready at hand, barely breaking eye contact. Watch clips of his public speaking appearances and it becomes clear he repeats talking points, often word for word, his calm, personable demeanor disguising the discipline with which he approaches the CEO role.

When asked about the key to Mattel’s transformation under his leadership, Kreiz, unhurried and with animated hands, launched into a theory that he has often recounted in interviews. Mattel’s consumers, he said, are more than just consumers — they are fans.

“And when you have a lot of fans, you have an audience,” he said.

Kreiz became Mattel’s fourth chief executive in four years when he took charge, inheriting a company that needed a lifeline. He brought with him extensive experience in the entertainment industry, having made career stops at Fox Kids Europe, Endemol Group — the production company known for its unscripted programs, including “Deal or No Deal” and “Big Brother” — and Maker Studios, a short-form video studio that Disney acquired in 2014.

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The once dominant toy maker had lost its way: Some of Mattel’s biggest brands were struggling, and toy sales had been steadily declining since 2013. Its market cap had dipped more than $5 billion below that of rival Hasbro. Its second-largest customer, Toys R Us, filed for bankruptcy protection in 2017. That same year, Mattel reported a fourth-quarter loss of $281.3 million.

Kreiz needed to stop the bleeding. He restructured the company’s supply chain, reduced the number of items it produces by 35%, and cut five factories from its manufacturing lineup. The company slashed more than 2,200 jobs, 22% of its global nonmanufacturing workforce. Mattel was starting to move away from manufacturing and focus on developing its intellectual property, Kreiz told reporters. Between 2018 and 2021, Mattel said it achieved cost savings of more than a billion dollars.

Ynon Kreiz

The Mattel of today looks much different from the company five years ago. The toy maker is now outpacing Hasbro and dominating in fast-growing toy categories, such as fashion dolls, which are more popular than action figures at the moment, said Linda Bolton Weiser, a managing director and senior research analyst at D.A. Davidson who tracks consumer goods.

Kreiz’s work at Mattel hasn’t gone unnoticed. With Barbie’s wild success, he and the turnaround he’d orchestrated became the talk of corporate Hollywood. Matt Belloni, an industry prognosticator, recently anointed Kreiz “the Hollywood hero of the year” and said he was an obvious choice to replace Bob Iger at Disney.

When the first draft of the “Barbie” script landed in Kreiz’s inbox, he read it twice back to back. The text felt unconventional and special, and he loved it right away. Kreiz isn’t shy with his praise of Gerwig, often calling her a “creative genius.”

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Robbie Brenner, the head of Mattel Films, felt the same.

Kreiz ‘is going to be able to go out there and get the best partners in Hollywood to do these future projects.’

— Linda Bolton Weiser, a managing director and senior research analyst at D.A. Davidson

Brenner, a producer who was nominated for an Academy Award for “Dallas Buyers Club,” was one of Kreiz’s first hires after starting as CEO. The two met at the Polo Lounge at the Beverly Hills Hotel after an agent suggested they connect.

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“I mean, we hired Greta Gerwig for a reason, and you don’t hire Greta Gerwig and then try to cut her legs off,” Brenner added. “I think that we wanted her to fly and to tell an authentic, amazing personal story that was unique and different and bold, and surprise people.”

The film was a hit beyond expectations, both financially and in the cultural consciousness. The “Barbenheimer” opening weekend brought crowds of people back into movie theaters in numbers unheard of since the pandemic. More than a dozen fashion brands launched “Barbie” collaborations, including Zara and Vans. Burger King in Brazil sold a hamburger doused in pink sauce and French fries called “Ken’s potatoes.” “Barbiecore” was everywhere.

The movie became the highest-grossing film of 2023, surpassing $1 billion at the global box office just 17 days after its release. At a conference in September, Anthony DiSilvestro, Mattel’s chief financial officer, said that the company expected $125 million in revenue related to the “Barbie” movie — including toy sales — with a profit margin of about 60%.

Mattel declined to comment on how much its cut of the box office revenue is, but industry analysts have said the company’s take-home pay from ticket sales is in the tens of millions. In addition, insiders with knowledge of the financial arrangement said that Mattel also will receive payments for owning the rights to Barbie’s intellectual property in addition to profits as a producer of the movie, the New York Times reported.

The toy aisle also felt the effects of “Barbie” mania. Mattel’s third-quarter performance beat estimates, with sales of Barbie dolls jumping 16%. The doll category as a whole was up 27% from the previous year.

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The longer-term dividends the film will pay are harder to quantify but crucial to Mattel’s future.

“Barbie” has laid the groundwork for the future of Mattel’s entertainment sector, Bolton Weiser said. “[Kreiz] is going to be able to go out there and get the best partners in Hollywood to do these future projects. And it’s all good, you know? Very low risk for Mattel. They don’t take any big capital risks doing these entertainment events. So it all makes sense.”

Mattel Films now has 16 projects in development: A J.J. Abrams-produced Hot Wheels movie, Lily Collins and Lena Dunham signed on for Polly Pocket, and Vin Diesel as a partner for Rock ’Em Sock ’Em Robots, among others.

As the scale of “Barbie’s” success became clear, a question began to circulate: Can Mattel repeat this success story? Hollywood is a fickle beast, and the company’s use of its most resonant brand for its first act was a gamble.

“It’s difficult to imagine any other movie based on a toy ever reaching ‘Barbie’s’ heights,” Eliana Dockterman, who reviews TV and films for Time magazine, wrote in August. “Barbie is an icon. She has name recognition across the world equal to Mickey Mouse and Coca-Cola. And, sure, Hot Wheels may be popular, but won’t a Hot Wheels movie just be a racing movie, even if J.J. Abrams is at the helm as executive producer?”

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Still, Dockterman admitted that she’s curious about Mattel’s next entertainment ventures, namely “Daniel Kaluuya’s involvement with what sounds like a very meta Barney movie (as in, yes, the big purple dinosaur); whether Lena Dunham can find a quirky take on Polly Pocket; and if a Magic 8 Ball horror movie can actually prove to be scary.”

Kreiz quickly brushed off concerns of “Barbie” as a one-hit wonder. “We’re not saying that every movie will be as successful as ‘Barbie,’” he said, “but we absolutely look to have the same approach in terms of attracting and collaborating with the talent, supporting and backing the talent,” and enticing Mattel’s built-in fan base to the theater.

“The idea is to create something unique in every movie,” he added. “Every project has a unique purpose, and will have a unique voice.”

While “Barbie” captured fans’ collective imagination last year, Mattel’s future is not tied exclusively to films. Company execs like to joke that the nearly 800 million Hot Wheels sold annually make Mattel the biggest auto manufacturer in the world.

In September, the company unveiled a two-story L.A. flagship store for American Girl at the Westfield Century City Mall. On opening day, a line of toddlers to tweens, with dolls clutched to their chests and their parents in tow, lined up in front of the store’s doors. Inside, the cafe serves doll-sized pancakes on tiered serving trays alongside plates of human-sized ones. A hair and nail salon styles dolls and their humans.

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But Kreiz’s big bet on entertainment is never far off. Mattel announced in December plans to give the American Girl brand its own Hollywood treatment with a live-action movie directed by Lindsey Anderson Beer. Some of the American Girls have already starred in movies, mostly direct-to-DVD and made-for-TV films, but the company is aiming to go bigger.

Nostalgia, tapped effectively, can be a powerful force at the box office. There is a reason why studios keep reaching for reboots and reimaginings of beloved franchises — fans want to reconnect with characters with whom they have a history. But it can be a tricky business trying to nail the sweet spot of familiarity and freshness.

Kreiz thinks the company is up to the task.

“Play is our language,” he said. “This is how we start the journey. This is how we speak to our fans.”

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Block to cut more than 4,000 jobs amid AI disruption of the workplace

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Block to cut more than 4,000 jobs amid AI disruption of the workplace

Fintech company Block said Thursday that it’s cutting more than 4,000 workers or nearly half of its workforce as artificial intelligence disrupts the way people work.

The Oakland parent company of payment services Square and Cash App saw its stock surge by more than 23% in after-hours trading after making the layoff announcement.

Jack Dorsey, the co-founder and head of Block, said in a post on social media site X that the company didn’t make the decision because the company is in financial trouble.

“We’re already seeing that the intelligence tools we’re creating and using, paired with smaller and flatter teams, are enabling a new way of working which fundamentally changes what it means to build and run a company,” he said.

Block is the latest tech company to announce massive cuts as employers push workers to use more AI tools to do more with fewer people. Amazon in January said it was laying off 16,000 people as part of effort to remove layers within the company.

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Block has laid off workers in previous years. In 2025, Block said it planned to slash 931 jobs, or 8% of its workforce, citing performance and strategic issues but Dorsey said at the time that the company wasn’t trying to replace workers with AI.

As tech companies embrace AI tools that can code, generate text and do other tasks, worker anxiety about whether their jobs will be automated have heightened.

In his note to employees Dorsey said that he was weighing whether to make cuts gradually throughout months or years but chose to act immediately.

“Repeated rounds of cuts are destructive to morale, to focus, and to the trust that customers and shareholders place in our ability to lead,” he told workers. “I’d rather take a hard, clear action now and build from a position we believe in than manage a slow reduction of people toward the same outcome.”

Dorsey is also the co-founder of Twitter, which was later renamed to X after billionaire Elon Musk purchased the company in 2022.

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As of December, Block had 10,205 full-time employees globally, according to the company’s annual report. The company said it plans to reduce its workforce by the end of the second quarter of fiscal year 2026.

The company’s gross profit in 2025 reached more than $10 billion, up 17% compared to the previous year.

Dorsey said he plans to address employees in a live video session and noted that their emails and Slack will remain open until Thursday evening so they can say goodbye to colleagues.

“I know doing it this way might feel awkward,” he said. “I’d rather it feel awkward and human than efficient and cold.”

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WGA cancels Los Angeles awards show amid labor strike

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WGA cancels Los Angeles awards show amid labor strike

The Writers Guild of America West has canceled its awards ceremony scheduled to take place March 8 as its staff union members continue to strike, demanding higher pay and protections against artificial intelligence.

In a letter sent to members on Sunday, WGA West’s board of directors, including President Michele Mulroney, wrote, “The non-supervisory staff of the WGAW are currently on strike and the Guild would not ask our members or guests to cross a picket line to attend the awards show. The WGAW staff have a right to strike and our exceptional nominees and honorees deserve an uncomplicated celebration of their achievements.”

The New York ceremony, scheduled on the same day, is expected go forward while an alternative celebration for Los Angeles-based nominees will take place at a later date, according to the letter.

Comedian and actor Atsuko Okatsuka was set to host the L.A. show, while filmmaker James Cameron was to receive the WGA West Laurel Award.

WGA union staffers have been striking outside the guild’s Los Angeles headquarters on Fairfax Avenue since Feb. 17. The union alleged that management did not intend to reach an agreement on the pending contract. Further, it claimed that guild management had “surveilled workers for union activity, terminated union supporters, and engaged in bad faith surface bargaining.”

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On Tuesday, the labor organization said that management had raised the specter of canceling the ceremony during a call about contraction negotiations.

“Make no mistake: this is an attempt by WGAW management to drive a wedge between WGSU and WGA membership when we should be building unity ahead of MBA [Minimum Basic Agreement] negotiations with the AMPTP [Alliance of Motion Picture and Television Producers],” wrote the staff union. “We urge Guild management to end this strike now,” the union wrote on Instagram.

The union, made up of more than 100 employees who work in areas including legal, communications and residuals, was formed last spring and first authorized a strike in January with 82% of its members. Contract negotiations, which began in September, have focused on the use of artificial intelligence, pay raises and “basic protections” including grievance procedures.

The WGA has said that it offered “comprehensive proposals with numerous union protections and improvements to compensation and benefits.”

The ceremony’s cancellation, coming just weeks before the Academy Awards, casts a shadow over the upcoming contraction negotiations between the WGA and the Alliance of Motion Picture and Television Producers, which represents the studios and streamers.

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In 2023, the WGA went on a strike lasting 148 days, the second-longest strike in the union’s history.

Times staff writer Cerys Davies contributed to this report.

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Commentary: The Pentagon is demanding to use Claude AI as it pleases. Claude told me that’s ‘dangerous’

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Commentary: The Pentagon is demanding to use Claude AI as it pleases. Claude told me that’s ‘dangerous’

Recently, I asked Claude, an artificial-intelligence thingy at the center of a standoff with the Pentagon, if it could be dangerous in the wrong hands.

Say, for example, hands that wanted to put a tight net of surveillance around every American citizen, monitoring our lives in real time to ensure our compliance with government.

“Yes. Honestly, yes,” Claude replied. “I can process and synthesize enormous amounts of information very quickly. That’s great for research. But hooked into surveillance infrastructure, that same capability could be used to monitor, profile and flag people at a scale no human analyst could match. The danger isn’t that I’d want to do that — it’s that I’d be good at it.”

That danger is also imminent.

Claude’s maker, the Silicon Valley company Anthropic, is in a showdown over ethics with the Pentagon. Specifically, Anthropic has said it does not want Claude to be used for either domestic surveillance of Americans, or to handle deadly military operations, such as drone attacks, without human supervision.

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Those are two red lines that seem rather reasonable, even to Claude.

However, the Pentagon — specifically Pete Hegseth, our secretary of Defense who prefers the made-up title of secretary of war — has given Anthropic until Friday evening to back off of that position, and allow the military to use Claude for any “lawful” purpose it sees fit.

Defense Secretary Pete Hegseth, center, arrives for the State of the Union address in the House Chamber of the U.S. Capitol on Tuesday.

(Tom Williams / CQ-Roll Call Inc. via Getty Images)

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The or-else attached to this ultimatum is big. The U.S. government is threatening not just to cut its contract with Anthropic, but to perhaps use a wartime law to force the company to comply or use another legal avenue to prevent any company that does business with the government from also doing business with Anthropic. That might not be a death sentence, but it’s pretty crippling.

Other AI companies, such as white rights’ advocate Elon Musk’s Grok, have already agreed to the Pentagon’s do-as-you-please proposal. The problem is, Claude is the only AI currently cleared for such high-level work. The whole fiasco came to light after our recent raid in Venezuela, when Anthropic reportedly inquired after the fact if another Silicon Valley company involved in the operation, Palantir, had used Claude. It had.

Palantir is known, among other things, for its surveillance technologies and growing association with Immigration and Customs Enforcement. It’s also at the center of an effort by the Trump administration to share government data across departments about individual citizens, effectively breaking down privacy and security barriers that have existed for decades. The company’s founder, the right-wing political heavyweight Peter Thiel, often gives lectures about the Antichrist and is credited with helping JD Vance wiggle into his vice presidential role.

Anthropic’s co-founder, Dario Amodei, could be considered the anti-Thiel. He began Anthropic because he believed that artificial intelligence could be just as dangerous as it could be powerful if we aren’t careful, and wanted a company that would prioritize the careful part.

Again, seems like common sense, but Amodei and Anthropic are the outliers in an industry that has long argued that nearly all safety regulations hamper American efforts to be fastest and best at artificial intelligence (although even they have conceded some to this pressure).

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Not long ago, Amodei wrote an essay in which he agreed that AI was beneficial and necessary for democracies, but “we cannot ignore the potential for abuse of these technologies by democratic governments themselves.”

He warned that a few bad actors could have the ability to circumvent safeguards, maybe even laws, which are already eroding in some democracies — not that I’m naming any here.

“We should arm democracies with AI,” he said. “But we should do so carefully and within limits: they are the immune system we need to fight autocracies, but like the immune system, there is some risk of them turning on us and becoming a threat themselves.”

For example, while the 4th Amendment technically bars the government from mass surveillance, it was written before Claude was even imagined in science fiction. Amodei warns that an AI tool like Claude could “conduct massively scaled recordings of all public conversations.” This could be fair game territory for legally recording because law has not kept pace with technology.

Emil Michael, the undersecretary of war, wrote on X Thursday that he agreed mass surveillance was unlawful, and the Department of Defense “would never do it.” But also, “We won’t have any BigTech company decide Americans’ civil liberties.”

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Kind of a weird statement, since Amodei is basically on the side of protecting civil rights, which means the Department of Defense is arguing it’s bad for private people and entities to do that? And also, isn’t the Department of Homeland Security already creating some secretive database of immigration protesters? So maybe the worry isn’t that exaggerated?

Help, Claude! Make it make sense.

If that Orwellian logic isn’t alarming enough, I also asked Claude about the other red line Anthropic holds — the possibility of allowing it to run deadly operations without human oversight.

Claude pointed out something chilling. It’s not that it would go rogue, it’s that it would be too efficient and fast.

“If the instructions are ‘identify and target’ and there’s no human checkpoint, the speed and scale at which that could operate is genuinely frightening,” Claude informed me.

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Just to top that with a cherry, a recent study found that in war games, AI’s escalated to nuclear options 95% of the time.

I pointed out to Claude that these military decisions are usually made with loyalty to America as the highest priority. Could Claude be trusted to feel that loyalty, the patriotism and purpose, that our human soldiers are guided by?

“I don’t have that,” Claude said, pointing out that it wasn’t “born” in the U.S., doesn’t have a “life” here and doesn’t “have people I love there.” So an American life has no greater value than “a civilian life on the other side of a conflict.”

OK then.

“A country entrusting lethal decisions to a system that doesn’t share its loyalties is taking a profound risk, even if that system is trying to be principled,” Claude added. “The loyalty, accountability and shared identity that humans bring to those decisions is part of what makes them legitimate within a society. I can’t provide that legitimacy. I’m not sure any AI can.”

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You know who can provide that legitimacy? Our elected leaders.

It is ludicrous that Amodei and Anthropic are in this position, a complete abdication on the part of our legislative bodies to create rules and regulations that are clearly and urgently needed.

Of course corporations shouldn’t be making the rules of war. But neither should Hegseth. Thursday, Amodei doubled down on his objections, saying that while the company continues to negotiate and wants to work with the Pentagon, “we cannot in good conscience accede to their request.”

Thank goodness Anthropic has the courage and foresight to raise the issue and hold its ground — without its pushback, these capabilities would have been handed to the government with barely a ripple in our conscientiousness and virtually no oversight.

Every senator, every House member, every presidential candidate should be screaming for AI regulation right now, pledging to get it done without regard to party, and demanding the Department of Defense back off its ridiculous threat while the issue is hashed out.

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Because when the machine tells us it’s dangerous to trust it, we should believe it.

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