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How J Balvin's thoughts about his first car reconnected him with reggaeton

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How J Balvin's thoughts about his first car reconnected him with reggaeton

José Balvin remembers being 17 when he noticed an ad for a used 1997 Volkswagen Golf in the local newspaper. With dreams of driving around Colombia to sing reggaeton and sell CDs out of a trunk, he felt that the only thing he needed to make them a reality was this car.

“I didn’t have any money and my dad also was super broke. But he knew that I really loved it, and he knew my purpose with it,” said Balvin.

The vehicle, fondly named Rayo, took the fresh-faced singer to every city in Colombia willing to give him a chance. Now, seven albums and six Latin Grammys later, the 39-year-old self-proclaimed “Prince of Reggaeton” returns to his first car as the main source of inspiration behind his newest project, “Rayo.”

J Balvin poses at L.A.’s Petersen Automotive Museum.

(Michael Blackshire/Los Angeles Times)

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Per request of the singer’s team, I meet the “Mi Gente” singer at the Petersen Automotive Museum. Shiny lowriders fill the lobby while high-end sports cars of the past and prototypes of the future fill its four floors to the brim. Inside, J Balvin spots the museum’s “crown jewel” — a 1925 Rolls-Royce Phantom — and behind his flashy chrome sunglasses, his eyes widen. The glassy black car with a seductive red interior exudes the feeling of true luxury, something the singer has become accustomed to. Dubbed “the rarest Rolls-Royce in existence” by the museum, the vintage vehicle is circled by Balvin, who takes in every small detail, from its circular doors to its reflective grill. The same teenager who was excited about a newspaper ad emerges, playfully insisting it’s the only car he wants to be photographed with.

As he continues to lap the Rolls-Royce, his silver accessories, a grill for his bottom teeth and lustrous Jordan sneakers, shine from under his all-black attire. His outfit aligns with the vision of “Rayo” — its album cover depicts a luxury-looking, metallic version of his Volkswagen with scissor-style doors.

As a unifying symbol of the singer’s beginnings and the life he leads today, his seventh studio album attempts to make these two versions of Balvin meet sonically. Turning to the pure sounds of reggaeton he has built his legacy around, “Rayo” evaluates how Balvin can distinguish himself in today’s Latin music scene.

The world first came to know J Balvin with his debut studio album, “Mi Familia.” The 2013 release helped popularize the then-fresh blend of reggaeton with current hip-hop and club-style beats. Consistent hits like his first No. 1 on Billboard’s Latin Airplay, “6 AM,” and “Ay Vamos,” the first video to reach a billion YouTube views by a “Latin urban/reggaeton artist,” put him on the frontlines of the genre at the time.

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By the end of the 2010s, his reach expanded beyond the Latin market. With the 2017 release of “Mi Gente,” Balvin became the first entirely Spanish-language song to ever top Spotify’s Global chart, which eventually garnered a remix with Beyonce. With frequent collaborations with fellow high-profile artists such as Cardi B, Bad Bunny and Rosalia, he dethroned Drake as Spotify’s most listened to artist worldwide in 2018. To this day, he still holds the title of Spotify’s second most streamed Latin artist in the world, under Bad Bunny.

J Balvin flashes his silver grill.

J Balvin flashes his silver grill.

(Michael Blackshire/Los Angeles Times)

As he released his sixth album, “Jose” in 2021, his reputation began to crumble. He became the subject of several controversies — a multilayered industry beef with Puerto Rican rapper Residente; the offensive nature of the “Perra” video, which had Black women dressed as dogs on leashes; and his contentious acceptance of the Afro-Latin artist of the year award by the African Entertainment Awards.

Balvin hit a breaking point, not only in his image but also in his sound.

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“Once you start doing what people want, you start losing your identity. But that’s not me,” said Balvin. “I see this point of strength where people want to keep going with the trend. It’s OK. But what makes me special is me.”

After finishing a 10-year record deal with Universal Music Latino, Balvin inked a new contract with Interscope Capitol in May. Nir Seroussi, the executive vice president of Interscope Capitol Labels Group, looks to the singer as “an ambassador of Latin music.”

“We all have our ups and downs. Regardless of what has happened, what matters at the end of the day is how you are able to get up. That’s just really been my focus [with Balvin],” said Seroussi. “The Jose I know is someone who is very mature and disciplined. He’s like a boxer getting ready to go into the ring. He’s at the top of his game for his energy, mental stamina and drive.”

Balvin says his process began to feel “calculated.” When it came to making albums, he often found himself falling into a steady routine.

Singer J Balvin holds his head in front of 1953 Cadillac Series 62.

J Balvin poses in front of a 1953 Cadillac Series 62.

(Michael Blackshire/Los Angeles Times)

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“We would go in [to the studio and] say, ‘This is the mission. This is what I wanna do.’ It works with all the other [albums] that we have done. But in this case, it was so pure and so joyful and so real to myself,” said Balvin. “ This is the most fun that I’ve had with an album in a long time.”

With “Rayo,” he didn’t go into the studio with any sort of expectation or pressure.

“I went in and was just kind of freestyling, like the way I used to. I was playing with the beat and the melodies. I would even do 10 or 20 takes,” he said. “It didn’t matter because we were just having fun. It took me to the very beginning of my creative process when it was more go with the flow.”

His return to a more organic process eventually led him back to his roots in party-centric music.

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Instead of blending the popular sounds of the early 2000s into reggaeton as he once did on records like “Mi Familia,” now he turns to the more current trends of synth pop, EDM and trap beats to create a modern-day version of J Balvin. On tracks like “Swat” he pays tribute to a more belligerent version of old-school reggaeton, while on “Doblexxó,” featuring frequent collaborator and fellow Colombian singer Feid, Balvin blends an industrial electronic feeling into a classic perreo tune.

The biggest risk on the album was “Stoker,” featuring musica Mexicana crooner Carin Leon. The track starts off as a melodic ballad — a rare moment for Balvin. But as the chorus starts, an underlying Afro-beat becomes the song’s backbone. As he and Leon pass the baton between their combined individual styles, the musicians bring their worlds of reggaeton and Mexican folk together seamlessly.

“How can we do a song where Carin fans are happy and where my fans are happy without not feeling like J Balvin is a sellout? Personally, I’m not someone who likes to jump in on the hype because I have a lot of respect for their movement [musica Mexicana],” said Balvin in reference to the current popularity of musica Mexicana. “I wanted to be super cautious in the way we were gonna make the song together.”

The two initially connected at this past year’s Coachella Valley Music and Arts Festival, where the lineup consisted of the most Latin music acts ever at the desert festival.

“The best thing about the song was the surprise for both of us,” Leon said. “The most beautiful thing about collaborating with Jose is the simplicity with which he approaches things. He always makes room to welcome his friends.”

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They began the process by sending each other ideas for potential songs back and forth. But upon hearing an unfinished version of “Stoker,” Balvin knew he could add something “really new and special” to the track.

“There’s a fine line between changing something to make it cooler and destroying something,” Balvin said.

When asked if he has ever destroyed any of his songs, he begins to laugh and says, “Sometimes I don’t know what happens, but I’m like, ‘What did I do?’ Most of the time, it’s worth taking the risk.”

J Balvin shows off his hand tattoos and braids behind his head.

J Balvin shows off his hand tattoos and braids for a portrait.

(Michael Blackshire/Los Angeles Times)

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“I’m not afraid. I have proof in the years of my career. We make these switches, and we’re game changers.”

To his credit, the game — the Latin music scene — looked very different when he started than what it is today. He feels “grateful” to have started his career when he did. In the age of streaming and the current saturation of the genre, he says he’s aware of how hard it is for new artists to distinguish themselves.

Something he’s always been adamant about is singing exclusively in Spanish — refusing the idea of crossing into the English-language market. Now that Latin music is the U.S.’s fastest-growing genre, he lets a smile shine through and says, “I knew it.”

“Growing up, I would listen to Shakira and Enrique Iglesias and they were doing the same songs in English [that they previously released in Spanish]. I respect that because at that moment, the timing wasn’t right,” said Balvin. “But my language is the way I express myself and the way I express my heart.”

After all these years of J Balvin being hailed as a leader in Latin music, today “Rayo” is seen as one of the many newly released Latin albums. In the currently flourishing genre, his legacy is what he will continue to rely on.

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“It’s so gratifying. It feels like I manifested it. I had a vision of what we’re living now,” said Balvin. “We have the doors open and this is the time we have to say they are going to be open forever.”

After a half hour of Balvin posing with the glamorous Rolls-Royce, his publicist calls a wrap on the shoot. Balvin puts his chrome sunglasses back on and heads out of the exhibit. Too sidetracked by the endless rows of showstopping vehicles, he foregoes a goodbye. As his entourage of about 15 people slowly trails behind him, a member of the group stops to ask a nearby employee where they keep the Batmobile. After confirming its location on the fourth floor, he hustles to catch the elevator Balvin was headed toward. Despite having a busy day packed with press interviews and business meetings, the “Prince of Reggaeton,” who has the Batman symbol tattooed on his chest, refused to leave the museum before checking out the iconic ride featured in Tim Burton’s 1989 superhero film.

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Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

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Soho House sued after bartender alleges she was ‘drugged and raped’ by her supervisor

A bartender who worked at Soho House’s exclusive Soho Warehouse in downtown Los Angeles is alleging a supervisor at the posh membership club and hotel drugged and raped her, according to a lawsuit filed in Los Angeles Superior Court on Wednesday.

The woman, who filed as Jane Doe, said in her complaint that she was “subjected to repeated sexual advances and unwelcomed physical touching” by one of her supervisors, Leonard Marcelo Vichique Maya, immediately after she began working as a bartender at Berenjak, the club’s restaurant, in September 2025.

Doe is suing Vichique Maya, Soho House, Soho House Los Angeles and Soho Warehouse for sexual harassment, retaliation and other claims..

“This is as egregious an instance of callous corporate indifference to workplace sexual violence that anyone can experience,” said her attorney Nick Yasman of Los Angeles-based West Coast Trial Lawyers in a statement.

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Representatives for Soho House and Vichique Maya were not immediately available for comment.

Doe has further alleged that Vichique Maya made “numerous comments” about her appearance, propositioned her to be his “hook-up buddy” and told her that she “would be pregnant by now” had they met earlier, all within earshot of her supervisors and colleagues.

After two weeks on the job, Doe said that she reported Vichique Maya’s conduct to two male supervisors, including Soho House’s floor manager and food and beverage director, states the complaint, but “neither took any semblance of corrective or investigatory action.”

According to the suit, Doe claims that despite “his pattern of harassing behavior and complaints,” the company, did not address his alleged misconduct. ”

She claims his behavior escalated after a “team-bonding” work event on Sept. 13, where Doe said she became disoriented after drinking with supervisors and co-workers, eventually losing consciousness, and woke up naked in Vichique Maya’s apartment.

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“Paralyzed and speechless despite her consciousness slowly returning, Plaintiff was condemned to simply watch in horror as [sic] MARCELO repeatedly raped her inanimate body,” states the suit.

The next day, Doe said that she reported to her floor manager that Vichique Maya had “sexually assaulted her.”

She said her general manager “confirmed” that he “appeared to be preying” on her during the work event, telling her that “These things happen between coworkers.”

When she proclaimed that she could no longer work with Vichique Maya,” she said the general manager dismissed her concerns telling her: “I have a restaurant to run; I can’t have it blow up on me.”

Despite informing three managers that she was “raped,” Doe said she was continuously scheduled to work shifts with Vichique Maya during which he repeatedly sexually harassed her.

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In December, Doe filed a complaint with Soho House human resources, and she was assured that an investigation would be opened and “immediate corrective action” taken.

However, during the investigation, Doe said that she was placed on indefinite leave while Vichique Maya continued working. A month later, she was informed the company had completed its investigation and found her report of rape “was uncorroborated” and he “would not be disciplined.”

In February, the plaintiff said that she was forced to quit her job.

One of the first, exclusive members-only social clubs, Soho House debuted in London in 1995 and quickly became the bolt-hole of choice for celebrities and the deep-pocketed. It expanded globally with 48 houses in 19 countries.

It drew high-profile investors, including Ron Burkle through his investment fund Yucaipa.

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In 2021, the company filed for an initial public offering on the New York Stock Exchange, but it has faced financial challenges. .

Last year, Soho House went private, selling itself to a group of investors including Apollo Global Management and actor Ashton Kutcher, who also joined its board of directors, at a $2.7-billion valuation.

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

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MOVIE REVIEWS: “Mercy,” “Return to Silent Hill,” “Sentimental Value” & “In Cold Light” – Valdosta Daily Times

“Mercy”

(Thriller/Crime: 1 hour, 39 minutes)

Starring: Chris Pratt, Rebecca Ferguson, Kali Reis

Director: Timur Bekmambetov

Rated: PG-13 (Violence, bloody images, strong language, drug content and teen smoking)

Movie Review:

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“Mercy” is a science fiction movie based on one of the more common themes of moviedom lately, artificial intelligence (AI). This crime thriller cleverly creates an intriguing story using technology and the justice system, yet it fails to be consistently interesting and intelligent throughout. The conclusion is less significant than the initial setup, as the concluding scenes become typical action sequences.

Detective Chris Raven (Pratt) of the LA Police Department is a huge supporter of the city’s new judicial courtroom. Crimes are now judged by an AI program (Ferguson) in the Mercy Court. The court is run by an artificial program that makes decisions based on all of the evidence before it without any prejudice. Detective Raven is all for this system until he is convicted of killing his wife. Now he must use all of the data, including the AI‘s ability to tap into everyone’s electronic devices, security cameras, and even into government files, within reason, to prove he did not murder his wife.

Mercy is an interesting movie. It entertains throughout, even when the story gets sloppy and characters’ actions are irrational. This mainly occurs during the final scenes. The movie tries too hard to insert unneeded narrative twists. This is disappointing because the story is interesting. What makes it fascinating is that it happens in real time. This is the most brilliant facet.

All the other theatrics are unnecessary. Director Timur Bekmambetov (“Profile,” 2018; “Wanted,” 2008) and “Mercy’s” producers should have just kept the ending simple, no plot twists or superfluous action sequences.
Grade: C (This flick needs some mercy. Let the trial begin.)

“Return to Silent Hill”

(Horror: 1 hour, 46 minutes)

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Starring: Jeremy Irvine, Hannah Emily Anderson and Robert Strange

Director: Christophe Gans

Rated: R (Bloody violent content, strong language and brief drug use.)

Movie Review:

“Return to Silent Hill” is about one man’s quest to return to the love of his life. The problem is she has moved on to the afterlife. Meanwhile, audiences lose part of their life watching this movie, which is unlike any of the two prequels in this series. This one is a psychological horror that bores.

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Artist James Sunderland (Irvine) decides to return to Silent Hill, a place where many people died during a devastating illness that nearly enveloped the entirety of the city’s population. What is left there is a horror show of freakish creatures, all with violent intent. Still, Sunderland searches for the love of his life, Mary Crane (Anderson).

Think of this movie as a slow suicide, where a guy goes back to retrieve his dead girlfriend. To do so, he must travel to the modern land of the dead that Silent Hill has become. This one is a type of swan song by the main character, and the movie becomes less scary while lackluster romantic notions wander aimlessly.

Grade: D (Do not return to see this.)

“Sentimental Value”

(Drama: 2 hours, 13 minutes)

Starring: Renate Reinsve, Stellan Skarsgård, Inga Ibsdotter Lilleaas and Elle Fanning

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Director: Joachim Trier

Rated: R (Language, sexual reference, nudity and thematic elements)

Movie Review:

“Sentimental Value” is a Norwegian film that won the Grand Prix in France’s Cannes Film Festival and was nominated for nine Academy Awards, including Best Motion Picture. It is a solid drama filled with symbolism and family connections. It is brilliant performances by a talented cast under the direction of Joachim Trier (“The Worst Person in the World,” 2021).

This screenplay is about Gustav Borg (Skarsgård). He is a father, grandfather and a famed film director. He stayed away from his two daughters, actress Nora Borgwhile (Reinsve) and historian Agnes Borg Pettersen (Lilleaas), while he was creating works as a filmmaker. The director comes back into the lives of his daughters after the death of their mother. Their reunion leads to a rediscovery of their bond at their family home in Oslo.

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Stellan Skarsgård is always a solid actor. He takes his roles and makes them tangible characters that seem like you know them, even when they’re speaking a foreign language. That is the quality of his act and why he gets nominated for multiple awards each season.

“Sentimental Value” is a valuable movie filled with enriching sentiment. It is an enjoyable film for those who value a good drama. The acting and original writing alone make the movie worth it. “Sentimental Value” starts in a very simple way, but everything in between, even when low-key, remains potent. Joachim Trier and writer Eskil Vogt have worked together on multiple projects such as “The Worst Person in the World” (2021). Their pairing is once again worthy.

Grade: A- (Any motive valuable movie.)

“In Cold Light ”

(Crime: 1 hour , 36 minutes)

Starring: Maika Monroe, Allan Hawco and Troy Kotsur

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Director: Maxime Giroux

Rated: R (Violence, bloody images, strong language and drug material)

Movie Review:

“In Cold Light” sticks to a very straightforward story, primarily taking place over a short period. The problem is the story leaves one in the cold. Audiences have to guess what is being communicated because this movie uses American Sign Language (ASL) without subtitles. For those moviegoers who do not know ASL, they are left deciphering characters’ actions and facial expressions during some pivotal scenes.

Ava Bly (Monroe) attempts to start a legit life after prison. Her life changes when Ava’s twin, Tom Bly (Jesse Irving) is murdered while seated next to her. As her brother’s killers pursue her, Ava must evade law enforcement, which contains some crooked cops led by Bob Whyte (Hawco).

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For a brief moment, this movie hits its exceptional moment when Oscar-recipient Helen Hunt enters the picture as a motherly Claire, a crime boss who seems more like a social worker/psychologist. Her long scene is wasted as it arrives too late.

French Canadian director Maxime Giroux’s style has potential in his first English-language film, but it does not fit a wayward narrative. A rarity, this crime drama has characters commit many dumb actions at once.

Moreover, Giroux (“Félix et Meira,” 2014) and writer Patrick Whistler forget to let their audiences in on their story. They allow much to get lost in translation, especially during heated conversations between Monroe’s Ava and her father, Will Bly, played by Academy Award-winning actor Troy Kotsur (“CODA,” 2021).

Grade: C- (Just cold and dark.)

More movie reviews online at www.valdostadailytimes.com.

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

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Paramount-Warner Bros. deal stirs fears about what it means for CNN

As the media industry took stock of Paramount Skydance’s startling acquisition of Warner Bros. Discovery, one question lingered on the minds of many in the news business and beyond: What will this mean for CNN?

The iconic 24-hour cable news network is among the various Warner Bros. assets that would be scooped up by Paramount in a deal announced Thursday that could transform the media landscape.

Paramount has undergone a swift transformation under Chief Executive David Ellison following his family’s acquisition of the company last summer. These changes reached CBS News almost immediately with the appointment of Bari Weiss, the controversial Free Press co-founder, as its new editor in chief.

Bari Weiss moderated a town hall with Erika Kirk, widow of slain conservative activist Charlie Kirk.

(CBS via Getty Images)

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Weiss’ tenure so far has been rocky.

Her decision to pull a “60 Minutes” story about conditions inside an El Salvador prison that housed undocumented Venezuelan migrants from the U.S. received widespread criticism and accusations of political motivation. The network said the story was held for more reporting, and the segment eventually aired.

There was more upheaval last week at the news magazine, when “60 Minutes” correspondent and CNN news anchor Anderson Cooper announced that he’d be leaving to spend more time with his family.

And earlier this year, a veteran producer at “CBS Evening News With Tony Dokoupil” was fired after he expressed disagreement about the editorial direction of the newscast.

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Now, the concern is that similar changes could be in store for CNN, which has long been a target of President Trump’s ire. He has personally called for the ouster of hosts at the network who have questioned his policies.

CNN Worldwide Chief Executive Mark Thompson tried to quell some of those fears, particularly inside his own newsroom.

In an internal memo dated Thursday and obtained by The Times, Thompson urged employees not to “jump to conclusions about the future” and try to concentrate on their work.

“We’re still near the start of what is already an incredibly newsy year at home and abroad,” he wrote in the note. “Let’s continue to focus on delivering the best possible journalism to the millions of people who rely on us all around the world.”

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

Chairman and CEO of CNN Worldwide Mark Thompson and media editor for Semafor, Maxwell Tani, speak onstage.

(Shannon Finney / Getty Images for Semafor)

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CNN declined to comment beyond Thompson’s memo.

Ellison has said his vision for a news business is one that is ideologically down the middle.

“We want to build a scaled news service that is basically, fundamentally in the trust business, that is in the truth business, and that speaks to the 70% of Americans that are in the middle,” he said during a Dec. 8 interview on CNBC, shortly after Warner said it had chosen Netflix as the winning bidder for its studios, HBO and HBO Max. “And we believe that by doing so that is for us, kind of doing well, while doing good.”

Ellison demurred when asked whether Trump would embrace him as CNN’s owner, given the president’s past criticisms of the network.

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“We’ve had great conversations with the president about this, but … I don’t want to speak for him in any way, shape or form,” he said.

First Amendment scholars have raised concerns about press freedom and free speech rights under the Trump administration, particularly after last month’s arrest of former CNN journalist Don Lemon and the Federal Communications Commission’s pressure on late-night hosts like Jimmy Kimmel and Stephen Colbert.

Press freedom groups have long asked questions in other countries about how authoritarian regimes use their power and “oligarchical alliances to belittle, silence, and punish independent journalistic voices, or to steer media ownership toward … a preferred version of the truth,” said RonNell Andersen Jones, a 1st Amendment scholar and distinguished professor in the college of law at the University of Utah, in an email.

“We see them asking at least some of these questions about the U.S. today,” she wrote.

Apprehension about the merger also extends beyond its implications for CNN and the media business.

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Lawmakers such as Rep. Laura Friedman (D-Glendale), Sen. Adam Schiff (D-Calif.) and Sen. Cory Booker (D-N.J.) have raised concerns about how the consolidation of two major Hollywood studios could affect industry jobs and film and television production — which has significantly slowed since the pandemic, the dual writers’ and actors’ strikes in 2023 and corporate cutbacks in spending.

Sen. Elizabeth Warren (D-Mass.) called the deal an “antitrust disaster” that she feared could raise prices and limit choices for consumers.

“With the cloud of corruption looming over Trump’s Department of Justice, it’ll be up to the American people to speak up and state attorneys general to enforce the law,” she said in a statement.

Already, California Atty. Gen. Rob Bonta has said the merger isn’t a “done deal,” adding that he is in communication with other states attorneys general about the issue.

“As the epicenter of the entertainment industry, California has a special interest in protecting competition,” he posted Friday on X.

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The deal is subject to approval by the U.S. Justice Department. Bonta and other state attorneys general are expected to file a legal challenge to the mega-merger on antitrust grounds.

Ellison addressed some of these concerns in a statement Friday.

“By bringing together these world-class studios, our complementary streaming platforms, and the extraordinary talent behind them, we will create even greater value for audiences, partners and shareholders,” he said. “We couldn’t be more excited for what’s ahead.”

Times staff writer Meg James contributed to this report.

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