Elections

The company is an increasingly popular source of political news. It’s adding more content about how elections work and media literacy.TikTok is pushing to improve information about the upcoming U.S. presidential election on the app, it said Wednesday.The company will expand a landing page on how elections work and why they can be trusted and run new in-feed videos about media literacy. It will also increase security requirements for verified accounts from politicians and governments in the United States. Vice President Kamala Harris, former President Donald J. Trump and their vice-presidential nominees each have TikTok accounts as of two weeks ago, a sharp pivot from last year, when the vast majority of American politicians were avoiding the app.TikTokTikTokThe efforts come as TikTok warily acknowledges that it has become a much bigger news source for millions of Americans ahead of the presidential election than it was in 2020. It joins other major tech companies like Meta, Google and X that must regularly grapple with how their platforms handle election-related content. But TikTok has an added layer of scrutiny, since it is owned by the Chinese company ByteDance and faces a looming possibility that its app could be banned as soon as January, based on national security concerns.“Young people are going to TikTok and other vertical video platforms for news more than ever,” said Alex Mahadevan, the director of MediaWise at the Poynter Institute, which worked with TikTok to create a series of videos on media literacy that will soon begin airing to users. “As of late, TikTok has been investing a lot in media literacy and fact-checking.”The U.S. government has expressed some concern that TikTok could imperil future elections. The Justice Department said in July that China could direct ByteDance and TikTok to manipulate videos served to Americans to “undermine trust in our democracy and exacerbate social divisions.” President Biden signed a landmark law in April that will ban TikTok in the U.S. in January unless ByteDance sells the app to a non-Chinese company.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The stock price of the former president’s social media company has often moved in tandem with investor perception of his standing in the presidential race.Shares of former President Donald J. Trump’s social media company have fallen so much that his onetime $6 billion stake is now worth about $2 billion.The stock price of Trump Media & Technology Group, at about $17.40 a share in early trading on Wednesday, is down more than 70 percent from the high-water mark it hit after Trump Media’s merger in March with a publicly traded shell company.Mr. Trump is the single largest shareholder of Trump Media, the parent company of Truth Social, owning 115 million shares — a roughly 60 percent stake.The slide in the share price has accelerated over the past few weeks as the presidential campaign has heated up and the Democratic nominee, Vice President Kamala Harris, has narrowly overtaken Mr. Trump in most national polls. Shares of Trump Media often have risen and fallen in tandem with investor perception of how Mr. Trump is doing in the presidential race.The stock is also falling in advance of a pivotal date — the expiration of a contractual lockup that has precluded Mr. Trump from selling any of his shares. But on Sept. 19, he and other early investors can start selling shares, which could further depress Trump Media’s stock price.Trump Media’s shares are now trading just around the $17.50 price that the shell company it merged with, Digital World Acquisition Corporation, had at the start of the year. In January, investors began buying shares of Digital World in anticipation of the merger’s completion.By the time the merger with Trump Media closed on March 25, Digital World shares had risen to nearly $40, and they peaked two days later above $66. But the shares, even at their current level, still trade at a sky-high valuation given that Trump Media is losing tens of millions of dollars each quarter and Truth Social is taking in meager advertising revenues.Many of Trump Media’s shareholders are individual investors and supporters of the former president who originally bought shares of Digital World after the two companies announced plans to a merger in October 2021. Some bought in when shares of Digital World were trading near $90 in the initial wave of exuberance surrounding the deal. More

[Estamos en WhatsApp. Empieza a seguirnos ahora]En mayo del año pasado, Marcus Carli, director de la fábrica Master Lock de Milwaukee, Wisconsin, convocó por sorpresa una reunión con la junta directiva del sindicato local 469 de United Auto Workers (UAW, por su sigla en inglés). Varios directivos del sindicato, que representa a los trabajadores de la planta, se reunieron con Carli y un ejecutivo de la empresa matriz de Master Lock en una pequeña sala de conferencias. Carli llevó a un guardia de seguridad. “Está aquí para protegerme”, les dijo Carli a los representantes sindicales. Cuando el guardia se sentó, Yolanda Nathan, la nueva presidenta del sindicato, se fijó en su pistola. “En ese momento pensé: ‘Ah, vamos a perder nuestro trabajo’”, dice. De inmediato, Carli confirmó sus peores temores. “La planta va a cerrar”, anunció. “Me dejó sin aliento”, dijo Nathan. “Nos quitó el aliento a todos”.Media hora más tarde, los trabajadores del primer turno de la planta fueron convocados a una reunión en la antigua cafetería. Una hilera de mesas separaba a los funcionarios de los trabajadores. “La planta va a cerrar”, repitió Carli. Se negó a aceptar preguntas. “Solo nos lanzaron la bomba”, dijo Jeremiah Hayes, quien trabajaba en la planta de tratamiento de aguas residuales de la empresa. Sobre todo, le molestó la barrera improvisada: “Era insultante. Nos sentíamos como animales”.Mike Bink, que empezó a trabajar en Master Lock en 1979, estaba desolado pero no sorprendido. Meses antes, un compañero cuyo trabajo consistía en fabricar placas de acero que se introducían en una máquina para fabricar un cuerpo de cerradura le dijo a Bink que ahora las placas se enviaban a la planta de Master Lock en Nogales, México. Esa fábrica se construyó en la década de 1990, no mucho después de que el presidente Bill Clinton promulgara el Tratado de Libre Comercio de América del Norte, y la empresa eliminó más de 1000 de los casi 1300 puestos sindicales de Milwaukee. “La gente salió corriendo por la puerta”, dice Bink, que entonces era presidente del Local 469. “Pensaban que la planta estaba acabada”. Bink aguantó, pero el TLCAN cambió de manera radical el equilibrio de poder entre Master Lock y sus trabajadores. “Un supervisor de la planta decía cosas como: ‘Pónganse a trabajar o la empresa cerrará todos los puestos’”, recuerda Bink. “Tras la reducción de plantilla, el sindicato perdió su influencia”.En marzo, el cierre de las instalaciones donde se fabricaron cerraduras emblemáticas durante generaciones, representó la etapa final de la larga decadencia de Milwaukee como potencia industrial, parte de un fenómeno mayor, impulsado por el TLCAN, que se ha producido en todo el país, especialmente en los estados del Cinturón del Óxido. El TLCAN eliminó los aranceles sobre el comercio entre los signatarios del tratado —Canadá, México y Estados Unidos— y permitió la libre circulación de capitales e inversiones extranjeras. Marcó el comienzo de una era de acuerdos de libre comercio que llevaron productos baratos a los consumidores y generaron una gran riqueza para los inversionistas y el sector financiero, pero también aumentó la desigualdad de ingresos, debilitó a los sindicatos y aceleró el vaciamiento de la base industrial de Estados Unidos.Mike Bink, expresidente de Local 469, que representaba a los trabajadores sindicales de Master Lock, trabajó en la planta durante 44 años. Lyndon French para The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The director’s first English-language feature inspires talk of beauty, hope and more collaborations.At Monday night’s Venice after-party for “The Room Next Door,” Pedro Almodóvar beamed at his leading ladies as they beamed back.I’m not just speaking of the affection shared between Julianne Moore, Tilda Swinton and their director, though it was tangible. I’m talking about the actual beams of light that bounced off the women’s sequined gowns and back at their besotted director as we huddled in a room to discuss the Spanish director’s first feature film in English, a long-held goal that allowed him to cast two big Hollywood stars.“They are not actors now, they are like monuments,” Almodóvar said. Certainly, that’s how Moore and Swinton are presented on the poster for the film, which arranges their famous faces in profile as though they were massive mountain ranges.“Big peaks,” joked Moore.“Big sparkly peaks,” Swinton added, nodding to their dresses. “We can only wear sequins for the rest of our lives.”Adapted from the novel “What Are You Going Through” by Sigrid Nunez, “The Room Next Door” casts Moore as Ingrid, a successful author who hears that her former colleague Martha (Swinton) is in the hospital with inoperable cervical cancer. They reunite, swap catch-up stories and once again become fast friends, but Martha has a weighty request to make.With her experimental treatments failing and another taxing round of chemotherapy to come, Martha has booked a vacation house in upstate New York and bought a drug off the dark web. Might Ingrid be willing to accompany her on the trip, knowing that at some point, her friend will kill herself in the room next door?Though Almodóvar is fairly fluent in English, he had long been wary of shooting a feature film in the language. (Even as we spoke, he kept a translator close by for moments when his second language failed him.) Two recent shorts made in English — the gay western “Strange Way of Life” and the extended Swinton monologue “The Human Voice” — convinced Almodóvar to finally write his first feature-length screenplay in the language.But Almodóvar’s films have aesthetic pleasures that go beyond words, and “The Room Next Door” offers so much to look at — whether it’s a lavender sweater, an olive couch or a precisely chosen shade of burgundy lipstick — that is as satisfying as any line of dialogue. A sequence where the two women ransack Martha’s apartment reveals pulled drawers filled with the most beguiling knickknacks, and the upstate vacation house where much of the movie takes place is an architectural stunner. (Like Martha, I’d die to live there, too.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Fue el primer paso hacia un sistema en el que casi todos los jueces del país serían elegidos por voto popular. El proyecto pasa ahora al Senado.[Estamos en WhatsApp. Empieza a seguirnos ahora]Los legisladores de la Cámara de Diputados del Congreso de México aprobaron el miércoles en la madrugada en lo general una amplia propuesta para rediseñar todo el poder judicial, el primer paso para cambiar el país a un sistema en el que casi todos los jueces sean elegidos por voto popular para el cargo.La votación avanza una de las revisiones judiciales de mayor alcance de las últimas décadas en cualquier gran democracia, lo que eleva las tensiones en México sobre si las medidas mejorarán el funcionamiento de los tribunales del país o politizarán el poder judicial a favor del partido gobernante Morena y sus aliados. En el sistema actual, los jueces se nombran en función de una formación y unas calificaciones especiales.Ahora, la Cámara de Diputados tendrá que discutir más de 600 detalles del proyecto de ley antes de que pase al Senado, donde al bloque gobernante solo le falta un escaño para alcanzar la mayoría calificada, aunque se espera que la medida sea aprobada.El martes, cuando los legisladores se reunieron para discutir la propuesta, ocho de los 11 ministros de la Suprema Corte votaron a favor de suspender las sesiones durante el resto de la semana en apoyo a los empleados judiciales en huelga del alto tribunal, que iniciaron un paro durante la semana, con lo que se sumaron a los cientos de trabajadores judiciales y jueces federales de todo México que iniciaron una huelga indefinida el mes pasado por los cambios propuestos.Con la esperanza de retrasar la votación, los trabajadores en huelga formaron una cadena humana para bloquear el acceso a la Cámara de Diputados. Pero los legisladores cambiaron de sede y prosiguieron con el debate, que a menudo se convirtió en un tenso intercambio de acusaciones.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The film director and designer did double duty in Venice, Italy, debuting a film at the Venice Film Festival along with his curation of Homo Faber, the craftsmanship exhibition.Luca Guadagnino has added creative director to his list of jobs.As a filmmaker, his credits include “Challengers,” the Oscar-nominated movie “Call Me by Your Name” and the upcoming “Queer,” an adaptation of William S. Burroughs’s semi-autobiographical novella starring Daniel Craig, which recently premiered at the Venice Film Festival. He is also the founder of Studio Luca Guadagnino, an award-winning interiors firm in Milan that has designed several homes, boutiques and, most recently, the Palazzo Talia hotel in Rome.Now, Mr. Guadagnino has marshaled the staging and curation of Homo Faber, a monthlong, biennial craftsmanship exhibition that opened on Sunday at the Giorgio Cini Foundation, a cultural center on San Giorgio Maggiore island in Venice. Homo Faber, which means “man the maker” in Latin, is put on by the Michelangelo Foundation for Creativity and Craftsmanship, a Geneva-based non-profit established by Italian author Franco Cologni and luxury industry billionaire Johann Rupert, chairman of Richemont, which owns the brands Cartier, Van Cleef & Arpels and Alaïa. Mr. Guadagnino partnered with his design studio project manager, Nicolò Rosmarini, to conceive this third edition as a “holistic experience — like a narrative,” he said.To achieve this, Mr. Guadagnino and Mr. Rosmarini created an immersive journey throughout the island’s 16th-century Palladio-designed monastery and assorted buildings that carries visitors through 10 multisensory set pieces, each dedicated to an aspect of the human experience like Childhood, Courtship and Dreams. They designed everything (“the lighting system, the uniforms, the tote bag, the tables, the cover of the cable on the floor,” Mr. Guadagnino said) then filled the rooms with 800 objects by 400 artisans from 70 countries.Reef by Josh Gluckstein, a piece in the exhibition.Matteo de Mayda for The New York TimesJust My Cup of Tea(r)s by Irene Cattaneo.Matteo de Mayda for The New York TimesTanagra’s Metamorphosis 2 by Claire Lindner.Matteo de Mayda for The New York Timesribbon imagined by Studio Luca Guadagnino.Matteo de Mayda for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

At the Venice Film Festival with his co-star, Lady Gaga, would the actor answer questions about dropping out of a Todd Haynes movie?Joaquin Phoenix has never been eager to face the press. The 49-year-old actor grants few interviews, speaks with great reluctance about his process, and once walked out on a journalist when asked whether his film “Joker” might inspire copycat violence.Knowing all that, you could already expect tension at the Venice news conference for “Joker: Folie à Deux,” a sequel to the 2019 hit that has Phoenix reprising the comic-book role that won him the Oscar. Still, this meeting with the media was expected to be particularly fraught as Phoenix has not done any press since August, when he dropped out of a film from the director Todd Haynes just days before it was supposed to shoot, scuttling the production and exposing the star to potential legal action.Hollywood has been buzzing about Phoenix’s murky motivations for weeks, not least because the project — a sexually explicit gay romance co-starring the “Top Gun: Maverick” actor Danny Ramirez — was based on an original idea by Phoenix, who brought the project to Haynes and co-wrote it with the “May December” director.Would Phoenix be willing to shed any light on the situation while in Venice or would he skip the news conference entirely, as “Don’t Worry Darling” star Florence Pugh did two years ago amid rumors of a feud with that film’s director, Olivia Wilde? While waiting for the conference to begin on Wednesday afternoon, journalists placed bets on whether Phoenix would bail twice.They were surprised, then, when Phoenix bounded into the room smiling, followed by his director, Todd Phillips, and co-star Lady Gaga. “First of all, hi everyone!” he told the press. “It’s nice to see you.”Phoenix remained upbeat and unexpectedly willing to answer questions until several minutes into the news conference, when a journalist asked whether he would share his reason for leaving the Haynes film. The actor began to answer, then paused, thinking it over.“If I do, I would just be sharing my opinion from my perspective, and the other creatives aren’t here to share their piece,” Phoenix said, referring to Haynes and his partners.He continued: “It doesn’t feel like that would be right. I don’t think that would be helpful, so I just don’t think I will.”Then he added brightly, “Thank you!”Since Phoenix dropped out of the Haynes film, it’s been reported that the actor often gets cold feet and nearly bailed on making the first “Joker.” Phillips implied as much when he talked about how he convinced Phoenix to star in a sequel. “If we were really going to do it, it had to scare him in the way the first one did,” Phillips said.The director admitted to his own nerves in bringing “Folie à Deux” to Venice, since the first film won the festival’s prestigious Golden Lion. “It’s easier to come in as the insurgent instead of the incumbent,” Phillips said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Source: Election results and race calls are from The Associated Press.Produced by Michael Andre, Camille Baker, Neil Berg, Michael Beswetherick, Matthew Bloch, Irineo Cabreros, Nico Chilla, Nate Cohn, Alastair Coote, Annie Daniel, Saurabh Datar, Leo Dominguez, Andrew Fischer, Martín González Gómez, Will Houp, Junghye Kim, K.K. Rebecca Lai, Jasmine C. Lee, Alex Lemonides, Ilana Marcus, Alicia Parlapiano, Elena Shao, Charlie Smart, Jonah Smith, Urvashi Uberoy, Isaac White and Christine Zhang. Additional reporting by Mathew Brownstein; production by Amanda Cordero and Jessica White.
Editing by Wilson Andrews, Lindsey Rogers Cook, William P. Davis, Amy Hughes, Ben Koski and Allison McCartney. Source: Election results and race calls are from The Associated Press. More