Entertainment
Supreme Court upholds TikTok ban: 5 essential reads on the case and its consequences
The U.S. Supreme Court mandated TikTok’s sale, citing national security risks tied to its Chinese ownership. Controversies include user data exploitation and implications for free speech and cybersecurity.
Eric Smalley, The Conversation and Matt Williams, The Conversation
The U.S. Supreme Court on Jan. 17, 2025, upheld a law requiring TikTok’s China-based parent company, ByteDance, to sell the video app by Jan. 19, 2025, or face a nationwide ban on the app. In a unanimous decision, the court rejected TikTok’s claim that the law violates its First Amendment rights.
The court’s ruling is the latest development in a lengthy saga over the fate of an app that is widely popular, especially among young Americans, but that many politicians in Washington say is a security risk.
The ruling is unlikely to be the end of the story. President Joe Biden said that he will not enforce the law in the waning hours of his administration. President-elect Donald Trump said he will reverse the ban and is reportedly considering an executive order to do so.
But why is TikTok controversial? Are the claims of it being a national security risk valid? And what will the case mean for free speech? The Conversation’s contributors have been on hand to answer these questions.
1. An agent of the Chinese state?
Politicians who wanted to ban TikTok, or at least sever its links to China, fear that the app provides a way for the Chinese Communist Party to influence Americans or use their data for malicious purposes. But how much influence does the Chinese government have on TikTok? That question is addressed by Shaomin Li, a scholar of China’s political economy and business at Old Dominion University.
Li explains that the relationship between TikTok, ByteDance and the Chinese Communist Party is nuanced – it isn’t simply a matter of officials in Beijing telling ByteDance to jump and the parent company dictating how high its subsidiary will leap. Rather, as with all companies in China, employees are under certain obligations when it comes to advancing national interests. In China, private enterprises, such as ByteDance, operate as joint ventures with the state.
“Regardless of whether ByteDance has formal ties with the party, there will be the tacit understanding that the management is working for two bosses: the investors of the company and, more importantly, their political overseers that represent the party,” Li writes. “But most importantly, when the interests of the two bosses conflict, the party trumps.”
2. Exploiting user data
The risks TikTok poses to U.S. users are similar to the risks posed by many popular apps, principally that the app collects data about you. That data, which includes contact information and website tracking, plus all data you post and messages you send through the app, is available to use or misuse by ByteDance and any other entity that has or gains access to it.
Iowa State University cybersecurity researcher Doug Jacobson writes that U.S. officials and lawmakers are concerned that the Chinese government could exploit TikTok user data to spy on U.S. citizens. Government hackers could use the TikTok data to trick users into revealing more personal information.
But if the goal is to counter Chinese hackers, banning TikTok is likely to prove too little, too late. “By some estimates, the Chinese government has already collected personal information on at least 80% of the U.S. population via various means,” Jacobson writes. “The Chinese government – along with anyone else with money – also has access to the large market for personal data.”
3. The security risks of a ban
Banning TikTok could also make U.S. users more vulnerable to hackers of all stripes. Rochester Institute of Technology computer security expert Robert Olson writes that many of the 170 million U.S. TikTok users could try to get around a ban on the app, with negative consequences for their digital safety.
If TikTok ends up banned from Apple’s and Google’s app stores, users could try to access the app elsewhere via sideloading. This practice of getting around the Apple and Google app stores leaves users vulnerable to malware posing as the TikTok app. TikTok users might also be motivated to circumvent Apple and Google security controls in order to keep the app installed, a move that would make users’ phones more vulnerable.
“I find it unlikely that a TikTok ban (is) technologically enforceable,” Olson writes. “This … legislation – aimed at improving cybersecurity – could motivate users to engage in riskier digital behavior.”
4. First Amendment concerns
In its legal challenge to the U.S. government, ByteDance claimed the government is violating its First Amendment rights. Technology law scholars Anupam Chander of Georgetown University and Gautam Hans of Cornell University write that ByteDance had grounds for its claim, and that the implications go beyond this case.
TikTok is a publisher – an online publisher of users’ videos. Forcing ByteDance to divest TikTok is a form of prior restraint – the government preventing speech before it occurs, Chander and Hans write.
“By forcing the sale of TikTok to an entity without ties to the Chinese Communist Party, Congress’ intent with the law is to change the nature of the platform,” they write. “That kind of government action implicates the core concerns that the First Amendment was designed to protect against: government interference in the speech of private parties.”
5. What about the others?
Security and legal issues aside, the forced sale to a U.S.-based company or ban of TikTok in the United States is a questionable approach to solving the problems the law aims to address: potential Chinese government influence in the U.S., harm to teens and data privacy violations, writes Arizona State media scholar Sarah Florini.
The Chinese government – and other U.S. adversaries – have long used social media apps owned by U.S. companies to attempt to influence American public opinion. TikTok is hardly alone in posing harm to teens, as the Facebook whistleblower case amply demonstrated. And vast amounts of Americans’ personal data are already available to any buyer on the open and black markets.
“Concerns about TikTok are not unfounded, but they are also not unique. Each threat posed by TikTok has also been posed by U.S.-based social media for over a decade,” Florini writes.
This is an updated version of an article originally published on Sept. 16, 2024.
Eric Smalley, Science + Technology Editor, The Conversation and Matt Williams, Senior International Editor, The Conversation
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Entertainment
Philly theaters unite to stage 3 plays by Pulitzer-winning playwright James Ijames
James Ijames, 2022 Pulitzer Prize winner for “Fat Ham,” is celebrated with a Citywide Pass in Philadelphia, offering access to three of his plays across different theaters. This initiative fosters collaboration among local theaters and showcases Ijames’ unique ability to create nuanced, character-driven narratives that explore complex queer and Black identities.
Bess Rowen, Villanova University
Most theater subscriptions offer a patron access to a single theater’s season. But Philadelphia’s new Citywide James Ijames Pass provides tickets to three James Ijames – pronounced EYE-ms, rhymes with “chimes” – plays at three theaters in Philadelphia. Subscribers will also get one mustard-colored beanie, one of Ijames’ signature accessories.
The full pass, which costs US$130, includes tickets for the Arden Theatre’s “Good Bones,” which premiered Jan. 22 and runs through March 22, the Wilma Theater’s “The Most Spectacularly Lamentable Trial of Miz Martha Washington,” which runs March 17 to April 5, and the Philadelphia Theatre Company’s “Wilderness Generation,” a world premiere that runs April 10 to May 3. There is also a two-show pass for $90 without “Good Bones.”
I’m a theater theorist, historian and practitioner who has written about Ijames’ work before and after his 2022 Pulitzer Prize. I believe this landmark collaboration between three important Philadelphia theaters is a fitting celebration of a multi-hyphenate theater artist who continues to champion his longtime artistic home.
Actor, playwright, director
Ijames, 46, was born in North Carolina and attended Morehouse College in Atlanta, Georgia. He earned his Master of Fine Arts degree at Temple University and stayed in Philadelphia after graduating.
Notably, this playwright’s MFA is in the study of acting. Ijames is also a talented director, and he performed and directed at multiple theaters around Philadelphia before starting to work as a playwright. He was also a tenured professor of theater at Villanova University, where I had the privilege to work with him and watch his creative process before he moved to New York City in 2025 to run the playwriting concentration at Columbia University.
Ijames was already a local celebrity in Philly before winning the Pulitzer Prize for drama for “Fat Ham,” his Hamlet adaptation centered on a queer Black Hamlet named Juicy and the legacy of his father’s barbecue joint. The New York theater scene took notice of him when the National Black Theatre staged “Kill Move Paradise” in 2017. This haunting piece is set in limbo, where unarmed Black men who have been killed by police examine how they have come to this place and how society continues to enable this pattern.
Other Ijames plays include “White,” a satire of the art world that tells the story of a gay white male artist who hires a Black woman actor to pretend to have done his work to see if that makes a difference in how his art is viewed. “TJ Loves Sally 4Ever” sets Thomas Jefferson and Sally Hemings’ relationship on a college campus where “TJ” is a dean and Sally is a student. And “Reverie” is a chamber play, which is an intimate meditation with an earnest and somber tone. In it, the father of a recently deceased Black gay man comes to meet the man he believed was his son’s partner.
Most recently, in 2025, Ijames partnered with the Australian pop singer Sia on a musical called “Saturday Church.” It is a story about reconciling queer community and Christian faith, and relying on the support of family, both biological and chosen.
Charting new dramatic territory
Although his theatrical styles and genres vary, at his core, Ijames writes nuanced, character-driven works that revolve around interpersonal relationships. His plays are playgrounds for performers, particularly due to his ability to write complex queer Black characters.
Influential American playwright Suzan-Lori Parks notes in her 1994 essay “Elements of Style” that the conflict between Black people and white people is the default trope of how Black people have been represented onstage – by almost exclusively white playwrights – for most of U.S. theater history. Parks posits that a way to avoid this centering of white conflict in Black lives comes from new dramatic territory that depicts conflicts between Black people and anything else.
Ijames never sets his Black characters in opposition to white society alone. He also refuses to take up the tropes of LGBTQ identity as incompatible with religion, or the idea that characters can be only gay or straight. Instead, Ijames creates narratives with queer religious people and pansexual men whose identities are not sources of conflict.
The citywide pass
The plays in the citywide pass offer an exciting cross section of what makes Ijames’s work so vibrant.
“Good Bones” is the story of a now-affluent Black woman, Aisha, who moves back to her blue-collar hometown. Aisha might be from this working-class neighborhood, but her elaborate renovations and white-collar sensibilities make her return seem more like gentrification than homecoming, at least as far as her local contractor can see.
“Miz Martha” follows the titular Martha Washington through a fever-dream-inspired trial in her final moments, as enslaved people care for her while knowing her death means their freedom.
And “Wilderness Generation” follows five cousins reunited in the U.S. South after many years apart, ready to talk about the secrets from their pasts.
With theater’s ever-changing and unstable financial landscape, I believe the Citywide James Ijames Pass is an exciting new subscriber model. The collaboration highlights Philadelphia’s theatrical talent and banks on local theaters working together to build audiences instead of treating each other as competition – a new development that could change how regional theater scenes operate.
Bess Rowen, Assistant Professor of Theatre, Villanova University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Jurassic Quest Brings Life-Size Dinosaurs to Phoenix in February 2026
Jurassic Quest is roaring back into Phoenix in February 2026 with towering life-size dinosaurs, interactive exhibits, and hands-on activities for kids and families at the Arizona State Fairgrounds.
Last Updated on February 9, 2026 by Daily News Staff
Phoenix, AZ — Jurassic Quest, billed as North America’s largest traveling dinosaur experience, is set to return to Arizona with a limited engagement at the Arizona State Fairgrounds from February 6–8, 2026.
The family-friendly attraction features life-size animatronic dinosaurs, immersive walk-through exhibits, and hands-on activities designed to blend entertainment with education. Guests will encounter towering recreations of iconic species such as Tyrannosaurus rex and Spinosaurus, along with interactive fossil digs, dinosaur rides, inflatables, and meet-and-greet opportunities with baby dinosaurs.
Jurassic Quest has become a popular touring event across the United States, particularly among families with young children. The experience combines museum-style displays with high-energy attractions, allowing visitors to explore at their own pace. Most attendees spend one to two hours navigating the exhibit.
The event will take place at the Arizona State Fairgrounds, located at 1826 W. McDowell Road in Phoenix, with multiple daily sessions scheduled throughout the weekend.
Tickets and additional event details are available through the official Jurassic Quest website.
- Jurassic Quest Phoenix 2026 – Official Event Page
- Arizona State Fairgrounds – Venue Information
- More Entertainment News from STM Daily News
- Family & Kid-Friendly Events on STM Daily News
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Bad Bunny’s Super Bowl Halftime Show Fits the NFL’s Long Game to Win Latin America
The NFL aims to expand its reach into Latin America through strategic marketing and high-profile performers like Bad Bunny at the Super Bowl halftime show. While the choice has sparked controversy, particularly among conservatives, the league sees it as a business move to attract more fans, particularly in Mexico and Brazil.
Last Updated on February 7, 2026 by Daily News Staff
Jared Bahir Browsh, University of Colorado Boulder
Bad Bunny’s Super Bowl show is part of long play drawn up by NFL to score with Latin America
Donald Trump, it is fair to assume, will be switching channels during this year’s Super Bowl halftime show.
The U.S. president has already said that he won’t be attending Super Bowl LX in person, suggesting that the venue, Levi’s Stadium in Santa Clara, California, was “just too far away.” But the choice of celebrity entertainment planned for the main break – Puerto Rican reggaeton star Bad Bunny and recently announced pregame addition Green Day – didn’t appeal. “I’m anti-them. I think it’s a terrible choice. All it does is sow hatred. Terrible,” Trump told the New York Post.
National Football League Commissioner Roger Goodell likely didn’t have the sensibilities of the U.S. president in mind when the choice of Bad Bunny was made.
One of the top artists in the world, Bad Bunny performs primarily in Spanish and has been critical of immigration enforcement, which factored into the backlash in some conservative circles to the choice. Bad Bunny’s anti-ICE comments at this year’s Grammy Awards will have only stoked the ire of some conservatives.
But for the NFL hierarchy, this was likely a business decision, not a political one. The league has its eyes on expansion into Latin America; Bad Bunny, they hope, will be a ratings-winning means to an end. It has made such bets in the past. In 2020, Shakira and Jennifer Lopez were chosen to perform, with Bad Bunny making an appearance. The choice then, too, was seen as controversial.
Raising the flag overseas
As a teacher and scholar of critical sports studies, I study the global growth of U.S.-based sports leagues overseas.
Some, like the National Basketball Association, are at an advantage. The sport is played around the globe and has large support bases in Asia – notably in the Philippines and China – as well as in Europe, Australia and Canada.
The NFL, by contrast, is largely entering markets that have comparatively little knowledge and experience with football and its players.
The league has opted for a multiprong approach to attracting international fans, including lobbying to get flag football into the 2028 Olympics in Los Angeles.
Playing the field
When it comes to the traditional tackle game, the NFL has held global aspirations for over three-quarters of a century. Between 1950-1961, before they merged, the NFL and American Football League played seven games against teams in Canada’s CFL to strengthen the relationship between the two nations’ leagues.
Developing a fan base south of the border has long been part of the plan.
The first international exhibition game between two NFL teams was supposed to take place in Mexico City in 1968. But Mexican protest over the economy and cost of staging the Olympics that year led the game, between the Detroit Lions and Philadelphia Eagles, to be canceled.
Instead, it was Montreal that staged the first international exhibition match the following year.
In 1986, the NFL added an annual international preseason game, the “American Bowl,” to reach international fans, including several games in Mexico City and one in Monterrey.
But the more concerted effort was to grow football in the potentially lucrative, and familiar, European market.
After several attempts by the NFL and other entities in the 1970s and ’80s to establish an international football league, the NFL-backed World League of Football launched in 1991. Featuring six teams from the United States, one from Canada and three from Europe, the spring league lost money but provided evidence that there was a market for American football in Europe, leading to the establishment of NFL Europe.
But NFL bosses have long had wider ambitions. The league staged 13 games in Tokyo, beginning in 1976, and planned exhibitions for 2007 and 2009 in China that were ultimately canceled. These attempts did not have the same success as in Europe.
Beyond exhibitions
The NFL’s outreach in Latin America has been decades in the making. After six exhibition matches in Mexico between 1978 and 2001, the NFL chose Mexico City as the venue of its first regular season game outside the United States.
In 2005, it pitted the Arizona Cardinals against the San Francisco 49ers at Estadio Azteca in Mexico City. Marketed as “Fútbol Americano,” it drew the largest attendance in NFL history, with over 103,000 spectators.
The following year, Goodell was named commissioner and announced that the NFL would focus future international efforts on regular-season games.
The U.K. was a safe bet due to the established stadium infrastructure and the country’s small but passionate fan base. The NFL International Series was played exclusively in London between 2007 and 2016.
But in 2016, the NFL finally returned to Mexico City, staging a regular-season game between the Oakland – now Las Vegas – Raiders and Houston Texans.
And after the completion of upgrades to Latin America’s largest stadium, Estadio Azteca, the NFL will return to Mexico City in 2026, along with games in Munich, Berlin and London. Future plans include expanding the series to include Sydney, Australia, and Rio de Janeiro, Brazil, in 2026.
The International Player Pathway program also offers players from outside the United States an opportunity to train and earn a roster spot on an NFL team. The hope is that future Latin American players could help expand the sport in their home countries, similar to how Yao Ming expanded the NBA fan base in China after joining the Houston Rockets, and Shohei Ohtani did the same for baseball in Japan while playing in Los Angeles.
Heading south of the border
The NFL’s strategy has gained the league a foothold in Latin America.
Mexico and Brazil have become the two largest international markets for the NFL, with nearly 40 million fans in each of the nations.
Although this represents a fraction of the overall sports fans in each nation, the raw numbers match the overall Latino fan base in the United States. In recent years the NFL has celebrated Latino Heritage Month through its Por La Cultura campaign, highlighting Latino players past and present.
Latin America also offers practical advantages. Mexico has long had access to NFL games as the southern neighbor to the United States, with the Dallas Cowboys among the most popular teams in Mexico.
For broadcasters, Central and South America offer less disruption in regards to time zones. Games in Europe start as early as 6:30 a.m. for West Coast fans, whereas Mexico City follows Central time, and Brasilia time is only one to two hours ahead of Eastern time.
The NFL’s expansion plans are not without criticism. Domestically, fans have complained that teams playing outside the U.S. borders means one less home game for season-ticket holders. And some teams have embraced international games more than others.
Another criticism is the league, which has reported revenues of over US$23 billion during the 2024-25 season – nearly double any other U.S.-based league – is using its resources to displace local sports. There are also those who see expansion of the league as a form of cultural imperialism. These criticisms often intersect with long-held ideas around the league promoting militarism, nationalism and American exceptionalism.
Bad Bunny: No Hail Mary attempt
For sure, the choice of Bad Bunny as the halftime pick is controversial, given the current political climate around immigration. The artist removed tour dates on the U.S. mainland in 2025 due to concerns about ICE targeting fans at his concerts, a concern reinforced by threats from the Department of Homeland Security that they would do just that at the Super Bowl.
But in sticking with Bad Bunny, the NFL is showing it is willing to face down a section of its traditional support and bet instead on Latin American fans not just tuning in for the halftime show but for the whole game – and falling in love with football, too.
Jared Bahir Browsh, Assistant Teaching Professor of Critical Sports Studies, University of Colorado Boulder
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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