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Trump screwed over Nvidia’s Chinese sales, then let them happen

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Hello there, world! Welcome to the first issue of Regulator, a newsletter about the collision between Big Tech and Washington. If you enjoy this, consider subscribing to get this newsletter weekly and everything The Verge has to offer.

For anyone who subscribed via our Instagram announcement: I am so, so sorry that I didn’t use the proper song to announce the launch of Regulator, which is, of course, Warren G’s “Regulate.” But I never thought that a track that samples one of my favorite Michael McDonald songs would be so perfectly applicable to the topic of this newsletter: a gun-wielding gang jumping a group of rich dudes and demanding they hand over their rings and Rolexes, or else they get popped.

On a related note: The New York Times reported this weekend that Nvidia and AMD had reached an unprecedented agreement with the Trump administration that they would pay it 15 percent of their revenue from selling microchips in China — a deal that would net the government approximately $2 billion, and is widely suspected to be the price of keeping their businesses afloat.

Back in April, after the first tariffs were announced, I worked on a Verge story with Kylie Robinson about the growing panic in the AI industry. No one could say for sure if GPUs assembled in Taiwan, the world capital of microchip production, would be slammed with a massive tariff once they arrived in the US. There were several obvious reasons that this would be disastrous for chipmakers like Nvidia and AMD, which saw their respective stock prices drop precipitously that weekend: the cost of materials would rise, the price of the chip itself would go up, and there was no realistic way to move manufacturing to American shores fast enough to meet the growing and immediate demand for their GPUs. Sure, Nvidia and TSMC were planning on opening a fabricator in Arizona that would be operational later this year — but it was only one factory, and no one knows right now when it will actually begin production.

But what shocked me the most was the apparent and immediate disconnect between our sources. Silicon Valley seemed positive that President Donald Trump was going to grant them exemptions no matter what, but the lobbyists they’d hired in Washington were all melting down over the lack of clarity: semiconductors were exempt, complete mechanical assemblies were not, and which category did a GPU fall into? (The White House got back to me days after our story was published, unhelpfully stating that the executive order listed what was exempt.)

At the time, the Trump administration seemed to have no idea what it had just done to the AI industry, but it may have learned its lesson — and made it more painful to avoid compliance. Last week, during a meeting with Apple CEO Tim Cook at the White House, Trump announced that any microchip or semiconductor imported into the US would face a staggering 100 percent tariff — unless the company importing it committed to move fabrication to the US. Trump added that there would be a severe penalty for those who didn’t stick to the commitment: “If, for some reason, you say you’re building and you don’t build, then we go back and we add it up, it accumulates, and we charge you at a later date, you have to pay, and that’s a guarantee.” Apple, he added, would not be affected, thanks to their $100 billion commitment to move manufacturing to America. (The gold statue Cook brought Trump sure didn’t hurt, either.)

It’s already chaotic and confusing just from a first glance: no one knows exactly what microchips are being tariffed, whether electronics that contain microchips will be tariffed, whether small businesses that can’t feasibly make microchips will be hit. But it also raises more concerning questions. If the Trump administration is really concerned about China beating the US in the AI race, why would it allow Nvidia and AMD to sell their industry-leading GPUs to China? If Nvidia and AMD are arguing that they need access to the Chinese market, why then pay 15 percent of the gross revenue of those sales to the US government?

The answer may be very simple. This is the way that Trump historically negotiates, even back in his early days as a businessman: back out of promises, leave the other party screwed, and only return to the table if the other person gives up even more than their original offer, preferably with some groveling and debasement involved. Nvidia and AMD seem to have learned this the hard and expensive way.

These kinds of dealings don’t just affect stock market darlings. The other shady Trump money-making tactic is fleecing the middle and lower-class people who’ve bought into his promises, from Trump University to the Trump Foundation — and now, the makers of Trump merch. The Verge’s very own Mia Sato has been following the Trump Organization’s recent filing of a Schedule A lawsuit against makers of unauthorized Trump merchandise, which stands out to her for three reasons: first, bootleg Trump merch is a market and culture that’s “very much part of the Trump ecosystem,” and the Trump Org has let it thrive for nearly a decade. Second, the Schedule A lawsuit is a “niche legal trend,” and it’s unclear why the Trump Org is adopting it now. Third: the beauty of a Schedule A lawsuit is that the people being sued don’t know that they’re being sued, until the money suddenly disappears from their bank accounts.

My chat with Mia is below; but first, the best of our most recent policy and political coverage…

“Trump’s endless new tariffs are threatening businesses — and you”: No one knows exactly how the new wave of tariffs will affect consumers — but Lauren Feiner’s reporting should give you a general idea of what to expect.

“Sex is getting scrubbed from the internet, but a billionaire can sell you AI nudes”: Adi Robinson’s lede about Elon Musk’s new “spicy” mode on Grok xAI is just too good. “In the fascinating new reality of the internet, teen girls can’t learn about periods on Reddit and indie artists can’t sell smutty games on Itch.io, but a military contractor will make you nonconsensual deepfakes of Taylor Swift taking her top off for $30 a month.”

“The lawyer who beat Tesla is ready for ‘round two’”: After winning an unprecedented wrongful death lawsuit against Tesla — something that has never happened in the company’s history — attorney Brett Schreiber talks to Andrew Hawkins about his next move to hold the company accountable.

“Why Donald Trump’s environmental data purge is so much worse this time”: Justine Calma tabulates exactly how many times government websites have been edited since Trump took office — and how much data about climate change has disappeared into the administration’s memory hole.

“What is Laura Loomer?” Many MAGA influencers have tried to sway Trump. Only Laura Loomer has succeeded, getting at least a dozen officials fired. After nearly a decade of covering her and the rest of the MAGA internet, I do my best to explain.

On the Trump dupe economy

Last week, Mia Sato published an incredible feature story about the difficulties regulating the world of dupe products: protecting rightsholders’ intellectual property, preventing companies from ripping off creators, and giving merch sellers some amount of due process. She went particularly deep into the world of Schedule A lawsuits: an effective but shady way for rightsholders to enforce their designs and patents all at once, without even notifying the infringers that they are being sued. (If you prefer your longform as a podcast, here’s Mia’s Vergecast episode about it; and if you prefer video, here it is on YouTube.)

Mia’s timing could not have been better: shortly after it was published, the Trump Organization filed a Schedule A lawsuit against several companies that manufactured bootleg and dupe Trump merchandise. However, no one knows what companies are being sued — the Schedule A list of offenders are always under seal — and no one knows why the Trump Org is doing this now, 10 years after the first knockoff MAGA hats hit the market. Below, Mia and I try to figure it out.

This interview has been edited for length and clarity.

Could you explain how Schedule A lawsuits are overlapping with the dupe economy and how the Trump Organization is involved?

I keep describing Schedule A as like, this one weird trick to get things taken offline. It’s basically a way for a rightsholder to go after a ton of online storefronts all at once. They can file one federal lawsuit, and it gets its name because there’s a separate form that is filed to the court called the Schedule A sheet. And on that sheet is a list of dozens, hundreds, or even up to a thousand storefront names.

It’s unique in a couple different ways. One, you don’t need to find out people’s legal names, like you would have to if you’re filing any other lawsuit. 
You can just say SmileyGirl123 or whatever someone’s eBay username is, and go after them that way. Often, the people being sued have no idea they are being named in a lawsuit at all, until they get an email from Amazon being like, we’ve frozen all the money in your account because there’s an issue with one of your listings. Also, they get this thing called a temporary restraining order, which is supposed to only be for extraordinary circumstances, but it’s a way for sellers’ assets to be frozen, even before they’ve been found liable for infringement. So it’s a very effective way to get something for sale taken offline. It is being used by big brands like Nike. I think Roblox has done Schedule A lawsuits, and now, there’s this Trump Organization Schedule A suit.

For dupes, it’s very efficient to do a reverse-image search and find stuff that kind of looks like your product, or find your logo or your artwork, and then you just throw them all in one suit. And more often than not, the people who are being accused of infringement and being named as defendants do not get legal representation and don’t fight back.

What are the ways these are settled? 


It kind of depends. I’m gonna try not to generalize because another thing is that the Schedule A suits are really, really hard to track… I spoke with an attorney in the Chicago area named Timothy A. Duffy, who has worked on, like, 50 of these cases. And he said that there can be hundreds of defendants named, you go to court, and there’s not a single representative for any of them. It is just the plaintiff and the judge talking. So often, it ends up being some sort of default judgment, which can be hundreds of thousands of dollars, and then maybe someone who’s being accused realizes what’s happening. There was a case with the rightsholder for Grumpy Cat, who is very litigious and had filed a Schedule A suit, and the woman who was named as a defendant realized that $600 or something was missing out of her PayPal account.

One question I have is if this is connected at all to a broader Trump crackdown on IP. Within a few days of this suit being filed, there was also the Trump MAGA Instant Pot IP story. All of a sudden, the Trump Organization was not cool with that, even though plans for this slew of Trump-branded products had been announced. (Note: The price of an Instant Pot had previously been threatened by a potential Trump tariff in 2019.)

The Trump Organization could certainly file a bunch more. We don’t know who is named on this Schedule A suit. We don’t know how many defendants there are. I think those are all under seal. So, in theory, it could just endlessly file these over and over and over, scooping up new batches of online storefronts. Trumpworld is taking up this niche legal trend, and I am curious what made the Trump Organization go for this now.

Oh, yeah. Trump is notorious for filing a ton of lawsuits against anyone, for any reason. They don’t necessarily end with a judge, hearings, whatever. Normally, the threat’s enough to shake people out of doing something or even avoid doing it altogether. When I was writing at Vanity Fair, we literally had to send anything that was written about Trump to our company lawyer to be vetted. And this was before he ran for president, too. He was just that litigious.

He also would go after people for trying to make money off his name, and still does. I can only imagine that the reason he didn’t crack down on the explosion of the pro-Trump merchandise economy was that he thought: oh, this is free political advertising for me, it’s all homegrown and other people are making it. I think the bigger the target, though, the more litigious the group gets. So Joe MAGA with his Etsy shop is one thing, but Instant Pot is a pretty large company.

What makes me so curious about this lawsuit is that it feels like the DIY, dropshipper Trump merch is very much a part of the Trump ecosystem. It goes hand in hand in my mind with MAGA, period. You go to any New York City souvenir shop, and there’s Trump-themed things. So much of that culture is, like, the bedazzled Trump hats or Trump cowboy hats at events. 
Now that it’s not an election cycle, he and his people care a little bit more about consolidating control over merchandise. Maybe they loosen up when you want people to have yard signs, hats, T-shirts, and whatnot at rallies.

In the suit, the Trump Organization also specifies that it believes the sellers are all based in East Asia, which is another strange thing because these suits often go after sellers abroad. That partly explains why some of these defendants can’t get legal representation. They’re in a different country, they don’t speak the language, they don’t know an attorney in Chicago who they can hire to represent them. But the fact that the Trump Organization specified that is kind of curious.

A lot of these things are manufactured in China. Other suits often end up going after China-based sellers, who, again, are not confirmed as infringing on anyone’s IP rights. But, unfortunately, they get generalized as dupers or people making knockoffs.

I’ve joked that Washington is about six years behind the rest of the world when it comes to technology. For instance, this is a product review:

I would also like to rectify my Warren G mistake from earlier. Here is a proper link to his music video.

If you haven’t already, don’t forget to subscribe to The Verge, which includes unlimited access to Regulator and all of our reporting.

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Showrunner wants to turn you into a happy little content prompter for the ‘Netflix of AI’

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As one of the cofounders behind Oculus Story Studio, Edward Saatchi knows how hard it can be to sell people on new tech that bills itself as revolutionary. Even though Story Studio snagged an Emmy for one of its three animated features, a general lack of public interest in VR movies led Meta to shutter Oculus Story Studio back in 2017. The VR era has come and gone, but Saatchi is confident that Showrunner, his new pivot to generative AI that just received an influx of cash from Amazon, can succeed.

Unlike a lot of other gen AI-centric entertainment outfits focused on deploying the technology in ways that audiences aren’t necessarily meant to see, Saatchi and his team at studio Fable developed Showrunner with the intention of people using the platform to generate content tailored to their specific desires. Currently, Showrunner lives on a Discord server where users can generate short animated videos by selecting characters and art styles from a list, and then writing prompts dictating what those characters say and how they interact with the environments around them.

After being told that you want to see Elon Musk and Sam Altman standing in an office break room and having a conversation about turning homelessness into a software as a service, Showrunner will generate a clip that mostly fits that description. Showrunner’s clips are all styled to match the aesthetics of one of the platform’s preset shows, like Exit Valley, a cartoon that appears to be a cross between Silicon Valley and Family Guy. The characters’ awkward, AI-generated voices are meant to sound like the real people they are based on. And they tend to be animated with an odd stiffness that makes it clear how much of Showrunner’s output is automated by machines rather than crafted by experienced human artists.

For now, the service is free, but Fable intends to start charging subscribers somewhere between $10–$20 per month at some point in the future. And while Showrunner is currently limited to generating output based on its own catalog of original programming, other studios like Disney have reportedly expressed interest in licensing their IP to the platform.

When I spoke with Saatchi recently, he admitted to being a bit too high on his own supply during his time with Oculus and deeply humbled when that version of the company ultimately came to an end. That whiplash left him reconsidering what consumers really want out of their entertainment, and it convinced him that the answers lie in gen AI.

”You have no idea how arrogant we were right after Meta acquired Oculus, but I remember being in meetings across Hollywood to show off our ideas, and we were just like, ‘You guys are done; we’re taking over,’” Saatchi told me. “But our net impact on the industry was zero in the end, and our revenue from VR movies was probably $10.”

To Saatchi’s mind, the big issue with VR was that it kept users in a kind of limbo where they were expected to be both passive and interactive depending on which scenes they were watching. Alternating between those two modes of engagement, Saatchi told me, was part of Oculus’ plan to make its projects feel like crosses between traditional movies and video games. But Saatchi’s own disinterest in watching VR movies was a clear sign to him that the technology was a dead end he should move on from in favor of something more dynamic.

Saatchi’s interest in gen AI was actually sparked by a technical roadblock he and his collaborators ran into while developing a VR adaptation of Neil Gaiman’s 2003 children’s book, Wolves in the Walls. In both tellings of the story, a young girl named Lucy lives in constant fear of the wolves living in the walls of her house, while her family insists that the creatures aren’t real. Saatchi and his team wanted their version of Lucy to be able to have fluent conversations with players / viewers as she guided them through the various rooms in her house. But the character was limited to reciting canned bits of dialogue rather than responding with context-specific speech.

This hurdle got Saatchi thinking more seriously about how he might be able to build Lucy as a complex “digital being” capable of having complicated interactions with people. That concept put Saatchi on a path to working with a team from OpenAI to see if it was possible. It wasn’t, not really. But the experience of building a slightly more robust Lucy character convinced Saatchi that generative AI could be the key to creating a new kind of entertainment experience.

“We made Lucy into a character that you can talk to and video chat with,” Saatchi said. “But what we quickly realized is that if you want to make a character truly live — which became our big goal — then you have to build a simulation of their world. They can’t just be a brain in a jar, like one character by themselves. They have to have a family, they have to have a life.”

The idea of building simulations — sandboxed virtual environments defined by specific rules — to make AI characters feel more multifaceted by giving them contexts to exist in is what led to Showrunner using its SHOW-1 model to produce a series of unlicensed South Park episodes.

Showrunner could approximate South Park’s visual style and musical cues, but it struggled to re-create the show’s comedic patter or the kind of chemistry between characters that, traditionally, is rooted in human actors’ performances. Also, the ersatz South Park just wasn’t funny, and it felt more like poorly written fanfiction than episodes of television that people might actually want to watch. But to Saatchi, the experiment demonstrated that Showrunner could be fashioned into a service — one dedicated to giving its users a way to prompt up “shows” of their own, one AI generated scene at a time.

Saatchi speaks about Showrunner the way many pro-gen AI founders do — with an optimistic enthusiasm that doesn’t exactly feel justified when you look at what the platform is currently capable of churning out. He sees it as the “Netflix of AI” and thinks that, with enough users writing the right prompts, it could produce something comparable to The Simpsons, Euphoria, or Toy Story. But Saatchi also believes the real appeal to Showrunner is its ability to create entertainment that’s more interactive than traditional films and shows.

“We think the Toy Story of AI isn’t going to be a cheaply produced animated movie, it’s going to be something that’s playable,” Saatchi told me. “Most people feel that generative AI is a tool to make the same, but cheaper, and we’re trying to say it’s a new kind of medium. Cinema was not about saving theater owners money; it was highly disruptive and took years to explore as a medium. I feel like the industry is kind of cutting off that exploratory element with generative AI by just shoving it into movies.”

When I brought up the ongoing conversation about gen AI’s potential to put people in creative fields out of work, Saatchi said what almost everyone in his position says — that he sees Showrunner as a platform that’s meant to supplement traditionally produced entertainment rather than replace it. He told me that he finds the idea of studios embracing this kind of technology strictly for cost-saving reasons rather grim. Saatchi also stressed that, while Showrunner is built on a number of LLMs, the company works with human artists and animators to develop its visual assets “because something is just clearly lost without that.”

“I don’t think there’s any papering over the fact that AI is going to cut jobs, but that’s why we’re not very interested in the whole cheaper VFX paradigm that most other folks are going after,” Saatchi explained. “If all that we can do with such a powerful technology is just cut jobs, what was the point? Nobody’s gonna go to the cinema to say, ‘I heard this was the Toy Story of AI. I’ve really got to get my ticket because it’s so cool that they spent so little on this.’”

What Saatchi does think people will be willing to pay for is the ability to generate scenes based on licensed IP. Though Showrunner’s core use case right now is making short, unpolished clips based on Fable’s in-house properties, the company ultimately wants to partner with major studios like Disney to develop branded models that would allow, for example, you to prompt up scenes featuring characters from The Mandalorian. This would “give people a way to create millions of new scenes, thousands of episodes, or even their own movies,” Saatchi reasoned.

”Our idea would be that, instead of people getting excited about stormtroopers in ancient Rome, which is, like, a cheap concept, there’s a Star Wars model that 700 people have developed under Dave Filoni’s direction,” Saatchi said. “These models would have real characters and a world that could be explored through prompting, and you could also inadvertently trigger scenes within those worlds in a way that would make it feel as though you’re uncovering something unknown.”

A clip from Fable’s Everything Is Fine.

Throughout our conversation, Saatchi was insistent about Showrunner being a good thing and a revolutionary tool designed to give users a new way of engaging with media. But he agreed when I pointed out that the system he’s describing makes it sound like Showrunner would effectively turn its subscribers into unpaid employees working for some of Hollywood’s biggest and most powerful studios. Studios would own anything generated with Showrunner’s branded models trained on copyrighted IP, and users will eventually have to pay to use the service.

But Saatchi stressed that, while Showrunner definitely wants to work with companies like Disney, he is also interested in collaborating with smaller creators who would stand to benefit greatly from the company’s business model. An indie filmmaker could license their new project to Showrunner and subsequently be paid a portion of revenue share based on how many scenes people were generating with the model based on their movie. Saatchi could not give me a timeline on when Showrunner might start trying to establish those kinds of partnerships, but he was bullish about them being part of what makes the platform a boon to independent creators.

“This could create something where creators can earn money when people are emotionally connected enough to their work that they themselves want to make something with it,” Saatchi said. “Compare that to what creators earn just from people viewing their work online. Yes, there is a kind of ‘we’re all employees of Disney’ element, but from a moral point, I can’t think of a better way to do it.”

Listening to Saatchi describe what he wants Showrunner to become, it actually sounds a bit like Roblox and Fortnite. Not the building or battle royale of it all, but rather the way those games encourage players to create their own maps, share them, and get other people to do the same thing. The Roblox Corporation and Epic have both built platforms where being a consumer can also essentially mean being a worker — one whose labor serves only to contribute to the corporations’ bottom lines.

But whereas those games are free to play, Fable very much wants people paying upfront to use Showrunner. If Showrunner were truly capable of conjuring up imaginative, detailed worlds that felt like thoughtful works of art, Saatchi’s pitch might not sound so dubious and mildly exploitative on its face. But what Fable is shopping around right now sounds like yet another attempt at using AI to do something that human artists are already quite capable of doing much, much better.

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Google’s Pixel Care Plus includes free screen and battery repair

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Google is phasing out its Preferred Care extended warranty plan for the Pixel Care Plus program. Pricing between the two is pretty similar. You’ll still pay $8 per-month, or $159 for a two-year plan on a Pixel 9. For a Pixel 10 Pro Fold, that jumps up to $339 for two years, or $18 per-month, with the optional loss and theft package for a small extra charge.

The big changes here are that screen and battery repairs are free, and service fees for other accidental damage are much lower. Under the old Preferred Care program, replacing a cracked screen would run you $29. Under Pixel Care Plus a cracked front screen or battery running at under 80-percent capacity will get swapped out for $0. Unfortunately, if you happen to mess up the internal screen on your 10 Pro Fold, you are not covered.

Other accidental damage fees vary depending on model, ranging from $49 on some older models like the Pixel 8a and 9a, to $99 on the Pixel 10 Pro Fold. On average they’re lower though, with service fees reaching $129 for the Pixel 9 Pro and Fold models. The new loss and theft option, which adds $1 or $2 a month to the plan, also varies per model with deductibles ranging up to $149 on the high end.

The new plans bring Google more inline with the likes of Samsung, which ditched screen replacement fees under its new extended coverage plans back in January.

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The 75 best Labor Day deals we’ve found so far

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Labor Day marks the unofficial end of summer, and while the prospect of cooler weather and shorter days can be a tough adjustment, at least there is always a great selection of deals to combat the post-summer blues. You’ll have to wait until September 1st to celebrate the actual holiday, sure, but in the meantime, we’ve gone ahead and rounded up the best discounts you can get so far on a variety of Verge-approved gadgets and goods, from earbuds to the latest e-readers.

Being that it’s nearly the end of August, it’s also a good reminder that the holidays will be here before you know it. Thankfully, some gadgets — including Sony’s WH-CH520 headphones, Roborock’s 35A robot vacuum, and TP-Link’s X55 Wi-Fi routers — have fallen to their lowest price to date, making now an excellent time to get a head start on your holiday shopping. After all, there’s no guarantee they’ll drop lower in price, even when Black Friday and Cyber Monday roll around.

Headphone and earbuds deals

Tablet and e-reader deals

Smartwatch and fitness tracker deals

Update, August 27th: Adjusted pricing / availability and added several new deals, including those Fellow’s Stagg EKG Pro Electric Kettle, Elgato’s Stream Deck Neo, and the LG C5.

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