US officials have discussed taking government stakes in AI companies



The idea is unusual enough that it took a moment to register: the United States government, owning a slice of the companies building frontier AI.

According to a report by NOTUS, senior US officials have held preliminary discussions with major AI companies about exactly that, the federal government acquiring shares in the firms at the centre of the technology it is also trying to regulate.

The thread runs through OpenAI. Sam Altman, the company’s chief executive, who has spent recent weeks in Washington urging Congress to fund AI testing rather than require model approvals, has discussed the stake concept with senior Trump administration officials periodically since the president’s second term began, NOTUS reported, having first pitched it directly to Donald Trump in early 2025 and raised it again with officials in recent weeks.

The discussions, per the report, have centred on firms voluntarily ceding shares to the government rather than the government buying in.

What the government would do with the returns is part of the pitch. One option discussed is directing the proceeds to public purposes, including a dividend paid to all American households, a framing that turns government ownership of AI into a mechanism for distributing the technology’s gains directly to citizens.

It is a politically potent idea at a moment when, by the polling NOTUS cites, 55% of Americans think AI will do more harm than good in their daily lives, and when OpenAI’s own corporate structure is already under a microscope through the Musk v. Altman trial over its nonprofit-to-profit conversion.

That public scepticism is the context the companies are reacting to. Tech firms are looking for ways to win over Americans wary of AI, and a structure that hands the public a stake, literal or financial, in the upside is one answer to the charge that the gains are flowing to a narrow few. Voluntarily ceding shares reads, in that light, as much as reputation management as fiscal policy.

The objection is structural and immediate. A government that owns shares in a company it also regulates is both shareholder and referee, a conflict critics quoted in the report flagged at once. The incentive to protect the value of a holding sits awkwardly beside the duty to police the company that holds it, and no amount of public-dividend framing fully resolves the tension.

The idea also has unlikely company across the political spectrum. Versions of public equity in AI have been floated from the left as well, on the logic that if the technology displaces large numbers of workers, the public should hold a claim on the resulting profits rather than watch them accrue entirely to private shareholders, a concern OpenAI itself has gestured at even as Altman plays down the idea of an AI jobs apocalypse.

That a Trump-administration conversation and progressive proposals arrive at a similar mechanism, the state holding a stake on the public’s behalf, is a measure of how unsettled the question of who benefits from AI has become.

For now this is reporting about conversations, not a policy or a deal. The talks are described as preliminary, the share transfers as hypothetical and voluntary, the dividend as one idea among several.

But the fact that the conversation is happening at all marks how far the relationship between the US government and the AI industry has shifted, from arms-length regulation towards something that, if it ever materialised, would make the state a part-owner of the thing it is meant to oversee.



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Pixar is the champion of animation, but not all of their movies have had the chance to shine. For 40 years, the studio has brought families together across 30 movies. Certain movies never enter the discussion of being among the studios’ best — they were overshadowed by other films, or they went direct-to-streaming on Disney+.

In honor of the 40th anniversary, here are four Pixar movies that are worth reevaluating in 2026.

Toy Story 4

A surprisingly strong sequel

In 2010, Toy Story 3 brought Pixar’s debut franchise to an emotional close, as Woody (Tom Hanks), Buzz (Tim Allen), and the gang said farewell to Andy, preparing for a new life with Bonnie (Madeleine McGraw). After bringing their genre-defining animated trilogy to a fitting conclusion, I was doubtful that any follow-up could ever live up to the trilogy’s legacy. However, I was pleasantly surprised when I finally found the time to watch Toy Story 4.

As the gang of toys and Bonnie embark on a trip, Woody sets out to help the handcrafted toy Forky (Tony Hale) while also reuniting with Bo Peep (Annie Potts), who has become a rescuer of stray toys. As expected, Pixar’s animation remains ever-impressive, but Toy Story 4 manages to recapture the charm of the original 3 movies and offer a surprisingly fitting epilogue to Woody’s story in particular. Even with a new installment on the horizon, the emotion behind Toy Story 4‘s major status quo change for the gang ensures that the movie will be able to stand on its own merits for many years to come.

Turning Red

A stylistic reinvention

2022’s Turning Red saw Pixar take another crack at a coming-of-age story. The young Mei (Rosalie Chiang) clashes with her mother, Ming Lee (Sandra Oh), leading to her learning that she inherited the power to turn into a gigantic red panda in moments of heightened emotion. With her favorite boy band in town, Mei and her friends plan to use these gifts to attend the concert. As the concert draws nearer, however, Mei continues to clash with her mother, building to a generational showdown to heal her family’s curse.

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When compared to what came before, Turning Red is a drastic stylistic departure from Pixar’s filmography. Mei’s story is told in a more informal manner when compared to other features, as Mei breaks the fourth wall and is incredibly expressive when compared to how past features tiptoed the line between cartoon and realism. However, this stylistic decision gives Turning Red a unique charm while making its story feel all the more personal and emotional, as we are given a clearer insight into Mei’s state than any other Pixar protagonist that has come before.​​​​​​​

Monsters University

Expanding a universe

While Toy Story had proven that Pixar could create successful sequels, expanding on a movie was still a rare move for the studio in the early 2010s, with said franchise and Cars being an exception. As such, Monsters University had a lot of pressure placed upon its shoulders when it released. Set several years before the events of Monsters Inc, the prequel explores how Mike (Billy Crystal) and Sully (John Goodman) went from fierce rivals to the firmest of friends during their time at the titular scaring school.

Blending the setting and cast of Monsters Inc. with a teen college movie was an ideal choice to expand the world of this Pixar movie, as most of the charm found in Monstropolis comes from how it drastically imagined elements of our own world in its monstrous lens. Furthermore, it is interesting to see that Sully and Mike began as rivals, and Mike’s arc focusing on his struggle to be a scarer does add layers to where his journey ends in the original movie. As such, Monsters University is a worthy prologue to one of Pixar’s most enduring franchises.​​​​​​​

Soul

A deeper tale with age

Pixar is unafraid to tackle deeper and more mature subjects. However, I feel Soul stands as one of their most ambitious explorations yet. On the verge of fulfilling his dream, Joe (Jamie Foxx) is caught in a near-death experience, leading to him becoming a disembodied soul in the “Great Before.” When his soul is tasked to guide the reluctant 22 (Tina Fey) into finding the passion that will drive her during her time on Earth, Joe is taken on a journey to not only return to his body but also reconsider what drives him and what is important in life.

For a studio that has prided itself on packaging deeper themes into a family-friendly package, Soul easily stands as a movie that feels targeted for its older viewers. Children may be inspired to take joy in everything life can offer through 22’s journey, but Joe’s story is particularly relatable to those who have had to grapple with their passions being lost or an unpredictable turn in life putting a stop to a dream, and watching him regain that through his experiences with 22 is incredibly emotional. While it may not have had a chance to shine at the box office, Soul will stand as a fondly remembered Pixar classic. Hopefully, new viewers and young fans can begin to see the movie through different perspectives as they face their own trials.​​​​​​​


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