GM was the first major US automaker to make the promise to go all-electric by 2035, just four years ago. Those promises have since turned into rough estimates under the second Donald Trump presidency, with the company softening language about its electrification goals. But GM is riding high on EV sales, and as CEO Mary Barra puts it, EVs are still the future — just on a delayed (and very flexible) timeline.
“We still believe in an all-electric future,” Barra told The Verge in an exclusive interview at the Le Mans race in France. “The regulations were getting in front of where the consumer demand was, largely because of charging infrastructure, which hasn’t happened as fast as anybody expected.” She continued, “We do believe in an all-EV future, but the customer is going to guide us there.”
GM is no stranger to political and financial headwinds, but this time is different. Although the company successfully navigated the massive auto bailouts in 2008, Barra faces new challenges due to shifting tariff policies, the elimination of pro-EV incentives thanks to Trump’s Big Beautiful Bill, a shifting global economic picture, and a mercurial president who’s not afraid to single out companies that don’t kiss the ring.
GM has been quietly scaling back its ambitious EV plans in response to these pressures, even as the company has seen growing profits from EV sales.
GM recently became the number two seller of EVs in the world, surpassing Ford, and closing the gap with Tesla amid that company’s spectacular fall from grace. Chevrolet became the fastest-growing US EV brand in the first quarter of 2025.
If Tesla continues on its downward spiral, it’s entirely possible that GM could soon become number one. Last week, during GM’s earnings, the company announced that it had increased EV sales by more than 111 percent, selling nearly 50,000 vehicles in the first quarter. It stands to reason that the elimination of the EV tax credit could throw a wrench in that progress.
There’s also the ongoing issue of looming tariffs. Barra recently came out in support of Trump’s automotive tariffs, thanking the president for his support of the US automotive industry, despite it costing her company an estimated $5 billion.
If Tesla continues on its downward spiral, it’s entirely possible that GM could soon become number one
“Some of the changes we just announced give us an opportunity to grow share, because there are vehicles we can’t build enough of right now,” Barra said. “So that’s the company strategy as we move forward from the ups and downs of tariffs.”
The $4 billion investment certainly buys them some time, she said. “I feel really good about what we’re doing because I think it’s balanced, but we’re addressing what the customer looks for, while we’re increasing our ability to live in this tariff world broadly.” She noted that she’s asked the administration for “clarity and consistency” on these matters.
Trump also recently gutted the California regulations that would have banned the sale of gasoline-powered cars by 2035 in the state. GM and other automakers have been lobbying to kill California’s regulations for years.
In response to the news, Barra said that when she looked at the marketplace data, it was the right move. She said that she believed that the EV market was “going to be a mess for the consumer,” and for dealers, arguing that it was going to be “so bad that people are going to start shopping by state to get the vehicle they want.”
“If you look at what the 2026 model year regulatory requirements are, it’s way ahead of where the consumer is. So we’d hope there was a change there,” Barra said, noting that she’d like to see a national standard for EV adoption rather than the state-by-state version we currently have.
While it’s a pragmatic hedge, it does mark a retreat from the lofty electrification promises of GM in previous years.

Barra is trying to steer the massive GM ship through these tumultuous waters by bringing its luxury brand, Cadillac, back to global prominence — particularly in the form of its upcoming participation in Formula 1 starting in 2026.
Cadillac will be the first new team to enter F1 since 2016. “We think, with all the investments we’ve made in Cadillac, it’s time to take our place and hopefully compete well on both stages,” Barra said, referring to the endurance racing circuit like the 24-hour Le Mans race, where we met, and F1.
Barra said that GM is aiming to raise the luxury automaker back to its old moniker as the Standard of the World. “We’ve made the investment over the last decade now to truly have Cadillac be that standard,” Barra said. “This is the ultimate race from an endurance perspective, and that’s so important to every consumer. What we learn here from many aspects, we can put right into the production vehicle. So we think it’s a perfect stage where Cadillac can truly gain a place in the top luxury brands globally.”
Racing has seen a huge uptick in attendance and fandom over the last few years, thanks in large part to Netflix’s Formula 1: Drive to Survive, the popular show that goes behind the scenes (and the drama) in F1. The phenomenon is referred to by race drivers and marketers alike as the “Netflix effect.” Oliver Gavin, a five-time Le Mans 24-hour winner and race commentator, noted that all types of racing have seen a lift, and it all translates to marketing and earning gold for automotive brands.
Cadillac is trying to cash in on that gold, at the same time that it’s attempting to reestablish itself in markets where it has little consumer recognition — in places like France, where the company opened its first showroom in Paris, located directly across the street from L’Opéra Garnier, not far from the Louvre and Jardin des Tuileries.
France is GM’s largest EV market in Europe, according to the company; however, it remains relatively small, and Cadillac has limited EV brand recognition there. In 2024, GM sold just 2000 EVs in all of Europe. While Cadillac’s EVs, such as the Lyriq, are turning heads there, GM is facing backlash from climate groups over its investments in ICE vehicles in the United States, which some critics say run counter to the climate goals the company champions abroad.

Beyond the uncertain business environment, Trump’s attacks on diversity, equity, and inclusion (DEI) have also hindered hiring at American businesses like GM.
Under a president who isn’t afraid to publicly berate executives like Barra or exact revenge with executive orders and sanctions, CEOs and leaders alike have had to tread carefully. Barra herself is no stranger to Trump’s ire. In 2018, when GM closed five plants in Ohio and Michigan and laid off around 15,000 workers, Trump took to social media and called Barra “nasty.” Barra has said publicly that GM could have been better positioned during the first Trump administration, and she appears to be taking lessons from her first experience with the president, while continuing to support STEM education and an inclusive workforce.
“General Motors is a federal contractor, so we’re going to always comply with all the laws,” Barra said, but she takes a much more personal approach when it comes to navigating the issue inside of GM.
“How many times have you been at work and you felt like you weren’t valued or included? And I raise my hand, and then [employees] start raising their hands,” she said. “We don’t have to agree on everything. We can make sure the work people do is respected, their voice is heard, and they’re treated like part of the team.”
“We don’t have to agree on everything. We can make sure the work people do is respected, their voice is heard, and they’re treated like part of the team.”
Barra said she’s scared by the idea of communication breaking down. “That doesn’t make sense to me,” she said. “We want every single person to feel that they’re valued and the work they do matters, because I think that’s going to make them want to not only come to GM, but stay.”
Against these headwinds, Barra appears confident in staying the course with GM and Cadillac, especially as the brand steps onto the global stage with F1 next year. The race at Le Mans, where two of Cadillac’s teams finished fourth and seventh, is just the first step for the company back onto the global stage.
“You know, we have a brand people know, people trust. I think that matters a lot more than maybe what’s happening from a political perspective, or the many different things that are happening in the country right now,” Barra said. “So we think it’s a perfect stage, with where Cadillac is now, to truly gain a place in the top luxury brands globally.”
For GM, its luxury brand Cadillac, and personally for Barra, the stakes are much higher than just another pole position on the grid. Cadillac’s reentry into racing isn’t just about winning; it’s about proving that an American luxury brand can compete with viable (and variable) consumer products and technology, globally, while its leadership navigates an increasingly hostile domestic political and business environment.
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![‘Millennium Actress’ Will Always Be My Favorite Satoshi Kon Film
Director Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress. Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films. Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.
[embed]https://www.youtube.com/watch?v=mWGRmtTUkvg[/embed] While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.
As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions. © Madhouse/GKIDS/HBO Max Then something magical happens. In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.
Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever. I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man. [embed]https://www.youtube.com/watch?v=wfnRYdTpzbs[/embed] Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.
But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke. But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase. Millennium Actress is streaming on HBO Max. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon ‘Millennium Actress’ Will Always Be My Favorite Satoshi Kon Film
Director Guillermo del Toro once compared watching a movie for the first time to going on a blind date. The first date is flirtatious with promise; the second go-around is the proper date. By the time you rewatch a movie three or four more times, you’ve graduated to marriage. In all my years watching anime for work and leisure, there’s no film I’ve felt married to as much as I do toward Satoshi Kon’s finest film, Millennium Actress. Unlike Kon’s showier film, which pushes animation to the forefront with adult themes by front-loading its opening moments with dreamlike imagery that provokes you into unease and awe-struck wonder, Millennium Actress‘ brand of phantasmal imagery doesn’t flourish in magical realism, horror, or yuletide merriment. Millennium Actress blossoms in the hazy-bright subjectivity and romanticization of memory. Namely, the memory of former showbiz actress Chiyoko Fujiwara (JP: Fumiko Orikasa, Mami Koyama; EN: Abby Trott, Erin Yvette, Cindy Robinson). When a reporter and his cameraman make a pilgrimage to Chiyoko’s home for an interview recounting her career, they wind up traveling through her memories and films. Chiyoko regales her guests, reminiscing about being a child during World War II, the mysterious man she helped flee from police officers, the promise they made to each other, and how his sudden disappearance led her to pursue stardom in cinema. Her hope was that she’d be so successful they’d have no choice but to reunite someday by the sheer gravitational force of her star power—if he’s even still alive. With her storied career behind her, Chiyoko’s life is spent longing forever and a day for a reunion that may never come.
[embed]https://www.youtube.com/watch?v=mWGRmtTUkvg[/embed] While the surface-level intrigue of a journalist interviewing a subject isn’t lost on me, given my vocation, the 2001 film feels like my personal cinematic Amigara fault; what perpetually strikes me about Kon’s film is how it takes its otherwise pleasantly banal story on the page and breathes vibrant life into it through artistry the likes of which the anime industry may never see again. Kon’s blocking and camera work have already been praised to death, and rightfully so, as the stuff film students study to understand scene setting, and Studio Madhouse’s creative efforts with Millennium Actress are no exception. What gets me invigorated about Millennium Actress whenever the film crosses my mind in my day-to-day is how it plays with memory as an active, living tapestry over the static, absolute depictions of it I’ve encountered in other media.
As Chiyoko recounts the chapters of her life—her humble beginnings in film, the trials and tribulations she faced to become a household name for a time—her audience in both viewers and the journalists who’re guests in her home are struck with the poignant sense that her life is one of pyrrhic victories. No matter how big she got, the goalpost was to be big enough that her assumed paramour would find her from her own clout, and they’d reunite in the most saccharine way imaginable; it never manifests as the reward at the end of her hard-earned journey—a journey that rivals the millennia her visage graces immortalized in celluloid. It’s Sisyphean, and the pain of being trapped recounting her trek up to this point feels less like a trip down memory lane and more like a prison behind the guardrails of her all-encompassing dissatisfactions. © Madhouse/GKIDS/HBO Max Then something magical happens. In the way memory isn’t us replaying events exactly as they occurred but reconstructing them from our own fallibly human recountenances, Chiyoko breaks free from the script of her own memory, transforming it into a lucid dream where her agency is superimposed over the roles she played, giving her the power to pursue the man she spent years waiting for. This, in turn, transports both the journalists and audiences into the fabric of the fantastical roles she’s played, referencing a pastiche of real-life cinema, including Akira Kurosawa’s Throne of Blood, Ishirō Honda’s Godzilla, and Stanley Kubrick’s 2001: A Space Odyssey, as Chiyoko flips the script on the very fabric of her life’s narrative to arrive at her truth.
Along that journey, Kon weaves a stirring, imaginative, sobering tale integrating the universal pang of life, life’s regrets, and what we make of what’s left when we approach our final curtain calls, looking back on the journey we faced to get to our final destination. And the answer Chiyoko arrives at as the film bookends itself, as she’s sat in the cockpit of a space rocket set for the stars, is etched in my soul forever. I treasure Millennium Actress so much that I nearly went into orbit myself when I interviewed Lady Snowblood actress Meiko Kaji during a Japan Society retrospective event earlier this year celebrating her 60-year career. It took nearly every fiber of my being to maintain my cool as my prepped questions for our Zoom interview made me realize I was put smack dab in the same scenario as Millennium Actress‘ journalists. Like them, I was interviewing and guffawing at the answers I received, which landed beyond the scope of what I could’ve ever hoped for from an actress whom I had the awesome responsibility to encapsulate a career that doubled my own lifetime. Like Chiyoko, Meiko never intended to be an actress at all. But through stubborn determination woven within the woman behind the character actress, she made a way out of no way. That shit means something to me, man. [embed]https://www.youtube.com/watch?v=wfnRYdTpzbs[/embed] Whether it’s Wong Kar-wai, Studio Ghibli, or the late-great dreamscape auteur, Satoshi Kon, everyone’s got their favorites from an eclectic creative’s body of work. Sometimes those favorites coincide with their indelible effects on both pop culture and their status as poster children for their visual ethos—your In the Mood for Love, Spirited Away, and Perfect Blue.
But my favorites of the bunch tend to be those with middle-child syndrome in their remarkable films. I’m enamored of how Kar-wai reverse-engineered the quantum Zeno effect of doomed romance and yearning in Happy Together; how Studio Ghibli told a timeless tale of environmentalism against industry and love caught in the crossfire in Princess Mononoke. But most of all, I’m moved by Kon’s beautiful tale of an actress reminiscing over her years spent hounding after an unattainable goal not to reach it, but for the thrill of the chase. Millennium Actress is streaming on HBO Max. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Millennium #Actress #Favorite #Satoshi #Kon #FilmAnime,GKids,Madhouse,Millennium Actress,Satoshi Kon](https://gizmodo.com/app/uploads/2026/07/Millennium-Actress.jpg)
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