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Everything to Know About President Donald Trump’s New Drone Program

President Donald Trump has introduced a plan that may let companies like Google and Amazon move more quickly to use drones for delivering diapers, tangerines, and shampoo to your doorstep.

The Trump Administration said Wednesday that unspecified local and state agencies as well as tribal authorities would help the federal government to create a set of drone regulations for commercial flights.

The U.S. Department of Transportation and the Federal Aviation Administration, which oversee drones in the national airspace, released rules in Aug. 2016 for how businesses can use drones for tasks like aerial photography or to monitor farms. However, many states and local governments have enacted their own drone rules that in many cases conflict with current FAA regulations.

Although the FAA has approved some companies to use drones to photograph property damage, for example, doing so could potentially violate local privacy laws if drones take pictures of nearby homes without their owners’ consent.

This mishmash of local and federal drone rules in addition to the hurdles to businesses of obtaining FAA approval for commercial drone flights has caused some companies like Amazon amzn and Google goog to move their test flights to countries like United Kingdom and Australia where laws are more lax.

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The Trump Administration’s drone program is intended to make it easier for companies to test drones by having local authorities, tribal government, companies, and the federal government work together. It’s also designed to give businesses more flexibility to fly drones at night, beyond the sight of human operators, and over people’s heads—things that are currently banned without approval but important to making drone deliveries a reality.

“Overall this is a hugely important step forward,” said attorney Lisa Ellman, who helps run the drone advocacy group Commercial Drone Alliance. “The intent is to open up the skies to commercial drones. It will help us gather data to inform future rule making.”

Still, the Trump Administration revealed limited details about how the new drone program, planned for the next three years, would work. For example, the administration said in a statement, “Prospective local government participants should partner with the private sector to develop pilot proposals,” but it did not say how those partnerships would function.

The DOT said it would evaluate at least five applications in which local authorities and companies will jointly propose plans for potential drone projects in certain municipalities. But, the DOT did reveal how it is determining the appropriate projects or its criteria for how it is selecting participants, likely to be many considering it will include numerous local governments as well as companies with competing interests.

The department also did not say how much the federal program would cost, but it added that the cost would be revealed in the coming days.

Nevertheless, several organizations and companies that are interested in drones are pleased about the Trump Administration’s initiative.

“The beauty of this program is that the White House is allowing everyone from cities to states to tribal authorities to apply,” Greg McNeal, co-founder of drone startup AirMap told Fortune in an email. “States and cities will apply to open the airspace for operations that they’re most interested in, that are the best fit for local conditions and complexities, and that allow them to welcome drone operations that can kickstart their drone economy.”

Drone advocacy group Small UAV Coalition, which represents companies like Google’s parent, Alphabet, and Amazon, also commended the program.

“As the pilot program gets underway, the Coalition looks forward to continuing to work with Congress, the FAA, and all stakeholders to advance long-term FAA reauthorization legislation that will help ensure that the United States fully embraces the immense economic potential and consumer benefits of UAS [drones] technology in the near-term,” the group said in a statement.

But just because the new drone program debuted, doesn’t mean that local authorities, the federal government, and corporate interests won’t butt heads. States are still free to enact their own drone law regardless of Trump’s proposal.

Supporters of Trump’s plan like the Small UAV Coalition, the Association for Unmanned Vehicle Systems International, and the Academy of Model Aeronautics praised how the new drone program still designates the FAA as the ultimate authority over drones, trumping local governments. One reason these groups like this is because local laws often impede corporate interests especially surrounding privacy laws, thus limiting the ability of companies to launch commercial drone projects.

“We are encouraged that this new program appears to preserve the FAA’s authority over the nation’s airspace,” said Academy of Model Aeronautics spokesperson Chad Budreau.

About why it’s taken so long for such a framework to be developed, Ellman explained that’s just the way Washington D.C. politics works.

“I think when you’re dealing with any major federal government policy, there’s just a lot of ‘I’s’ to be dotted and ‘T’s’ to be crossed,” Ellman said.

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Everything We'll Be Watching for During the Emmys

For years the Emmys were the place that Modern Family went to pick up something pretty for the mantle. But that’s all changing thanks to the likes of Netflix, Hulu, and Amazon. Now streaming services compete—and win—right alongside their big network counterparts. With more players in the game, television studios are starting to pony up for really creative shows to grab attention. All of this has lead to a lot of amazing TV. In anticipation of the Emmys, which air tonight at 8 pm Eastern/5 pm Pacific on CBS, WIRED’s editors spent last week reflecting on our favorite shows of the last year—and why we think they deserve to be rewarded.

The Handmaid’s Tale Reinvented Dystopia

The Handmaid’s Tale couldn’t have come to Hulu at a better—or worse—time. The adaptation of Margaret Atwood’s 1985 novel started production in 2016, when it looked like the United States was on a course to elect its first female president; it got released in 2017, after that same country elected a man who dismissed his use of the phrase “grab ‘em by the pussy” as locker room talk and saw a swell of white nationalism in its borders. Atwood’s dystopian world of Gilead was modeled after an America that had succumbed to totalitarian theocratic rule. It’s not quite Trump’s America—but as The Handmaid’s Tale’s first 10 episodes rolled out, it was hard not to see similarities. (Read the rest of Angela Watercutter’s appreciation of  The Handmaid’s Tale.)

The Handmaid’s Tale couldn’t have come to Hulu at a better—or worse—time. The adaptation of Margaret Atwood’s 1985 novel started production in 2016, when it looked like the United States was on a course to elect its first female president; it got released in 2017, after that same country elected a man who dismissed his use of the phrase “grab ‘em by the pussy” as locker room talk and saw a swell of white nationalism in its borders. Atwood’s dystopian world of Gilead was modeled after an America that had succumbed to totalitarian theocratic rule. It’s not quite Trump’s America—but as The Handmaid’s Tale’s first 10 episodes rolled out, it was hard not to see similarities. (Read the rest of Angela Watercutter’s appreciation of  The Handmaid’s Tale.)

How Atlanta Expanded the Limits of Storytelling

Atlanta, akin to the city itself, is pure sprawl—thematically sweeping if sometimes implausibly lush, with its cabal of lovably thorny characters and its conceptually exhaustive format. Much to the credit of Donald Glover and his all-black writers’ room, it is a show without a roadmap that isn’t afraid to take detours to uncharted territories (or get lost and find its way back). As such, the Emmy-nominated comedy (it’s up for four awards on Sunday) has no precedent. In the short history of contemporary television, there have been more than a handful of shows that have traversed the highs and lows of black life—some of them exceptional, most of them simply OK. But there’s never been a vision quite as specific and as versatile and as wonderfully gonzo as Atlanta: It speaks with a cultural knowingness that, until its debut, had never been given space on TV. (Read the rest of Jason Parham’s appreciation of Atlanta.)

Atlanta, akin to the city itself, is pure sprawl—thematically sweeping if sometimes implausibly lush, with its cabal of lovably thorny characters and its conceptually exhaustive format. Much to the credit of Donald Glover and his all-black writers’ room, it is a show without a roadmap that isn’t afraid to take detours to uncharted territories (or get lost and find its way back). As such, the Emmy-nominated comedy (it’s up for four awards on Sunday) has no precedent. In the short history of contemporary television, there have been more than a handful of shows that have traversed the highs and lows of black life—some of them exceptional, most of them simply OK. But there’s never been a vision quite as specific and as versatile and as wonderfully gonzo as Atlanta: It speaks with a cultural knowingness that, until its debut, had never been given space on TV. (Read the rest of Jason Parham’s appreciation of Atlanta.)

Westworld’s Strength Is Its Inhumanity

One scene from Westworld replays in my head again and again, a little like (I imagine) one of the poor, doomed robots on the show who start noticing and remembering the programmatic loops in their simulated, hyper-violent Old West sandbox game. It’s when the android Maeve, played by Thandie Newton, grabs a technician’s tablet showing the dashboard for her personality software and, with a deft finger swipe, upgrades herself to genius. Yes, maybe taking control of your life by literally taking control of your life is a teensy bit on the nose. But for me it was the best flicker of weirdness from a show that—again, like its robots—dreamed big dreams. (Read the rest of Adam Rogers’ appreciation of Westworld.)

One scene from Westworld replays in my head again and again, a little like (I imagine) one of the poor, doomed robots on the show who start noticing and remembering the programmatic loops in their simulated, hyper-violent Old West sandbox game. It’s when the android Maeve, played by Thandie Newton, grabs a technician’s tablet showing the dashboard for her personality software and, with a deft finger swipe, upgrades herself to genius. Yes, maybe taking control of your life by literally taking control of your life is a teensy bit on the nose. But for me it was the best flicker of weirdness from a show that—again, like its robots—dreamed big dreams. (Read the rest of Adam Rogers’ appreciation of Westworld.)

The Night Of’s Single Season Is the Future of TV

Last year’s best case for restraint was The Night Of, the hypnotic HBO legal miniseries created by Richard Price and Steven Zaillian. Which is not to say The Night Of didn’t have blind spots. It did, thematically and narratively—lazy detective work; the sluggish pacing of certain scenes—but the complete product was a small triumph: a sneakily crafted urban noir about the justice system that was ambitious and pragmatic in palatable doses. The show never overcompensated (if anything, the plot sometimes didn’t say enough). In this way, The Night Of was less of a whodunit and more of a close look at the contours of human identity—the way a single event radically alters the lives of the people it touches. (Read the rest of Jason Parham’s appreciation of The Night Of.)

Last year’s best case for restraint was The Night Of, the hypnotic HBO legal miniseries created by Richard Price and Steven Zaillian. Which is not to say The Night Of didn’t have blind spots. It did, thematically and narratively—lazy detective work; the sluggish pacing of certain scenes—but the complete product was a small triumph: a sneakily crafted urban noir about the justice system that was ambitious and pragmatic in palatable doses. The show never overcompensated (if anything, the plot sometimes didn’t say enough). In this way, The Night Of was less of a whodunit and more of a close look at the contours of human identity—the way a single event radically alters the lives of the people it touches. (Read the rest of Jason Parham’s appreciation of The Night Of.)

O.J.: Made in America Is a Masterful Feat of Editing

O.J.: Made in America is, to be sure, a feat of raw reportage—director Ezra Edelman and his producers conducted more than 70 interviews. But what editors Bret Granato, Maya Mumma, and Ben Sozanski accomplished was equally remarkable. They distilled hundreds of hours and countless narratives into a nearly eight-hour-long panoramic about everything from politics to race to the media—and somehow wrapped it all into a can’t-turn-away thriller. (Read the rest of Brian Raftery‘s appreciation of O.J.: Made in America.)

O.J.: Made in America is, to be sure, a feat of raw reportage—director Ezra Edelman and his producers conducted more than 70 interviews. But what editors Bret Granato, Maya Mumma, and Ben Sozanski accomplished was equally remarkable. They distilled hundreds of hours and countless narratives into a nearly eight-hour-long panoramic about everything from politics to race to the media—and somehow wrapped it all into a can’t-turn-away thriller. (Read the rest of Brian Raftery‘s appreciation of O.J.: Made in America.)

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