abbott

ST. PAUL, Minn. — Minnesota Atty. Gen. Keith Ellison sued Texas Gov. Greg Abbott on Tuesday, seeking to compel the extradition of an Immigration and Customs Enforcement agent to stand trial for assault and falsely reporting a crime in the wounding of a man during the agency’s crackdown in Minneapolis.

Ellison said he would request a temporary restraining order barring the Cameron County Sheriff’s Office in Texas from releasing ICE agent Christian Castro and requiring Abbott to sign the extradition warrant allowing Minnesota law enforcement agents to take custody of him.

Castro was arrested 11 days after Minneapolis prosecutors charged him with assault and falsely reporting a crime in the Jan. 14 nonfatal shooting of Julio Cesar Sosa-Celis. The criminal complaint alleges that Castro fired a gun at the front door of a home in Minneapolis, striking a victim in the leg before lodging in a child’s bedroom wall, and then knowingly provided false information to an officer about it.

Ellison said at a news conference that unless he’s extradited, Castro faces release from jail next week — 90 days since he was detained — under Texas law, and could flee the U.S. from the border town where he’s being held.

“Christian Castro has been charged with breaking the law in Minnesota,” Ellison said. “He must face justice in Minnesota. Gov. Abbott should have granted Gov. Walz’s extradition request long ago and is required to do so now.”

“Christian Castro is not above the law and Greg Abbott isn’t either,” Ellison added.

Hennepin County Attorney Mary Moriarty said the legal action taken Tuesday to compel Castro’s extradition “should be a completely unnecessary lawsuit.” Officials at the jail and local prosecutors in Texas have been “very cooperative,” she said — “it is not supposed to be controversial.”

She said that since Castro’s arrest, Texas has extradited three unrelated criminal defendants without incident to Minnesota at the request of state authorities.

Gov. Abbott has received communication with us on an ongoing basis, including recently,” Ellison said. “We have to take the position that they are refusing to honor the extradition request.”

Vancleave writes for the Associated Press.

It’s no secret that Hollywood has dealt with a significant production downturn since the end of the streaming content boom three years ago. But the programs that have stuck to the Southland have reaped the benefits. And that goes for a slew of major-category Emmy nominees such as “RuPaul’s Drag Race,” which has filmed on stages all over L.A. County since its inception.

“First and foremost, it’s the people. I love the local people, but the people that come to Hollywood with a dream, with a drive, and their dreams sometimes get all twisted and turned, but they still have that ambition,” “RuPaul’s Drag Race” executive producer Tom Campbell says. “That’s why I love working with L.A. crews, and I love L.A. We’ve got 19 seasons in the can right now, and we’re about to start our 20th in not too long. To be with people that get to go home to their pets, or wives, or husbands, or children, makes for a different vibe on set. That’s kind of an incredible [bonus]. It’s a quality-of-life thing.”

Other iterations of the franchise have filmed all over the globe, from Colombia to Portugal to the Philippines, but Campbell doesn’t see how a hub in South America would allow guest judges such as Lady Gaga, Ariana Grande, Teyana Taylor or Cardi B to appear in person. He notes, “The celebrities don’t make or break the show, but the stars have to align that they have a day off when we’re shooting. And I think that kind of access and availability could only happen in L.A. I don’t think we’d get Cardi B for a day if she had to leave L.A.”

For “Drag Race” production designer Jen Chu, the ability to acquire raw materials in a short period of time is game-changing. She bluntly observes, “Sometimes you just need the assurance that you can go down the street and get that unusual prop or get that super-specific acrylic Plexi or anything that we could possibly need. It is somewhere in the city.”

Michelle Visage, left, RuPaul, Jamal Sims and Carson Kressley in “RuPaul’s Drag Race.”

(Jordin Althaus / World of Wonder)

Chu’s 15-person team also has an encyclopedic knowledge about where to get what they need and whom to ask at a moment’s notice. “It’s very, very common for somebody to be like, ‘Can you make a giant six-foot-tall pill bottle by tomorrow?’” she adds. “I think in those situations, we’re definitely calling on our resources and our friends and colleagues that we’ve known for so long. So, it could be anything from calling your laminate dealer that you’ve had in your phone for 20 years, or it’s literally like calling another dresser because you know that they have a life-size teapot in their backyard for some weird reason. It’s not uncommon for somebody to be like, ‘I know a guy that has a giant pickle or a huge frying pan’ or something like that.”

Veteran “Abbott Elementary” producer Patrick Schumacker is about to shoot a new Netflix series in L.A. and says it’s where to find the “most skilled, most experienced and best of the best” in all aspects of production. A lot of the onscreen talent happen to be pretty darn funny too.

“Honestly, so many hysterical actors are based out of here, and it makes it so much easier with regard to guest cast in a comedy,” Schumacker admits. “Casting becomes infinitely easier versus trying to get people to fly in from L.A. to a production elsewhere.”

Quinta Brunson’s landmark series is set in Philadelphia, but Schumacker credits location manager David Lyons for finding “outstanding places” that double for the city. He recalls, “We had a whole mall arc when the school had to relocate, and that was based on Franklin Mills, which is a real mall in Philadelphia that has the giant Ben Franklin head in it. The other part of the two-pronged attack is Michael Whetstone, Suzan Wexler and our entire art department, who have transformed the back lot at Warner Brothers into West Philly. They keep building out more and more of it every year.”

Sheryl Lee Ralph, right, in “Abbott Elementary.”

(Gilles Mingasson / Disney)

It’s also incredibly difficult to fake another city for Los Angeles. Can you imagine the L.A. romance “Nobody Wants This” trying to duplicate Silver Lake, Los Feliz or Koreatown in Atlanta?

“A real location helps the dialogue sound better. It looks better. It helps the actors know they’re in a real place. It helps the audience feel like they’re watching a real scene,” series creator and executive producer Erin Foster says. “When you think about ‘Sex and the City’ in its heyday, you would recognize the places that they’re at. You would recognize that they are actually authentic, real places that are cool. And it mattered. It made you take the characters seriously.”

Executive producer Jenni Konner adds, “And it sometimes informs story. We shot at Max & Helen’s, a notoriously difficult-to-get-into restaurant, and we had a story point where they weren’t able to get in because they didn’t realize how competitive it was. That was really fun to be able to highlight that truth of L.A.”

And not to take shots at Hollywood’s East Coast rival, but after the Netflix show recently shot scenes in New York for its upcoming third season, executive producer Bruce Eric Kaplan observed that the Big Apple presents drawbacks L.A. doesn’t. “It feels like the Los Angeles crew is a lot more concerned about our safety,” says the onetime “Girls” producer, lightheartedly. “I don’t remember ever having this many safety conversations, but you could shoot in the middle of anything in New York, and no one’s telling you to be safe.”

“Might be a sign of the times,” Foster wonders.

“Erin, I think you’re right,” Konner replies. “At first, I was like, ‘Oh, but it’s 10 or 15 years later, so safety rules have changed.’ But the truth is we shot in New York, and it did feel scary again. We were in the middle of the street in SoHo …”

Foster adds, laughing, “And they were just like, ‘We’ll just figure it out.’”

Justin Halpern had a best-selling nonfiction book, co-created “Harley Quinn,” is co-showrunner for “Abbott Elementary” and has recently published his first novel, “Get Lost.”

But today he wants to mostly talk baseball. He recalls rooting for the Mets as a child in San Diego because he was so enamored with Dwight Gooden’s “electric” fastball and his disappearing curve. He spills about the big game he blew as a tween when a simple throw to first went horribly awry, about the two no-hitters he threw at Point Loma High School, how his dreams of stardom went south while at San Diego State, about feeling bitter toward the game and then rediscovering his love for it.

This wasn’t just idle chatter. Baseball is integral to Halpern’s own character arc and to “Get Lost” both on the page and behind the scenes. Take that terrible error when Halpern was 12. Afterward, his father didn’t console him with platitudes. He told the boy to dismiss the “it’s just a game” pity from his coach and accept that for Justin it was a big deal and it made sense to feel awful, but that also meant he had something he felt passionate about.

That paternal talk helped less in the moment than down the road: Halpern’s struggling writing career exploded when he started tweeting his dad’s life advice and then, with his writing partner, Patrick Schumacker, turned those “S—My Dad Says” tweets into a best-selling book. (He’s acutely aware of how lucky he got but also says he and Schumacker were well prepared to capitalize on that opportunity.)

And that particular story, Halpern says, was “foundational” for “Get Lost.” The novel follows Lila Dixon, an acerbic, cynical baseball scout living a dreary and closed-off life in her 30s. When her mentally ill mother goes missing, yet again, Lila must return to the hometown she loathed to search for her, but this time she must also deal with her estranged father, John “Dix” Dixon. Dix was a baseball prodigy too cocky and flashy for his own good who now coasts through life on his long-ago heroics coupled with charm and an undeserved diet of luck.

Halpern’s father’s message resonated for this novel because Lila, who was neglected, abandoned and ultimately shuttled off to foster care as a kid, “has been wandering the planet without finding anything she gives a damn about. Now she needs to find something.”

Halpern quit baseball in college after an injury and the realization that he’d never make the majors. “Aside from talent, you have to be willing to do all these tiny little boring things every single day,” he says. “You have to be obsessive. I worked hard but I wasn’t willing to do that.”

The team’s assistant coach told Halpern it was the biggest mistake of his life and he’d “never make a penny writing” but writing was the one thing where he was willing to tackle the tiny little boring things needed to keep improving.

The adaptation of “S— My Dad Says” for television failed but he felt he improved with each successive show. He also didn’t give up when his first two attempts at novels were “terrible” with “nothing salvageable” in either attempt.

He learned to stop imitating his favorite writers. “I was trying to copy authors more skilled than I was and wasn’t taking the time to find my own voice.” And he strived to break the habits of writing for TV (although he’s quick to acknowledge that “Get Lost” remains dialogue heavy), including working alone. A perpetual collaborator who describes himself as “codependent,” going solo “was a huge challenge that almost shut down the novel a couple of times.”

He contemplated calling friends to run ideas by them when he got stuck but ultimately resisted. “If I didn’t figure out how to solve things myself I was never going to finish this novel anyway,” he says, adding with a laugh, “I’m definitely still codependent, but the novel forced me to venture into waters that I never would have gotten into on my own.”

The deepest of those waters came from learning he does not like exploring his emotions. “My wife probably learned this many years ago,” he says wryly. “Every time I need to sit in a feeling, I try to wiggle my way out of it and that’s probably really annoying for the people in my life. To make “Get Lost” work, he had to burrow into the “complex emotional stew” of Lila’s multiple traumas and make her journey feel earned. Each morning he’d take “epic walks” with his dog. “I’d just talk in the voice of the characters in my head, without it having anything to do with the plot.”

Creating Lila’s flippant father came easily, which is why Halpern refused to settle on Dix as the main character. He didn’t want to make Dix loathsome, but he also didn’t want to glamorize his behavior, thinking back to how he felt “The Wolf of Wall Street” made the sleazy finance bros seem too cool to many in the audience.

Writing a female protagonist, especially one who had so many reasons to be guarded, he didn’t want her to be too likable or to be sexualized or to have solutions come easily. “I didn’t want Lila to need to lower expectations of her father and just love the man for who he is but to realize the limitations of this man and not let that affect how she feels about herself.”

It’s easy to read “Get Lost” hearing Aubrey Plaza in Lila’s sardonic tone, and Halpern heard her voice, and others, while writing but kept reminding himself that he’d have no talented actress to add humanity to his dialogue.

“I knew there’d be no Aubrey Plaza here to save my ass,” he says, although he and Schumacker are now planning a movie adaptation. “I had to figure out how to create this complicated character myself,” Halpern tells me via video from the writers room in L.A. for “I Suck At Girls,” an upcoming Netflix series loosely based off another of his nonfiction books. Schumacker came in and dryly praised “Get Lost” by saying: “Justin knows words that I didn’t think he knew.”

Halpern is more self-aware than he lets on as becomes clear when analyzing his baseball journey — when he quit he admits he felt resentful. “I’d given so much time to the game and it owed me something, but hadn’t given me what I’d asked,” he reflects.

Several years later, he realized he needed to embrace the game for what it offered, not what he wanted. He started playing in adult leagues and became so invested that in his mid-30s, when a surgeon told him he’d torn his labrum, he said, “Is my career over?”

The surgeon asked, “Aren’t you a writer?”

Halpern recovered and, when he’s not joyfully coaching his kids’ Little League team, he’s still heading for the mound at age 45, thrilled with the challenges of outsmarting hitters and reveling in the social aspect of being on a team. “Even with a bunch of older people, there’s just something about sports that still really takes me to a higher place,” he says. “I’ve had a super blessed writing career, but the highest highs I’ve ever had are on a baseball field.”

Miller is a freelance writer in Brooklyn, N.Y., who frequently writes about movies.

For “Abbott Elementary” costume designer Hachy Mendez-Smith, the fifth season’s Halloween episode — in which Gregory (Tyler James Williams) and Janine (Quinta Brunson) dress up as “Sinners” filmmaker Ryan Coogler and an Imax screen, respectively — had to do more than deliver a punchline. It also had to reflect their characters. “Gregory has always been the more grounded, measured type. And then Janine is naturally more whimsical, optimistic and quirky, so she carried the bigger, more expressive visual in the moment,” she says. “And as his girlfriend, she’s always been supportive of him. So even in costume, it was like she was literally holding space for his story. It felt authentic, not just comedic.” The designer drew inspiration for Gregory’s burgundy coat from a Coogler red carpet moment, tailoring a clean, sophisticated silhouette while playing with the scale of Janine’s costume. “Quinta’s 4-11 in real life, so we had to be mindful yet over the top to land the visual right away,” she notes. The highlight for Mendez-Smith: Coogler’s reaction. “I was honored he even watched and loved that he talked about how much the show means to him,” she says. “And it was hilarious that initially he thought it was AI. He couldn’t believe how spot on it was.” How spot on? Even Janine’s screen matched the correct Imax aspect ratio: 1.43:1.