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WASHINGTON — The FBI on Friday searched the Maryland home and Washington office of former Trump administration national security advisor John Bolton as part of a criminal investigation into the potential mishandling of classified information, a person familiar with the matter said.

Bolton, who emerged as an outspoken critic of President Trump after being fired in 2019 and fought with the first Trump administration over a scathing book he wrote documenting his time in the White House, was not in custody Friday and has not been charged with any crimes, said the person who was not authorized to discuss the investigation by name and spoke to the Associated Press on the condition of anonymity.

The searches, seemingly the most significant public step the Justice Department has taken against a perceived enemy of the president, are likely to elicit fresh concerns that the Trump administration is using its law enforcement powers to target the Republican’s foes. They come as the Trump administration has moved to examine the activities of other critics, including by authorizing a grand jury investigation into the origins of the Trump-Russia probe that dogged Trump for much of his first term, and as FBI and Justice Department leaders signal their loyalty to the president.

Speaking to reporters during an unscheduled visit to the White House Historical Assn., Trump said he had seen news coverage of Friday’s searches and expected to be briefed about it by the Justice Department but also insisted he didn’t “want to know about it.”

“I could know about it. I could be the one starting it. I’m actually the chief law enforcement officer. But I feel that it’s better this way,” Trump said.

Bolton had said in interviews this year that he was mindful that he could be scrutinized, telling the AP in January shortly before Trump took office, “Anybody who ever disagrees with Trump has to worry about retribution. It’s a pretty long list.”

An FBI search like the one at Bolton’s properties requires authorization from a federal magistrate judge. It wasn’t immediately clear what information authorities submitted to demonstrate that they had probable cause of a crime, though the Justice Department years ago launched an investigation into whether Bolton improperly disclosed classified information in a book manuscript he had written. The inquiry was later closed.

Vice President JD Vance denied in an NBC News interview on Friday that Bolton was being targeted because of his criticism of Trump. “If there’s no crime here, we’re not going to prosecute it. If there is a crime here, of course, Ambassador Bolton will get his day in court. That’s how it should be.”

Bolton was in his office building at the time

Bolton was not home for the search of his home, but after it started, he was spotted Friday morning standing in the lobby of the Washington building where he keeps an office and talking to two people with “FBI” visible on their vests. He left a few minutes later and appeared to have gone upstairs in the building. Agents were seen taking bags into the office building through a back entrance.

Messages left with a spokesperson for Bolton were not immediately returned, and a lawyer who has represented Bolton had no immediate comment.

The Justice Department had no comment, but leaders appeared to cryptically refer to the searches in a series of social media posts Friday morning.

FBI Director Kash Patel, who included Bolton on a list of “members of the Executive Branch Deep State” in a 2023 book he wrote, posted on X: “NO ONE is above the law… @FBI agents on mission.” Atty. Gen. Pam Bondi shared his post, adding: “America’s safety isn’t negotiable. Justice will be pursued. Always.”

The Justice Department is separately conducting mortgage fraud investigations into Democratic Sen. Adam Schiff of California and New York Atty. Gen. Letitia James, who brought a civil fraud lawsuit against Trump and his company, and ex-Trump prosecutor Jack Smith faces an investigation from an independent watchdog office. Schiff and James have vigorously denied any wrongdoing through their lawyers.

The Bolton searches also unfolded against the backdrop of a 2022 search for classified documents at Trump’s Mar-a-Lago estate in Palm Beach, Fla., an action that produced since-dismissed criminal charges but remains the source of outrage for the president and supporters who insist he was unjustly targeted despite the retrieval of top-secret records.

Patel said in a Fox Business Channel interview this week that the Mar-a-Lago search represented a “total weaponization and politicization” of the bureau, and Trump himself referenced it on Friday, telling reporters: “I guess his house was raided today, but my house was raided, also.”

Trump and Bolton have been at odds for years

Bolton served as Trump’s third national security advisor for 17 months and clashed with him over Iran, Afghanistan and North Korea.

He faced scrutiny during the first Trump administration over a book he wrote about his time in government that officials argued disclosed classified information. To make its case, the Justice Department in 2020 submitted sworn statements from senior White House officials, including then-National Security Agency Director Paul Nakasone, asserting that Bolton’s manuscript included classified information that could harm national security if exposed.

Bolton’s lawyers have said he moved forward with the book after a White House National Security Council official, with whom Bolton had worked for months, said the manuscript no longer contained classified information.

The Biden administration Justice Department in 2021 abandoned its lawsuit and dropped a separate grand jury investigation, with Bolton’s lawyer calling the effort to block the book “politically motivated” and illegitimate.

Bolton’s harshly critical book, “The Room Where It Happened,” portrayed Trump as grossly ill-informed about foreign policy and said he “saw conspiracies behind rocks, and remained stunningly uninformed on how to run the White House, let alone the huge federal government.”

Trump responded by slamming Bolton as a “crazy” warmonger who would have led the country into “World War Six.”

Bolton served as U.S. ambassador to the United Nations under President George W. Bush and also held positions in President Reagan’s administration. He considered running for president in 2012 and 2016.

Trump, on his first day back in office this year, revoked the security clearances of more than four dozen former intelligence officials, including Bolton. Bolton was also among a group of former Trump officials whose security details were canceled by Trump earlier this year.

In 2022, an Iranian operative was charged in a plot to kill Bolton in presumed retaliation for a 2020 U.S. airstrike that killed the country’s most powerful general.

The handling of classified information by top government officials has been a politically loaded topic in recent years. Besides Trump, the Justice Department also investigated whether then-President Biden, a Democrat, mishandled classified information after serving as vice president in the Obama administration, and the FBI also recovered what it said were classified documents from the home of former Trump Vice President Mike Pence. Neither man was charged.

Tucker writes for the Associated Press . AP writers Michelle L. Price, Jill Colvin, Nathan Ellgren, Lindsay Whitehurst, Alanna Durkin Richer and Byron Tau contributed to this report.

Corn is no stranger to Broadway musicals. In “Oklahoma!,” the crop is “as high as an elephant’s eye,” according to the lyrical measurements of the show’s opening number, “Oh, What a Beautiful Mornin’.”

But in “Shucked,” the hilarious countrified musical that brought “Hee Haw”-style comedy in a modern guise to Broadway, corn finally gets top billing. The North American tour production, which opened Wednesday at the Hollywood Pantages, is a folksy farcical riot, wholesome enough for widespread appeal but with just enough flamboyant oddity to tickle the funny bone of urban sophisticates.

The book by Robert Horn (who won a Tony for his exuberantly witty book for the musical version of “Tootsie”) employs two narrators. Storyteller 1 (Maya Lagerstam) and Storyteller 2 (Tyler Joseph Ellis) are our guides to this “farm to fable” tale about “a simple place that time forgot,” Cob County. The exact coordinates of this backwater are a bit hazy, but Storyteller 2 helpfully pinpoints the locale as “a place where being from somewhere is who you are.”

Cob County, as the name suggests, is corn crazy. The town’s livelihood depends on a flourishing crop, but just as the local sweethearts, Maizy (Danielle Wade) and Beau (Jake Odmark), are about to tie the knot, the corn starts shriveling up. Maizy halts the wedding until the crisis is resolved. Beau assures her that he’ll eventually figure it out, but time is not on Cob County’s side.

Maizy proposes to do the unthinkable: leave town to consult an outside expert.

Maya Lagerstam as Storyteller 1, left, and Tyler Joseph Ellis as Storyteller 2 in the North American Tour of “Shucked” at the Hollywood Pantages Theatre.

(Matthew Murphy and Evan Zimmerman)

As far as her alarmed friends and family members are concerned, she might as well be volunteering to go to Mars on an Elon Musk rocket ship. Beau is dead set against the idea, but Maizy won’t take no for answer and heads for the biggest metropolis she can imagine, Tampa, Fla., where she meets a seductive foot doctor, Gordy (Quinn VanAntwerp) who caters to lonely women and is desperate to pay off a gambling debt.

Easy marks don’t come any easier than naïve, trusting Maizy, whose bracelet of rare stones has caught con man Gordy’s predatory attention. She explains that her grandfather made it from the rocks that a flood washed under their home. And that is how a quack who treats the tender corns on pedicured toes suddenly becomes a world-renowned corn doctor in a show that seemingly never met a pun it didn’t like.

Danielle Wade as Maizy, left, and Miki Abraham as Lulu in the North American Tour of “Shucked” at the Hollywood Pantages Theatre.

(Matthew Murphy and Evan Zimmerman)

The humor, at once simple and clever, innocent and off-color, amiably wants to get a rise, and Horn isn’t too proud to go low in his genial wordplay. Peanut (Mike Nappi), Beau’s kindhearted, witless brother, is a geyser of potty-minded quips. “I just passed a huge squirrel, which is odd because I don’t remember eating one,” he tells his brother, who merely asked, “What’s going on?”

All of the elements of “Shucked” are perfectly calibrated to shamelessly win us over. First and foremost among these is Jack O’Brien’s precise and invigorating direction, which treats the characters as our country cousins, never condescending to them, even at their laughable worst.

The fresh look of the production, incorporating Scott Pask’s bucolic cartoon set, prevents the show from coming across as dated. Tilly Grimes’ sexy, small-town costumes lend an updated “Flashdance” feeling.

The sunshiny score by Brandy Clark and Shane McAnally, a blend of country, blues and Broadway pop, is intent on making theatergoers smile. “Corn,” the opening number celebrating the miracle and many uses of this magical plant, starts things off riotously, building sensationally to a chorus line of corncobs that choreographer Sarah O’Gleby sets into zesty motion.

The cast contains a wide range of gorgeous voices. Wade’s Maizy sounds like an ingenue Dolly Parton, exquisite to listen to, especially when her heart is in play, as is the case with “Maybe Love,” a number so good it returns in the second act as the jumbled romances get sorted out.

Odmark’s Beau, the boyfriend who gets shucked, if you will, never loses his country charisma. He performs with an affectionate twinkle in his eye, offering understanding even when his jealousy is put to the severest test. But, as he reminds himself in the handsomely performed hearbreak song “Somebody Will,” he knows his worth and that his innate goodness will carry him through.

Another vocal standout is Miki Abraham, who plays Lulu, Maizy’s whiskey-making street-savvy cousin, who sees straight through Gordy, even if she can’t help being enticed by his rakish game. Abraham practically brings the house down with “Independently Owned,” an anthem to her character’s emancipated spirit. But Lulu might protest too much: She’s clearly not so hard-nosed about love as she makes herself out to be.

“Shucked,” like “& Juliet” at the Ahmanson right now, are two clever contemporary shows that deliver the kind of delight you can’t find anywhere else but the musical stage. I might have enjoyed “Shucked” 15% more if it were 15% shorter. And I missed the uncompromising individuality of the original Broadway cast, which has been slightly homogenized for the North American tour.

On Broadway, Alex Newell, who played Lulu, became the first out nonbinary actor to win a Tony for performance. Kevin Cahoon was nominated in the same category for his captivatingly eccentric performance as Peanut.

The sense of a community fully able to express itself in all its variety is thankfully still an integral part of “Shucked,” lending warmth to the intoxicating silliness of a musical that made this city slicker long to move to corn country.

Put down the book, pick up the phone.

So it goes in the United States, where daily reading for pleasure has plummeted more than 40% among adults over the last two decades, according to a new study from the University of Florida and University College London.

From 2003 to 2023, daily leisure reading declined at a steady rate of about 3% per year, according to the study published Wednesday in the journal iScience .

“This decline is concerning given earlier evidence for downward trends in reading for pleasure from the 1940s through to the start of our study in 2003, suggesting at least 80 years of continued decline in reading for pleasure,” the paper states.

Jill Sonke, one of the study’s authors, said in an interview Tuesday that the decline is concerning in part because “we know that reading for pleasure, among other forms of arts participation, is a health behavior. It is associated with relaxation, well-being, mental health, quality of life.”

“We’re losing a low-hanging fruit in our health toolkit when we’re reading or participating in the arts less,” added Sonke, the director of research initiatives at the UF Center for Arts in Medicine and co-director of the university’s EpiArts Lab.

The reading decline comes as most Americans have more access to books than ever before. Because of Libby and other e-book apps, people do not need to travel to libraries or bookstores. They can check out books from multiple libraries and read them on their tablets or phones.

But other forms of digital media are crowding out the free moments that people could devote to books. More time spent scrolling dank memes and reels on social media or bingeing the “King of the Hill” reboot on Hulu means less time for the latest pick from Oprah’s Book Club.

But researchers say there are factors besides digital distraction at play, including a national decline in leisure time overall and uneven access to books and libraries.

The study analyzed data from 236,270 Americans age 15 and older who completed the American Time Use Survey from the U.S. Bureau of Labor Statistics between 2003 and 2023. [The year 2020 was excluded because data collection was briefly paused amid the COVID-19 pandemic.]

Participants were asked to provide granular detail of their activities beginning at 4 a.m. on the day prior to the interview and ending at 4 a.m. the day of the interview.

Researchers found that people who do read for pleasure are doing so for longer stretches of time — from 1 hour 23 minutes per day in 2003 to 1 hour 37 minutes per day in 2023.

But the percentage of Americans who leisure-read on a typical day has dropped from a high of 28% in 2004 to a low of 16% in 2023.

Researchers said there was an especially concerning disparity between Black and white Americans.

The percentage of Black adults who read for pleasure peaked at about 20% in 2004 and fell to about 9% in 2023. The percentage of white adults who picked up a book for fun peaked at about 29% in 2004 and dropped to roughly 18% in 2023.

The study showed that women read for fun more than men. And that people who live in rural areas had a slightly steeper drop in pleasure reading than urban denizens over the last two decades.

In rural places, people have less access not only to bookstores and libraries, but also reliable internet connections, which can contribute to different reading habits, Kate Laughlin, executive director of the Seattle-based Assn. for Rural and Small Libraries, said in an interview Tuesday.

Although there have been concerted national efforts to focus on literacy in children, less attention is paid to adults, especially in small towns, Laughlin said.

“When you say ‘reading for pleasure,’ you make the assumption that reading is pleasurable,” Laughlin said. “If someone struggles with the act of actually reading and interpreting the words, that’s not leisure; that feels like work.”

As rural America shifts away from the extraction-based industries that once defined it — such as logging, coal mining and fishing — adults struggling with basic literacy are trying to play catch-up with the digital literacy needed in the modern workforce, Laughlin said.

Rural librarians, she said, often see adults in their late 20s and older coming in not to read but to learn how to use a keyboard and mouse and set up their first email address so they can apply for work online.

According to the study, the percentage of adults reading to children has not declined over the last two decades. But “rates of engagement were surprisingly low, with only 2% of participants reading with children on the average day.”

Of the participants whose data the researchers analyzed, 21% had a child under 9 at home.

The low percentage of adults reading with kids “is concerning given that regular reading during childhood is a strong determinant of reading ability and engagement later in life,” the study read. “The low rates of reading with children may thus contribute to future declines in reading among adults.”

Researchers noted some limitations in their ability to interpret the data from the American Time Use Survey. Some pleasure reading might have been categorized, mistakenly, as digital activity, they wrote.

E-books were not included in the reading category until 2011, and audiobooks were not included until 2021.

From 2003 to 2006, reading the Bible and other religious texts was included in reading in personal interest — but was recategorized afterward and grouped with other participation in religious practice.

Further, reading on tablets, computers and smartphones was not explicitly included in examples, making it unclear whether survey participants included it as leisure reading or technology use.

“This may mean that we underestimated rates of total engagement, although … we expect any such misclassifications to have minimal effects on our findings,” they wrote.

In Nicholas Boggs’ lively and vigorously researched biography of James Baldwin, the great writer’s search for the source of his art dovetails with his lifelong search for meaningful relationships. Black, gay, born without the benefit of money or guidance, repeatedly harassed and beaten in his New York City hometown, Baldwin physically removed himself from the turmoil of America, living abroad for long stretches to find proper distance and see his country plain. In “The Fire Next Time,” “Another Country” and “Giovanni’s Room,” among other works, Baldwin gleaned hard truths about the ways in which white people, white men in particular, deny their own sexual confusions to lash out at those who they feel may pose a grave threat their own machismo codes and their absolute dominion over Black Americans. In his novels and essays, Baldwin became a sharp beacon of hard truths.

Baldwin was reared in an oppressive atmosphere of religious doctrine and physical violence; his stepfather David, a laborer and preacher, adhered to an quasi-Calvinist approach to child-rearing that forbade art’s graven images in the home and encouraged austerity and renunciation. Books, according to Baldwin’s father, were “written by white devils.” As a child, Baldwin was beaten and verbally lashed by his father; his brief tenure as a religious orator in the church was, according to Boggs, a way to “usurp his father at his own game.” At the same time, Boggs notes, Baldwin used the church “to mask the deep confusion caused by his burgeoning sexual desires.”

As a child, Baldwin is marginalized for being too sensitive, too bookish, a “sissy.” At school, he finds mentors like Orilla “Bill” Miller and the Harlem Renaissance poet Countee Cullen, who introduced him to Dickens and the 18th century Russian novelists. When his stepfather loses his job, it is down to Baldwin to support his mother and eight siblings. Taking a job at a local army base, he is confronted with virulent race-baiting from his white supervisor and co-workers.

Baldwin leaves Harlem behind shortly thereafter and falls into the artistic ferment of Greenwich Village in the ‘40s. He shares ideas about art, music and literature with a fellow budding aesthete named Eugene Worth until he jumps to his death from the George Washington Bridge in the winter of 1946. His death “cast a pall over Baldwin’s life,” Boggs writes, “but it would also play a major and enduring role in his development as a writer.” Baldwin, who had developed strong romantic feelings for Worth but never made them plain to his friend, makes a promise to himself, vowing to adjoin his private life as a gay Black man to the public life of an artist, so that “my infirmities might be forged into weapons.”

Beauford Delaney, a respected painter and Village fixture, becomes Baldwin’s lodestar and encourages him to confront his sexuality head-on in his art. What that art might entail, Baldwin doesn’t yet know, but it would have something to do with writing. Delaney would become a lifelong friend, even after he began suffering from mental deterioration, dying after years of hospitalization in 1979.

Baldwin’s life as a transatlantic nomad begins in 1948, when he arrives in Paris after winning a scholarship to study there. More importantly, he meets 17-year-old Lucien Happersberger, a Swiss painter, and a relationship blossoms. Happersberger shares deep artistic and sexual affinities with Baldwin, but Lucien is also attracted to women and becomes a kind of template for Baldwin’s future partners, most notably the Turkish actor Engin Cezzar, that he would pursue until his death in 1987.

Baldwin held these romantic relationships in tantalizing suspension, his love affairs caught between the poles of desire and intimacy, the heat of passion and long-term commitment. The love triangles these relationships engendered became a rich source for his fiction. Boggs asserts that many of the author’s most enduring works, including “Go Tell It on the Mountain” and his breakthrough novel about gay love “Giovanni’s Room,” sprang from these early, formative encounters. “The structure of a not fully requited love was a familiar and even eroticized one for Baldwin,” Boggs writes, “and would come to fuel his art.”

Away from the States, Baldwin was freed “from the trap of color,” but he was pulled ever deeper into the racial unrest in America, taking on journalism assignments to see for himself how systemic racial oppression worked in the Jim Crow South. In Atlanta, Baldwin meets Martin Luther King Jr., who invites him to Montgomery to witness the impact of the bus boycott. Entering a local restaurant, he is greeted with stony stares; a white woman points toward the colored entrance. In Mississippi, he interviews NAACP organizer Medgar Evers, who is busy investigating a lynching. Baldwin notes the climate of fear among Black citizens in the city, speaking to him like “ the German Jews must have talked when Hitler came to power.”

Nicholas Boggs tracked down a previously unwritten-about lover of James Baldwin for his new biography.

(Noah Loof)

These eyewitness accounts would feed into Baldwin’s impassioned essays on race such as “Down at the Cross” and his 1972 nonfiction book “No Name in the Street.” For Boggs, Baldwin’s nonfiction informed his fiction; there are “continuities and confluences between and across his work in both genres.” The throughline across all of the work was Baldwin’s ire at America’s failure to recognize that the “so-called Negro” was “trapped, disinherited and despised, in a nation that … is still unable to recognize him as a human being.”

Baldwin would spend the rest of his life toggling between journalism and fiction, addressing racism in the States in articles for Esquire, Harper’s and other publications while spending most of his time in Turkey and France, where a growing circle of friends and lovers nourished his muse and satisfied his need for constant social interaction when he wasn’t wrestling with his work, sometimes torturously so. Boggs’ book finds Baldwin in middle age poised between creative fecundity and despair, growing frustrated with America’s failure of nerve regarding race and homosexuality as well as his own thwarted partnerships. Despite a powerful bond with Engin Cezarr and, later, the French painter Yoran Cazac, who flitted in and out of Baldwin’s Istanbul life across the 1970s, the picture of Baldwin that emerges in Boggs’ biography is that of an artist who treasures emotional continuity but creatively feeds on inconstancy.

In fact, Cazac had never been cited in any previous Baldwin biography. Boggs discovered him when he came across an out-of-print children’s book called “Little Man, Little Man,” a collaboration between Cazac and Baldwin that prompted Boggs’ search. After following a number of flimsy leads, he finally finds Cazac in a rural French village, and they talk.

The novels that Baldwin penned during his last great burst of productivity, most notably “If Beale Street Could Talk” and “Just Above My Head,” have been maligned by many Baldwin fans as noble failures lacking the fire and dramatic power of his early work. Yet Boggs makes a strong case for these books as successful formal experiments in which Baldwin once again transmuted the storms of his personal life into eloquent indictments of systemic racism. The contours of Baldwin’s romantic engagement with Cazac, in particular, would find their way into “Beale Street,” the first time Baldwin used a female narrator to tell the story of a budding young romance doomed by a gross miscarriage of justice. Boldly experimental in both form and content, “Beale Street” and “Just Above My Head” were, in Boggs’ view, unjustly criticized, coming at a time when Baldwin’s reputation was on the decline. Only novelist Edmund White gleaned something special in his review of “Just Above My Head,” Baldwin’s final novel, finding in his depictions of familial love a Dickensian warmth which “glow with the steadiness and clarity of a flame within a glass globe.”

A literary biography needn’t be an artful accretion of facts, nor should it traffic in salacious gossip and cheapen the subject at hand. Boggs’ even-handed and critically rigorous biography of James Baldwin is guilty of none of these things, mostly because Boggs never strays from the path toward understanding why Baldwin wrote what he did and how his private and public lives were inextricably wound up in his work. Boggs has dug much deeper than his predecessors, including Baldwin’s biographer David Leeming, whose book has been the standard bearer since its 1994 publication. “Baldwin: A Love Story” is superlative, and it should become the new gold standard for Baldwin studies.

Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”

Pete Hegseth, widely considered the least qualified Defense secretary in American history, is hardly anyone’s version of the ideal Christian husband and father.

Only 45 years old, he’s been married three times.

His first marriage — to his high school sweetheart — lasted a mere four years, deteriorating after Hegseth admitted to multiple extramarital affairs.

A couple of years later, he married his second wife, with whom he had three children. During that marriage, he fathered a child with a Fox News producer who eventually became his third wife.

He paid off a woman who accused him of sexual assault (he denies the assault). He routinely passed out drunk at family gatherings and misbehaved in public when inebriated, according to numerous witnesses. His own mother once accused him of being “an abuser of women,” though she later retracted her claims when Hegseth was facing Senate confirmation.

Still, the Senate’s Republican majority, cowed by President Trump, confirmed his appointment. Hegseth has two qualities that Trump prizes above all others. He is blindly loyal to the president, and he looks good on TV.

After his installation, Hegseth proceeded to fire top military brass who happened to be Black or women or both. He has restored the names of Confederate generals to Army bases (Bragg and Benning). His petty “anti-woke” crusade led him to strip the name of the assassinated gay rights leader Harvey Milk, a former Naval officer who served honorably, from a Navy ship. And he has considered doing the same to a ship named in honor of the abolitionist and Civil War hero Harriet Tubman. He has said that women do not belong in combat roles, and has kicked out transgender soldiers, cruelly stripping them of the pensions they earned for their service.

In March, he shared classified information about an impending American airstrike in Yemen on an unsecured Signal group chat that included his wife, on purpose, and the editor of the Atlantic, by accident.

He is, in short, the least serious man ever to lead this nation’s armed forces.

As if all that weren’t dispiriting enough, Hegseth is now in bed (metaphorically) with a crusading Christian nationalist.

Earlier this month, Hegseth made waves when he reposted on social media a CNN interview with Douglas Wilson, the pastor and theocrat who is working hard to turn the clock back on the rights of every American who is not white, Christian and male.

In the interview, Wilson expounded on his patriarchal, misogynistic, authoritarian and homophobic views.

Women, he said, should serve as “chief executive of the home” and should not have the right to vote. (Their men can do that for them.) Gay marriage and gay sex should be outlawed once again. “We know that sodomy is worse than slavery by how God responds to it,” he told CNN’s Pamela Brown. (Slavery is “unbiblical,” he avowed, though he did bizarrely defend it once, writing in 1990 a pamphlet that “slavery produced in the South a genuine affection between the races that we believe we can say has never existed in any nation before the War or since.”)

When a new outpost of his church opened in Washington, D.C ., in July, Hegseth and his family were among the worshippers. CNN described Hegseth’s presence as “a major achievement” for Wilson.

“All of Christ for All of Life,” wrote Hegseth as he endorsed and reposted the interview. That is the motto of Wilson’s expanding universe, which includes his Christ Church in Moscow, Idaho, the center of his Communion of Reformed Evangelical Churches, a network of more than 100 churches on four continents, parochial schools, a college, a publishing house and media platforms. “All of Christ for All of Life” is a shorthand for the belief that Christian doctrines should shape every part of life — including government, culture and education.

Wilson is a prolific author of books with titles such as “Her Hand in Marriage,” “Federal Husband,” and “Reforming Marriage.” His book “Fidelity” teaches “what it means to be a one-woman man.” Doubtful it has crossed Hegseth’s desk.

“God hates divorce,” writes Wilson in one of his books.

Given the way sexual pleasure is celebrated in the Old and New Testaments, Wilson has a peculiarly dim view of sex. I mean, how many weddings have been graced with recitations from the Song of Solomon, with its thinly disguised allusions to pleasurable sexual intimacy? (“Let him kiss me with the kisses of his mouth! For your love is better than wine.”)

Wilson’s world is considerably less sensual.

“A man penetrates, conquers, colonizes, plants,” he writes in “Fidelity.” “A woman receives, surrenders, accepts.” Mutual sexual pleasure seems out of the question: “The sexual act cannot be made into an egalitarian pleasuring party.” Ugh.

There is nothing particularly new here; Wilson’s ideology is just another version of patriarchal figures using religion to fight back against the equality movements of the late 19th and 20th centuries. They are basically the hatemongers of the Westboro Baptist Church dressed up in respectable clothing.

“Some people may conflate Christian nationalism and Christianity because they both use the symbols and language of Christianity, such as a Bible, a cross and worship songs,” says the group Christians Against Christian Nationalism on its website. “But Christian nationalism uses the veneer of Christianity to advance its own aims — to point to a political figure, party or ideology instead of Jesus.”

What you have in people like Hegseth and Wilson are authoritarian men who hide behind their religion to execute the most unchristian of agendas.

God may hate divorce, but from my reading of the Bible, God hates hypocrisy even more.

Bluesky: @rabcarian
Threads: @rabcarian

AFTER escaping a cult together, Frida and her brother Gabriel have drifted apart.

She hopes a luxe holiday will help them reconnect – until a woman is killed and Gabriel is named prime suspect.

1

But this isn’t the first time he’s been accused of murder. . . So gripping and so tense.

10 lucky Fabulous readers will win a copy of this new novel in this week’s book competition.

To win a copy, enter using the form below by 11:59pm on August 30, 2025.

For full terms and conditions, click here.

This week, we are chatting with Ada Tseng and Jon Healey about their new book, “Breaking Into New Hollywood.” We also take a look at what our critics read, and visit a bookstore that has become a social beehive in Culver City.

The entertainment industry is experiencing a massive transformation, as traditional jobs are vanishing and artificial intelligence increasingly upends the way media is created. Thankfully, former L.A. Times editors Ada Tseng and Jon Healey are here to help. The duo, with extensive experience covering show business, have written a new book for anyone who’s ever dreamed of working in Hollywood. Tseng and Healey interviewed hundreds of insiders who work in front of and behind the camera to provide a thorough look at how to break in, and what it’s like when you do find that dream job.

I sat down with authors to discuss “Breaking Into New Hollywood.”

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ Author Chat

Tseng and Healey are here to help you pursue your Hollywood dreams with their book, “Breaking Into New Hollywood.”

(Ricardo DeAratanha; Jay L. Clendenin / Los Angeles Times)

This is the most comprehensive how-to guide for Hollywood careers I’ve ever read. Where did the impetus for the book come from?

Ada: The book started as a Hollywood careers series at the Los Angeles Times, when Jon and I were editors on a team that specialized in writing guides and explainers. As we were thinking about how to be useful to L.A. Times readers, I pitched a project to help people who were interested in getting a job in Hollywood. A lot of people come to L.A. starry-eyed with big dreams, but the film and TV industry can be pretty brutal.

As journalists, we’re Hollywood outsiders, but we had access to hundreds of professionals who were generous enough to share what they wished they knew when they were starting out. We see it like this: On behalf of the people who don’t have connections in the industry, we cold-emailed people, asked for informational interviews, picked their brains, listened to stories of what they did to build a career — and did our best to consolidate their most practical pieces of advice into an actionable guide.

Jon: A lot of folks I interviewed had similar origin stories in this respect: They knew that they wanted to work in the industry in some capacity, but they didn’t know what exactly they could do. So it made sense to do a book for that sort of person — a guide that would show an array of possible career paths to people who didn’t know what role they wanted to fill.

I feel like “How to Break into the Business” books in the past have tended to focus on positive outcomes rather than the struggle. Did you want to temper expectations, or at least make sure people think things through very thoroughly before jumping in?

Ada: We just wanted to be honest. The glamorous fantasy of Hollywood is so intoxicating. But if you’re going to work in the industry, you need to navigate the day-to-day reality of it. I don’t think we were trying to encourage or discourage anyone. I’d hope that some people would read the chapters and think, “This seems doable, and now I can make a plan,” while others would read it and think, “If I’m honest with myself, I’m someone who needs more stability in my life.” Because it’s not just a career choice. It’s a lifestyle choice.

Jon: Right, this was about expectation-setting and reality-checking. The very first interviews I did in this project were of Foley artists. An expert I interviewed said there were 40 to 50 established Foley practitioners in the U.S., and 100 to 200 folks trying to get into the field. That’s a very tough nut to crack. Then there are the Hollywood unions, which present a catch-22 to anyone trying to join their ranks — they have to do a certain number of hours in jobs covered by union contracts, but union members get first crack at all those gigs.

Your book also covers jobs above and below the line. I think many people don’t even realize how many different career opportunities exist.

Ada: There are two things we heard over and over again. People would say, “It’s incredibly important to understand what all the different departments do.” And they’d also say, “So many people — even our own colleagues in the industry — don’t understand what we do.” So we wanted to encourage newcomers to learn about all different types of jobs in Hollywood and how they work together.

Jon: Talking about the emotional components is about setting expectations too. The vast majority of people who work in Hollywood, from A-list actors to entry-level grips, are freelancers. That’s a tough life of highs and lows, and you have to prepare for that mentally as well as financially. People have to hustle for years to establish themselves, and that takes an enormous capacity for rejection. On top of that is the physical toll the work can extract, especially on the folks involved in setting up and tearing down sets. Part of the point of the book is to tell people with Hollywood dreams that they’ll need to gird themselves emotionally and physically for the work.

📰 The Week(s) in Books

Karin Slaughter’s new book series, which launches with “We Are All Guilty Here,” is not for the squeamish.

(Myung J. Chun / Los Angeles Times)

Mark Athatakis finds much to like in “Ready for My Close-Up,” David M. Lubin’s book about the classic 1950 film “Sunset Boulevard.” “Though the book has its shortcomings,” he writes, “[Lubin] rightly sees the movie as a kind of passkey into the history of the first half-century of Hollywood itself.”

Robet Allen Papinchak weighs in on Phoebe Greenwood’s Middle East satire “Vulture,” finding it “a darkly comic, searing satire grounded in historic politics.”

Emma Sloley’s novel “The Island of Last Things” envisions a future where animal life, and then entire ecosystems, are wiped out, but Ilana Masad writes that Sloley also highlights “the small moments of beauty, joy and care that emerge even during … horrible times.”

And Paula L. Woods has a chat with master thriller novelist Karin Slaughter about her new book, “We Are All Guilty Here,” and TV series.

📖 Bookstore Faves

“Books are an antidote to the constant distractions in our lives,” says the owner of Culver City’s Village Well bookstore.

(Jennifer Caspar)

Four years after it opened its doors to the public, Village Well Books & Coffee has become a community locus in its Culver City neighborhood. Owner Jennifer Caspar has created a vibrant space with a full-service cafe, allowing her customers to linger for as long as they please while perusing Caspar’s ample and well-curated selection of new books. I chatted with Caspar about her store and what’s selling right now.

Why did you open the store?

I wanted a place where people can facilitate connections with others, because I think that’s what people need. Everyone is so overwhelmed by their phones and technology, and we tend to take the easy path, which is to not get out and see people.

What’s selling right now?

“Atmosphere,” Taylor Jenkins Reid; “Martyr,” Kaveh Akbar; “The Emperor of Gladness,” Ocean Vuong; “All Fours,” Miranda July. There’s been a real increase in books about activism and the Middle East situation. We’re launching an activism book club here, starting with “Mutual Aid: Building Solidarity During This Crisis (and the Next)” by Dean Spade. It will be interesting to see who comes out for that.

Why books now? Why not the Substack, social media, etc.?

Books are an antidote to the constant distractions in our lives. People need to connect offline, and books give us a chance to settle down and focus. Studies show that what we learn from books stays with us longer. You can read a Kindle, and I do, but there is something about sitting down with words on paper. For me, it’s great physical therapy for my emotional state.

Village Well is located at 9900 Culver Blvd., Culver City.

HOLIDAY experts have revealed the exact time and date Brits should book their tickets ahead of the August bank holiday to save hundreds of pounds.

It’s not too late to book last-minute flight tickets for holiday trips over the August bank holiday weekend.

1

Brits can still find ways to get out of the country that won’t blow the budget for the weekend of August 25.

This includes trips to classic European escapes and hotspots like Disneyland Paris.

Ticket experts have analysed pricing data and industry travel trends.

CEO of AttractionTickets, Oliver Brendon, explained: “It’s easy to assume the early bird always gets the deal.

“In reality, travel companies adjust fares repeatedly based on demand, and we see opportunities appear even in the final days before departure.

“There’s still time to save on last-minute August bank holiday travel if you know when to book.”

Brendon reveals the trick to finding value no matter how late the purchase is made.

Through review of historic pricing, as well as industry reports, Sundays have been found to regularly deliver the lowest average booking prices.

This is because airlines adjust seat availability and prices over the weekend.

Therefore, holidaymakers who plan to book on Sundays can more often find a better deal and pay significantly less than those who book on other days.

Furthermore, Fridays have been found to be time to avoid as it is the time when prices tend to spike due to increasing demand.

A clear morning advantage has also been found through analyses.

Around 6am is when the fresh fares tend to show up, so it is good to get in early before search traffic ramps up into the day.

So those looking to book a getaway from the bank holiday this month should set their alarms for Sunday morning.

Oliver adds 6am on Sunday, August 17 “both sit within the sweet spot before the long weekend and will give you a chance at potentially unlocking better pricing.”

This timing tip comes from expert insights and data-driven research from travel and ticketing platforms.

It also focused on last-minute booking trends by travellers in the UK.

The advise follows suggestions from CEO of Ryanair, Michael O’Leary, who said flights could also be booked cheaper in the first two months of the year.

Winter months are believed to be the best time of the year to find cheap air fares, as well as just before the peak of school holidays.

Another study looked in to the best time to book flights for certain destinations.

For Faro in Portugal, the cheapest flights for the summer holidays were found to be just five weeks before travelling.

And for long-haul flights like to New York, the best time was found to be June to book for an August vacation.

A mixed martial arts fight card to be held next summer at the White House is “absolutely going to happen,” Ultimate Fight Championship Chief Executive Dana White said Tuesday.

White said the UFC will stage the event July 4 to celebrate America’s 250th birthday. He added that he spoke to President Trump on Monday and is scheduled to meet with him and his daughter Ivanka in two weeks to solidify the plan.

Trump mentioned last July 4 during a kickoff of events centered on the country’s 2026 birthday celebration that he wanted to stage a UFC match on the White House South Lawn with 20,000 spectators.

“We have a lot of land there,” said Trump, who has attended several UFC matches and considers White a friend.

Now it has gone from a notion into the planning stages, which is the second thrill of the week for White. On Monday he announced that the UFC has finalized a seven-year streaming agreement with Paramount worth an average of $1.1 billion a year. The deal represents a departure from UFC’s traditional pay-per-view model.

Thirteen marquee UFC events and 30 fight nights will be televised on the Paramount+ streaming platform, with some events also planned to simulcast on CBS. Plans for UFC events in other countries are also on the table, according to Paramount.

“You have the NFL, the NBA, the UFC and soccer globally,” White told the Associated Press. “We’re coming. We’re coming for all of them.”

White, 56, has been the driving force behind the enormous growth of the UFC, which he purchased in 2001 for $2 million. He negotiated broadcast-rights deals with Fox and ESPN, then spearheaded a $4-billion sale in 2016 to TKO Group Holdings, a group led by the Hollywood talent agency WME-IMG. White remained as president and retained a stake in the new company.

The Paramount-UFC deal came on the heels of Skydance and Paramount closing their $8-billion merger — a complicated negotiation that resulted in the creation of an entertainment giant. White said he was impressed with Skydance Chief Executive David Ellison’s vision for UFC and how the plans could be activated now that Ellison is chairman and chief executive of Paramount.

“Live sports continue to be a cornerstone of our broader strategy — driving engagement, subscriber growth, and long-term loyalty,” Ellison said in a statement. “The addition of UFC’s year-round must-watch events to our platforms is a major win.”

The debut Paramount fight card is in the planning stages, with UFC officials meeting this week to arrange bouts. White said it is too early to discuss a main event for the White House card.

On August 5, 2019, the Indian government stripped the erstwhile Jammu and Kashmir state of its special status under Article 370 of the Indian Constitution, split it into two entities and demoted the two units to Union Territories under New Delhi’s direct control.

As the sixth anniversary approached, the region was caught in the grip of rumours of a probable further division, or other administrative changes. Reports of unusual jet activity over Srinagar triggered widespread panic among residents.

This evoked harrowing memories of similar aerial activity coupled with a similarly bizarre set of rumours in the tense days leading up to August 5, 2019. People waited anxiously.

The bombshell that came on the sixth anniversary was an official order banning 25 books that focus on Jammu and Kashmir’s history and politics – all accused of promoting “false narratives” and “secessionism” – a sweeping judgement that does not stand the test of scrutiny and is not based on any evidence.

My book A Dismantled State: The Untold Story of Kashmir After Article 370, published in December 2022 by HarperCollins, is one of them. The book is a rare chronicle of the day-to-day reality in Jammu and Kashmir after 2019. Based on ground research, extensive interviews and the collation of data from other primary and secondary sources, it punctured the Indian government’s claims of “normalcy” in Jammu and Kashmir.

The government justified the actions of August 5, 2019 on the grounds that they would usher in peace and development in the region, while glossing over the unprecedented physical and cyber-restrictions imposed across the erstwhile state, during which thousands of people, including pro-India politicians (three former chief ministers included), were arrested. Barbed wire and military barricades turned the region, particularly the Kashmir Valley, into a curfewed zone, and communication channels – from internet to telephone lines – were pushed into some black hole.

Six months later, when some of these restrictions were slightly eased and the internet was partially restored, the stranglehold of the Indian state became even more oppressive, with an exacerbation of raids and crackdowns against journalists, political and social activists, and civil rights defenders. The policy of widespread detentions under laws like the Public Safety Act, which allows the government to detain anyone without charge for up to two years, was ramped up significantly.

These realities were hardly ever reported. Journalism was severely curtailed under the state’s clampdown, particularly affecting local publications. Newspapers that refused to fall in line were choked financially until they were out of print. Those that did comply were rewarded with lavish government advertisements that kept the businesses going, minus the journalism.

Either co-opted or terrorised, the newspapers were no longer daily chroniclers of the events, developments and incidents in the region. Community voices were silenced while journalists no longer asked questions. The rich archives of some newspapers, showcasing the complex day-to-day history of the region, became inaccessible or were removed.

In the last six years, the government has been extremely intolerant of any criticism. Any word of dissent invites punitive measures ranging from mere intimidation and interrogation to confiscation of devices, and from the slapping of income tax and money laundering cases to terrorism accusations, sometimes accompanied by short detentions or prolonged arrests. While local journalism was reduced to an extension of the government’s public relations department, all civil society voices were throttled by intimidation, leaving major gaps in information.

It was this vacuum that my book aimed to fill. Focused on the first two years of the revocation of Article 370, and in 12 chapters, I documented what was happening on the ground – the increased suppression of the masses, the lack of space for freedom of expression, the shrinking space for civil society and political activism, the criminalisation of dissent, the continuation of terrorism as opposed to the claims of peace and normalcy, and the hollowness of the development claims by the government even as the new policies and actions robbed the people of their homes and agricultural lands.

The book is a pursuit of truth – the naked truth, which challenged everything the Indian state was saying. A paranoid state whose only method of engagement in Jammu and Kashmir is through increasing its military footprint, merciless subjugation of the residents and silencing of all voices of dissent was obviously uncomfortable with what I documented. The book was a warning to the government that its methods of control, creation of a police and surveillance state, and misplaced development models were unsustainable and would fail.

In the last six years, the government has been pulling the wool over the eyes of the world by trumpeting its achievements of bringing peace, normalcy, tourism and development. The April 22 killings this year of 26 innocent civilians punctured this bubble. It was a wake-up call for the government to sit back and review its policies in Kashmir and begin course correction.

Instead, it clamped down even further with a horrific scale of demonisation of Kashmiris, ruthless detentions and even more brutal demolitions of houses. This, even as there was widespread public condemnation of terrorism, including vigils and calls to reject violence – something unprecedented in the more than three-decade-long history of rebellion in the region – and even as the investigators indicated foreign militants, not locals, were involved in the killings.

In the last three months, the government has demonstrated that its policy of control through harsh security measures and pervasive surveillance would be further accelerated. The ban on 25 books, many of which provide rich, well-researched, and layered historical, political and legal narratives about the complex and trouble-torn region, is an extension of the pattern. Through this ban, there is an attempt to erase every trace of a counter-narrative and alternate memory.

By branding all criticism of the state and narratives that are out of sync with the official version as “seditious”, the government can now seize and destroy these books. Not only are the written words being criminalised – even the act of reading will be wrongfully deemed a threat to the security and integrity of the nation. While this may not stop ideas and memory from being suppressed, policing what people write and read is likely to be further intensified.

Though senseless, shocking and irrational in scale and scope, the ban, which ironically coincides with a government-backed Chinar Book Festival in Srinagar, sends a chilling message: Knowledge and information will be regulated by the state. What people write and read will be decided by the state. The thought police will penetrate deeper.

Last year, during Jammu and Kashmir’s first assembly elections as a Union Territory, India’s home minister, Amit Shah, took a dig at the regional political parties and alleged that while “they (local politicians) gave the youth stones in their hands”, his government had given them “books and laptops”.

The hollowness of such claims is laid bare when the daily reality is one of confiscation of digital devices, including laptops, during raids and interrogations, alongside a blanket book ban that only reinforces the central message of my work: Kashmir is anything but normal.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

The road to find steady work in Hollywood is more fraught now than ever before. The entertainment industry is in the throes of a seismic transformation, as traditional jobs are vanishing, and AI threatens to completely upend the way visual media is made and consumed. Fortunately, Ada Tseng and Jon Healey are here to help.

The writing team, both former Times editors with extensive experience covering show business, have written “Breaking Into New Hollywood,” a how-to guide like no other. Healey and Tseng interviewed hundreds of insiders both above and below the line — gaffers, casting directors, actors, writers, stunt people and many others — to provide an extensive, wide-screen view of how to break in, and what it’s like when you actually do find that dream job.

I sat down with Healey and Tseng to discuss their new book.

Ada Tseng, left, and Jon Healey.

(Ricardo DeAratanha; Jay L. Clendenin / Los Angeles Times)

This is the most comprehensive how-to guide for Hollywood careers I’ve ever read. Where did the impetus for the book come from?

Ada: The book started as a Hollywood careers series at the Los Angeles Times, when Jon and I were editors on a team that specialized in writing guides and explainers. As we were thinking about how to be useful to L.A. Times readers, I pitched a project to help people who were interested in getting a job in Hollywood. A lot of people come to L.A. starry-eyed with big dreams, but the film and TV industry can be pretty brutal.

As journalists, we’re Hollywood outsiders, but we had access to hundreds of professionals who were generous enough to share what they wished they knew when they were starting out. We see it like this: On behalf of the people who don’t have connections in the industry, we cold-emailed people, asked for informational interviews, picked their brains, listened to stories of what they did to build a career — and did our best to consolidate their most practical pieces of advice into an actionable guide.

Jon: A lot of folks I interviewed had similar origin stories in this respect: They knew that they wanted to work in the industry in some capacity, but they didn’t know what exactly they could do. So it made sense to do a book for that sort of person — a guide that would show an array of possible career paths to people who didn’t know what role they wanted to fill.

I feel like “How to Break into the Business” books in the past have tended to focus on positive outcomes rather than the struggle. Did you want to temper expectations, or at least make sure people think things through very thoroughly before jumping in?

Ada: We just wanted to be honest. The glamorous fantasy of Hollywood is so intoxicating. But if you’re going to work in the industry, you need to navigate the day-to-day reality of it. I don’t think we were trying to encourage or discourage anyone. I’d hope that some people would read the chapters and think, “This seems doable, and now I can make a plan,” while others would read it and think, “If I’m honest with myself, I’m someone who needs more stability in my life.” Because it’s not just a career choice. It’s a lifestyle choice.

Jon: Right, this was about expectation-setting and reality-checking. The very first interviews I did in this project were of Foley artists. An expert I interviewed said there were 40 to 50 established Foley practitioners in the U.S., and 100 to 200 folks trying to get into the field. That’s a very tough nut to crack. Then there are the Hollywood unions, which present a catch-22 to anyone trying to join their ranks — they have to do a certain number of hours in jobs covered by union contracts, but union members get first crack at all those gigs.

Your book also covers jobs above and below the line. I think many people don’t even realize how many different career opportunities exist.

Ada: There are two things we heard over and over again. People would say, “It’s incredibly important to understand what all the different departments do.” And they’d also say, “So many people — even our own colleagues in the industry — don’t understand what we do.” So we wanted to encourage newcomers to learn about all different types of jobs in Hollywood and how they work together.

Jon: Talking about the emotional components is about setting expectations too. The vast majority of people who work in Hollywood, from A-list actors to entry-level grips, are freelancers. That’s a tough life of highs and lows, and you have to prepare for that mentally as well as financially. People have to hustle for years to establish themselves, and that takes an enormous capacity for rejection. On top of that is the physical toll the work can extract, especially on the folks involved in setting up and tearing down sets. Part of the point of the book is to tell people with Hollywood dreams that they’ll need to gird themselves emotionally and physically for the work.

You also broach the subject of money and who makes what. Another novel idea for a book like this.

Ada: We consistently heard from people that it takes 5 to 7 years to make a living — and that’s if you’re successful. So unless you come from wealth, how you pay your bills when you aren’t booking gigs is an integral part of breaking into — and achieving longevity — in Hollywood.

Also, the money varies widely — depending on experience, how big the project is and other factors, but it’s good to understand the basic minimums dictated by the unions, as well as whether you’re interested in a career path where you can expect to have yearly full-time work – or if 30 weeks of employment a year is considered a really good year.

Jon: The hardest parts to write for me, and probably for Ada too, were the sections telling people in certain fields that they were expected to work for free. Happily, the industry seems to be getting better about that, albeit because it’s been forced to do so.

Ada: Although, it’s not even that you aren’t making money. You have to spend a lot of money, whether you’re taking classes, buying equipment, submitting your work for fellowships — getting your own plane tickets and hotel rooms to go to events to network or promote your work. You’re basically investing in yourself as a business.

Your sections on AI are eye-opening. It is not necessarily a career killer but, in fact, might boost employment, right?

Jon: I like to give a super long answer to this question that cites the long history of industrial revolutions, but for the sake of brevity, I’ll just say that technology has always been crucial to the film and TV industry, and innovations over the years have ended some livelihoods while creating others. AI tools can allow filmmakers to be more efficient, just as digital cameras and LED lights have done. That inevitably means fewer jobs per project, but also should result in more projects being green-lit. And as digital tools and streaming services eliminate barriers to entry in music, so can AI eliminate barriers to entry in film. Advocates of AI believe there will be a net increase in jobs, and time will tell whether they’re right. But there’s no question that the jobs in film and TV will be different.

Ada: This was another hard part to give advice about, because AI is rapidly evolving and there’s a lot of well-founded fear about the jobs of our generations that will be eliminated. But this book is for the next generation, and aspiring creatives need to treat AI as part of their toolkit.

Was there any common thread that runs through all of the interviews you conducted with professionals?

Ada: Everyone is deeply committed to their crafts, but what they’re most passionate about is storytelling. What I mean by that is: A costume designer, of course, is passionate about clothing, but if their main priority was beautiful clothing, they’d be a stylist or a fashion designer. Costume designers are passionate about using clothing to create a character and tell a story. Similarly, if a set decorator’s main passion was creating beautiful homes, they’d be an interior designer. But a set decorator wants to use the furniture, decor and objects to help you understand the protagonist’s backstory.

Jon: Even the most accomplished crew members and producers we talked to said they looked at their jobs as advancing someone else’s vision, not their own. They learned early on not to get invested emotionally in their best ideas because someone else — the director on a film, the showrunner on a TV series — would be the judge of which ideas to use. That’s really humbling.

What do you think is the most profound change in Hollywood as it continues to transition from theatrical and TV into streaming?

Jon: Streaming has proven to be a huge boon to long-form storytelling, at least from the viewer’s vantage point. You’d still have “Succession” without streaming, but you don’t have the quantity of “Succession”-level shows without the investment and competition from the likes of Netflix, Apple and Amazon. But the economics of streaming series are very different from those of a long-running broadcast TV show. There are fewer episodes, which means less pay for writers, actors and crew members over the course of a year. And residuals are lower for those who are entitled to them. Meanwhile, after a steady rise in the number of scripted shows released in the U.S., the volume fell sharply in 2024. So it appears that peak TV may have peaked.

For movies, the pandemic gave studios a preview of the post-theatrical world to come. Nevertheless, the industry is still struggling to come up with a coherent approach to streaming. So much of a movie’s marketing is still tied to theatrical releases, and multiplexes and studios continue to fight over how long a new movie should wait before it hits the streamers. And I wonder if there isn’t a lingering stigma for movies that are available immediately for streaming, similar to the one for movies that went straight to DVD.

Ada: It’s not just streaming. Everything that we consume from our phones — from social media content to podcasts to gaming livestreams — is not only competing with mainstream Hollywood but also becoming part of the same big entertainment ecosystem.

But on the flip side, it’s never been more possible for aspiring creatives to bypass traditional gatekeepers, make their own projects, connect directly with audiences and build their own revenue streams — even if it’s never going to be easy.

Preorder “Breaking Into New Hollywood” and read Tseng and Healey’s original Times reporting that led to the book.

Srinagar, India-administered Kashmir – Hafsa Kanjwal’s book on Kashmir has just been banned, but it’s the irony of the moment that strikes her the most.

This week, authorities in India-administered Kashmir proscribed 25 books authored by acclaimed scholars, writers and journalists.

The banned books include Kanjwal’s Colonizing Kashmir: State‑Building under Indian Occupation. But even as the ban was followed by police raids on several bookstores in the region’s biggest city, Srinagar, during which they seized books on the blacklist, Indian officials are holding a book festival in the city on the banks of Dal Lake.

“Nothing is surprising about this ban, which comes at a moment when the level of censorship and surveillance in Kashmir since 2019 has reached absurd heights,” Kanjwal told Al Jazeera, referring to India’s crackdown on the region since it revoked Kashmir’s semiautonomous status six years ago.

“It is, of course, even more absurd that this ban comes at a time when the Indian army is simultaneously promoting book reading and literature through a state-sponsored Chinar Book Festival.”

Yet even with Kashmir’s long history of facing censorship, the book bans represent to many critics a particularly sweeping attempt by New Delhi to assert control over academia in the disputed region.

‘Misguiding youth’

The 25 books banned by the government offer a detailed overview of the events surrounding the Partition of India and the reasons why Kashmir became such an intransigent territorial dispute to begin with.

They include writings like Azadi by Booker Prize winner Arundhati Roy, Human Rights Violations in Kashmir by Piotr Balcerowicz and Agnieszka Kuszewska, Kashmiris’ Fight for Freedom by Mohd Yusaf Saraf, Kashmir Politics and Plebiscite by Abdul Gockhami Jabbar and Do You Remember Kunan Poshpora? by Essar Batool. These are books that directly speak to rights abuses and massacres in Kashmir and promises broken by the Indian state.

Then there are books like Kanjwal’s, journalist Anuradha Bhasin’s A Dismantled State: The Untold Story of Kashmir After Article 370 and legal scholar AG Noorani’s The Kashmir Dispute 1947-2012, which dissect the region’s political journey over the decades.

The government has blamed these books for allegedly “misguiding youth” in Kashmir and instigating their “participation in violence and terrorism”. The government’s order states: “This literature would deeply impact the psyche of youth by promoting a culture of grievance, victimhood, and terrorist heroism.”

The dispute in Kashmir dates back to 1947 when the departing British cleaved the Indian subcontinent into the two dominions of India and Pakistan. Muslim-majority Kashmir’s Hindu king sought to be independent of both, but after Pakistan-backed fighters entered a part of the region, he agreed to join India on the condition that Kashmir enjoy a special status within the new union with some autonomy guaranteed under the Indian Constitution.

But the Kashmiri people were never asked what they wanted, and India repeatedly rebuffed demands for a United Nations-sponsored plebiscite.

Discontent against Indian rule simmered on and off and exploded into an armed uprising against India in 1989 in response to allegations of election fixing.

Kanjwal’s Colonizing Kashmir sheds light on the complicated ways in which the Indian government under its first prime minister, Jawaharlal Nehru, consolidated its control over Kashmir.

Some of Nehru’s decisions that have come under criticism include the unceremonious dismissal of the region’s leader Sheikh Abdullah, who advocated for self-rule for Kashmir, and the decision to replace him with his lieutenant, Bakshi Ghulam Muhammad, whose 10 years in office were marked by the strengthening of New Delhi’s rule of Indian-administered Kashmir.

Kanjwal’s book won this year’s Bernard Cohn Book Prize, which “recognizes outstanding and innovative scholarship for a first single-authored English-language monograph on South Asia”.

Kanjwal said the ban gives a sense of how “insecure” the government is.

‘Intensification of political clampdown’

India has a long history of censorship and information control in Kashmir. In 2010, after major protests broke out following the killing of 17-year-old student Tufail Mattoo by security forces, the provincial government banned SMS services and restored them only three years later.

At the height of another civil uprising in 2016, the government stopped Kashmir Reader, an independent publication in Srinagar, from going to press, citing its purported “tendency to incite violence”.

Aside from prohibitions on newspapers and modes of communication, Indian authorities have routinely detained journalists under stringent preventive detention laws in Kashmir.

That pattern has picked up since 2019.

“First they came for journalists, and realising they were successful in silencing them, they have turned their attention to academia,” said veteran editor Anuradha Bhasin, whose book on India’s revocation of Kashmir’s special status in 2019 is among those banned.

Bhasin described the accusations that her book promotes violence as strange. “Nowhere does my book glorify terrorism, but it does criticise the state. There’s a distinction between the two that authorities in Kashmir want to blur. That’s a very dangerous trend.”

Bhasin told Al Jazeera that such bans will have far-reaching implications for future works being produced on Kashmir. “Publishers will think twice before printing anything critical on Kashmir,” she said. “When my book went to print, the legal team vetted it thrice.”

‘A feeling of despair’

The book bans have drawn criticism from various quarters in Kashmir with students and researchers calling it an attempt to impose collective amnesia.

Sabir Rashid, a 27-year-old independent scholar from Kashmir, said he was very disappointed.  “If we take these books out of Kashmir’s literary canon, we are left with nothing,” he said.

Rashid is working on a book on Kashmir’s modern history concerning the period surrounding the Partition of India.

“If these works are no longer available to me, my research is naturally going to be lopsided.”

On Thursday, videos showed uniformed policemen entering bookstores in Srinagar and asking their proprietors if they possessed any of the books in the banned list.

At least one book vendor in Srinagar told Al Jazeera he had a single copy of Bhasin’s Dismantled State, which he sold just before the raids. “Except that one, I did not have any of these books,” he shrugged.

More acclaimed works on the blacklist

Historian Sumantra Bose is aghast at the suggestion by Indian authorities that his book Kashmir at the Crossroads has fuelled violence in the region. He has worked on the Kashmir dispute since 1993 and said he has focused on devising pathways for finding a lasting peace for the region. Bose is also amused at a family legacy represented by the ban.

In 1935, the colonial authorities in British India banned The Indian Struggle, 1920-1934, a compendium of political analysis authored by Subhas Chandra Bose, his great-uncle and a leader of India’s freedom struggle.

“Ninety years later, I have been accorded the singular honour of following in the legendary freedom fighter’s footsteps,” he said.

As police step up raids on bookshops in Srinagar and seize valuable, more critical works, the literary community in Kashmir has a feeling of despondency.

“This is an attack on the people’s memory,” Rashid said. “These books served as sentinels. They were supposed to remind us of our history. But now, the erasure of memory in Kashmir is nearly complete.”

I stepped on my bathroom scale the other morning and could not believe the three digits staring up at me.

And I mean that literally — the scale was rigged.

I know this because I’ve been dieting my butt off, and I swear I’ve dropped 20 pounds. So the first thing I did was ask my wife whether she messed with the scale as some kind of prank.

She said no, adding, “Maybe you’re retaining liquids.”

Steve Lopez

Steve Lopez is a California native who has been a Los Angeles Times columnist since 2001. He has won more than a dozen national journalism awards and is a four-time Pulitzer finalist.

I threw the scale out immediately. Then I went back into the bathroom, took one look in the mirror, and got another shock.

That couldn’t be me in the reflection. No way.

I’ve got more hair than that. Everybody knows it, and people comment on it. I go onto social media and people are asking one another, almost every day: “How does he maintain such a full mane and youthful glow?”

I called my barber and fired him.

It’s not the barber, my wife said. You should take another look in the mirror.

Our columnist was dismayed when he discovered the Bible ranks higher in book sales than his own works. “That should be on the list of fake miracles, right up there with the loaves and fishes,” he writes.

(Marta Lavandier / Associated Press)

She’s been somewhat out of sorts lately, ever since I went on Nextdoor to wish all my neighbors a happy Independence Day, including “all you scum I wouldn’t speak to IF YOU WERE THE LAST ONES at the picnic.”

Half the time, my wife doesn’t even live with me, and I don’t know where she is. It’s odd, because the marriage is perfect. People ask us what the secret is, and I say it’s hospitality. We open our hearts and our home to others, and we were planning on building a backyard ballroom until our financial advisor told us we were already running up massive debt.

I sued him for negligence and financial fraud.

My wife brought home a couple of refugees sponsored by her church, and I went along with it, even though I think it’s wrong to blame coyotes every time a neighborhood pet disappears. We were having a cup of coffee and a few pastries, and one of them took a second almond croissant. And then, even before he finished it, he reached out and grabbed a bear claw.

There I am, watching it disappear, and between bites, this freeloader starts telling us our country has to offer more help to his country.

I couldn’t take it anymore.

“I wanted the bear claw!” I said. “You didn’t even say thanks for the croissant, and now you want a third pastry? Get out of my house!”

To calm myself, I slipped into the living room to relax with a book. I picked one that was on a shelf next to three books I’ve written, which made me curious about how sales have been going lately.

So I went to Amazon to check the rankings.

The first book I checked was ranked 3,907,369. I swear on the Bible, which, by the way, was ranked 206 on the bestsellers list.

Really?

Matthew, Mark, Luke and John have been in the ground for what, a couple of thousand years? Nobody can tell you whether any of them knew a Magi from a Musketeer, not to mention that the Roman Empire they worked under was a failed administration. And their book is selling better than mine by a mile?

That should be on the list of fake miracles, right up there with the loaves and fishes.

A dispute with a neighbor over a property line ? “The boundaries are rigged.”

(A dispute with a neighbor over a property line ? “The boundaries are rigged.”)

My book is a great book. It’s already listed up there with the all-time classics, and it got starred reviews everywhere. At Barnes & Noble, they keep it in the Beautiful Books section. When I was on a book tour, I had the biggest crowds ever. Way bigger than Hemingway. People are still talking about it.

So to cut to the chase, I gave my sales rank a Triple F rating.

Fake.

False.

Fony.

And I fired my book agent.

I checked out some of the books ranked higher than mine — other than the “holy” Bible — and it didn’t take long to figure out what’s going on.

First of all, a lot of the people allegedly “buying” books don’t exist. Somewhere between 30% and 40% of the people who go onto the review section and claim they love Stephen King books are actually dead.

And then you have a lot of people coming into this country illegally, ghastly people, and they are voting in elections and they are voting on books, too, because they’re being put up to it, and being well-compensated, I might add.

Little-known fact:

The vote-counting machines and the book-counting machines are made by the same company.

You know what they should call that company?

RIGGED!

Not to be obsessive, but I’ve heard it said that Stephen King doesn’t care for me much, and that’s fine. Water off a duck’s back. My dog has more talent than that guy. All he does is write stories about killers and horrible, sick people.

He should write a book about my neighbor, if he likes deranged people so much. Most neighbors love me; they’re kissing my you-know-what. But then there’s this guy, whom I’m having investigated. I went out to the curb to throw the bathroom scale away, and what do I see? That jackalope is putting his trash can on my property. I’m the one who’s encroaching, he tells me, and I should go to the county offices and check the property records.

Well, it just so happens that I already checked the records, and they’re inaccurate. It figures, because that last county administration was the worst in history. A bunch of corrupt, evil people. Who should have been impeached. They hired incompetents as surveyors, so don’t stand on the street and tell me where I can and can’t put my trash can, because the boundaries are rigged and I’m having them rewritten.

My lawyers are on it, and we will win this case on Day One, guaranteed, with time left over for a round of golf.

Note to self:

On the way home, pick up a bathroom scale.

[email protected]

In 2019, Oregon bookseller Billie Bloebaum saw an author raise a question on X she had heard many times before: “Why should I support independent bookstores when independent bookstores don’t support romance?”

“For a long time, and still somewhat to this day, independent bookstores have had a reputation as being not as welcoming to romance readers and books as they could be,” Bloebaum told The Times. “There were a lot of booksellers that I knew who read romance, who championed romance, who had it on their shelves in the bookstores where they worked or that they owned.”

Determined to rewrite the narrative, Bloebaum launched Bookstore Romance Day in August — Romance Awareness Month — that same year. The inaugural event had less than 200 participating bookstores across the U.S. Now, in 2025, there are more than 600 registered locations around the world.

“It really was a way to get the word out that independent bookstores are not romance-unfriendly,” Bloebaum said, “to bring those two communities together, the romance community and the independent bookstore community.”

There are now 103 brick-and-mortar, romance-only bookstores in the U.S., according to Romancing the Data, including the Ripped Bodice in Culver City, Heartbound in Anaheim and Mystic Box in Huntington Beach. Over the past three years, Pages: A Bookstore in Manhattan Beach has doubled its space dedicated to romance titles, said general manager Jeff Resnik.

“We take romance seriously,” Resnik said.

Across Los Angeles, independent storefronts are observing Bookstore Romance Day on Saturday, Aug. 9, with author talks, book bedazzling, giveaways and more. For those who can’t attend the festivities in person, Bloebaum also offers free virtual events all weekend.

NBC News correspondent Jacob Soboroff will join MSNBC full time once the progressive cable channel is spun off into a new company, which will be called Versant.

Later this year, MSNBC is heading to Versant, which will be the new stand-alone home for current parent company Comcast’s cable networks.

As a result, MSNBC will no longer have the resources of NBC News and is putting together its own editorial operation. The stylized NBC peacock will also disappear from the MSNBC logo.

NBC News correspondents who moved seamlessly between NBC’s broadcast programs and MSNBC will no longer appear on both platforms once the spin-off is complete. (The one exception is expected to be Willie Geist, who has anchor roles on MSNBC’s “Morning Joe” and NBC’s “Sunday Today.”)

Soboroff, a Los Angeles native who earlier this year reported on how his childhood home was lost in the Palisades fire, is the highest profile talent so far to leave NBC News in the split. He will remain based on the West Coast.

Jacob Soboroff is joining MSNBC after the network spun off from Comcast.

(Patrick Randak)

Soboroff, 42, was hired as an MSNBC correspondent in 2015. He was later named an NBC News correspondent and in recent years has frequently appeared as a fill-in co-host on the network’s morning franchise “Today.”

NBC News employees who worked both on the broadcast and cable sides have been asked to choose which entity they will join. Most NBC News staffers are choosing to stick with the network. Steve Kornacki, the number-crunching star of MSNBC’s election nights, chose the broadcast network over cable as he also works for NBC Sports.

But a number of NBC News correspondents, producers and executives are choosing to go to the cable side. The migration to MSNBC is surprising, considering the business environment.

Comcast is spinning off the cable networks because it believes the mature outlets face a bleak future due to pay TV cord-cutting and are an albatross weighing down its stock price. MSNBC, the second most watched cable news channel behind leader Fox News, is seen its reach into pay TV homes decline by 33% over the last 10 years.

That has not kept some significant names from giving the start-up a shot. Earlier this week, Versant announced that “NBC Nightly News” executive producer Meghan Rafferty is joining the company as vice president of news standards.

NBC News correspondents moving to the cable side include Ken Dilanian, who covers the Justice Department. Vaughn Hillyard is moving over to become senior White House correspondent, and David Noriega will be a national correspondent based in Los Angeles.

The new company has also attracted talent and executives from CNN, Politico and the New York Times.

TV news agents say privately that many NBC News staffers are expecting layoffs in the division over the next year as ratings and advertising revenue for broadcast TV decline. (The division has not announced any such plans).

While the channels going to Versant, which include CNBC, Golf Channel and USA Network, face similar challenges, the spinoff group is aggressively hiring and promises substantial investment in the channels that still turn a profit.

Correspondents are also attracted to the platform that a 24-hour cable network provides.

Soboroff, the son of Los Angeles civic leader Steve Soboroff, has focused on issues that appeal to the MSNBC audience.

He aggressively covered the family separation crisis at the southern border in 2018, which earned a Cronkite Award. He wrote a book on the topic and executive produced an Emmy-nominated documentary in 2024.

Most recently in June 2025, Soboroff led MSNBC’s coverage of the U.S. Immigration and Customs Enforcement raids in Los Angeles and the resulting protests. His upcoming book, “Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster,” will be released in January.

Contrary to some recent media chatter, the novel isn’t dead: A glance at this month’s choices, which include quirky robot sci-fi, an artist’s tale set in 1950s Mexico and a dysfunctional family’s reckoning with addiction, proves that imaginative storytelling has a strong heartbeat. Meanwhile, whether you’re looking for history or current events, check out an oral history of the atomic bomb, an expert’s thoughts on climate change and a thorough tribute to the writer James Baldwin. Happy reading!

FICTION

Automatic Noodle: A Novel
By Annalee Newitz
Tordotcom: 176 pages, $25
(Aug. 5)

Late 21st-century San Francisco: California has seceded from the United States, and robots serve humans like crypto money launderer Fritz Co, whose Burgers N More is a front. He absconds and leaves four robots adrift, but with aid from unhoused human “robles,” they reconfigure the joint as a ramen shop — until robophobes launch a campaign to shut them down. Robots Staybehind, Sweetie, Cayenne and Hands will capture readers’ hearts.

People Like Us: A Novel
By Jason Mott
Dutton: 288 pages, $30
(Aug. 5)

Soot, one of the protagonists of Mott’s funny and affecting new book, also appeared in 2021’s “Hell of a Book.” Like the (at first) unnamed narrator, Soot is now a middle-aged writer from North Carolina (Mott originally intended this story to be in memoir form), and both men’s paths illustrate the difficulty of reconciling being Black with being American. While the theme of gun violence plays an important role, Mott is ultimately concerned with how and where his characters find safety.

Fonseca: A Novel
By Jessica Francis Kane
Penguin Press: 272 pages, $28
(Aug. 12)

In this fictionalized version of British novelist Penelope Fitzgerald’s real-life trip to Saltillo, Mexico, in 1952, she arrives pregnant with her son Valpy in tow, hoping eccentric, elderly sisters might keep their promise to leave Valpy their silver mine. “Fonseca” (“dry well” in Latin) is how Fitzgerald always referred to Saltillo, but Kane’s remarkable excavation of this interlude, including real letters from Valpy, drips with juicy conflict and detail.

The Frequency of Living Things: A Novel
By Nick Fuller Googins
Atria: 336 pages, $29
(Aug. 12)

Three sisters make up the band name “Jojo and the Twins” — but Jojo, younger sister to identical twins Emma and Araminta (Ara), isn’t in the band. Instead, she’s the caretaker for her siblings, who made a fortune with their blockbuster hit “American Mosh,” then lost that fortune, in part due to Ara’s substance addictions. Chapters alternate between Jojo, Emma, Ara and their absentee mother Bertie, who all discover that big love has big costs.

Katabasis: A Novel
By R. F. Kuang
Harper Voyager: 560 pages, $32
(Aug. 26)

Alice Law and Peter Murdoch, Cambridge University doctoral fellows in Magick, wind up in Hell looking for their adviser in a dark academia thriller whose title is the Greek word for “downward journey.” This version of Hell closely resembles Dante’s “Inferno,” with many circles leading toward the very worst human actions. There’s a great deal of doubling back and a lot of incantatory action, both of which sci-fi/fantasy stans will appreciate.

NONFICTION

The Devil Reached Toward the Sky: An Oral History of the Making and Unleashing of the Atomic Bomb
By Garrett M. Graff
Avid Reader Press: 608 pages, $35
(Aug. 5)

Many accounts of the unusual and unholy circumstances that led to the atomic bombs dropped on Japan at the end of World War II center on scientific discovery, neglecting the enormous human and environmental toll involved. Not so with journalist Graff’s (“When the Sea Came Alive”) approach, in which everyone from theoreticians to site managers on to survivors of all ages share first-person stories of what they did, saw and understood.

Putting Myself Together: Writing 1974–
By Jamaica Kincaid
Farrar, Straus and Giroux: 336 pages, $30
(Aug. 5)

Since her 1985 debut novel, “Annie John,” the Antiguan-born Kincaid has been impossible to ignore, and this collection of essays and journalism shows why: Even as some critics have found her prose too personal or political, Kincaid knows she meant it to be so. Ranging from her famed “Biography of a Dress” to pieces for the New Yorker on to essays on gardening, the works speak of a person who has refused to be defined by any kind of constraints.

Greyhound: A Memoir
By Joanna Pocock
Soft Skull: 400 pages, $19
(Aug. 12)

The Great American Road Trip, that idealized trek heading west, might be different now, according to author Pocock, who first made that journey in 2006 from Detroit to Los Angeles in the wake of grief after several miscarriages. In 2023, retracing her steps via Greyhound bus like French writer Simone de Beauvoir (“America Day by Day,” 1948), she discovers fewer humans, more dirt and less safety — but the same magical “sense of no longer existing.”

Baldwin: A Love Story
By Nicholas Boggs
Farrar, Straus and Giroux: 720 pages, $36
(Aug. 19)

James Baldwin’s four great affairs (intellectual, romantic, platonic and artistic) provide a beautiful structure for this biography, which includes careful research into the writer/activist’s upbringing and political formation as well as his widespread influence. Beauford Delaney’s creative guidance, Lucien Happersberger’s intimacy, Engin Cezzar’s call to activism and French painter Yoran Cazac’s artistic collaboration — each forms a polished facet of Baldwin’s gem-like dazzle.

Here Comes the Sun: A Last Chance for the Climate and a Fresh Chance for Civilization
By Bill McKibben
W. W. Norton: 224 pages, $30
(Aug. 19)

Since McKibben’s 1989 “The End of Nature,” the world’s temperature has risen by at least 1 degree Fahrenheit. Now the author and environmental activist wants to wake everyone up to the fact that we can’t stop global warming, but we can stave off reaching the next degrees if we enact the kind of political change necessary to use new technologies (like photovoltaic devices) that, instead of draining our planet’s resources, harness those beaming down daily.

Former Vice President Kamala Harris closed a big door when she announced Wednesday that she would not run for California governor. But she left open a heap of others.

Departing presidents, vice presidents, first ladies and failed presidential candidates have pursued a wide variety of paths in the past. Empowered with name recognition and influence but with no official role to fill, they possess the freedom to choose their next adventure.

Al Gore took up a cause in global warming, while George W. Bush took up painting. John Kerry and Hillary Clinton went on to become secretary of State, while Donald Trump fought off prosecutors, launched new business ventures and plotted his return to power. Barack and Michelle Obama grew their foundation, wrote books and started a production company — and both have done podcasts, too — while remaining prominent voices within the Democratic Party.

Of course, Harris could focus all her energy on another run for president in 2028. But how would she do that, and what would she do to remain politically relevant in the meantime? Which other paths might she choose instead?

“She just finished writing a book. She’s finally decided she’s not running for governor. But to be prescriptive about what role she’s going to play next and how it’s going to look would be premature,” said Harris senior advisor Kirsten Allen.

Experts in power and political leadership expect Harris’ next move to be something in the public eye, given she is relatively young at 60 and no doubt wants her last chapter in the spotlight to be something other than her humbling loss to Trump in the 2024 presidential election.

“Even if it isn’t the governorship of California, the idea of wanting something else other than the 2024 election to be the last thing Kamala Harris ever did would be very appealing,” said Gregory H. Winger, an assistant professor of public and international affairs at the University of Cincinnati who has studied former presidents’ lingering influence.

Winger said his research showed those “most active in trying to be influential” in their post-White House years were those whose time in office ended on a sour note, such as failing to win reelection.

“It’s kind of a frustrated ambition that then leads into higher activity,” Winger said — and Harris has that.

In her announcement about not running for governor, Harris was careful to leave her options open — framing her hopes for the future around ideals such as “fighting for the American people.”

She said she is a “devout public servant” who has long believed the best way to make a difference was to “improve the system from within.” But she also said “our politics, our government, and our institutions have too often failed the American people,” and that “we must be willing to pursue change through new methods and fresh thinking — committed to our same values and principles, but not bound by the same playbook.”

Harris said she looked forward talking to more Americans while helping to elect other Democrats.

Within 24 hours, she had announced a book deal for her forthcoming memoir, “107 Days,” which will chronicle her whirlwind 2024 presidential campaign, and her first interview since the election on “The Late Show with Stephen Colbert” on Thursday night.

Nathanael Fast, director of the Neely Center for Ethical Leadership and Decision Making at the USC Marshall School of Business, said Harris’ talk of “getting back out and listening” is consistent with her wanting to reclaim a prominent national role. That could mean another presidential run, he said, but it could also mean something else — particularly in the short term, where she has work to do recasting people’s perceptions of her.

“If she can create a compelling narrative about who she is, what she’s done, what happened in the last election and where she’s headed next,” Fast said, “she’ll be more likely to succeed.”

Fast said his bet is that she runs for president, but he could also see her going the route of Gore — who, after losing the presidential election, decided to move in a different direction to have worldwide impact by addressing climate change.

“I can imagine someone like Harris taking on artificial intelligence and saying, ‘My whole thing is trying to influence the national conversation around what’s going to happen with AI,’” Fast said.

Artificial intelligence was part of her portfolio as vice president and is a topic Harris cares deeply about, said a source familiar with her thinking who asked for anonymity to speak candidly about her next steps.

Harris also will have to tread carefully as she works to reassert her influence in the Democratic Party, which is still reeling from a second loss to Trump, experts said.

Democrats have struggled to unify the disparate elements of their party and settle on kitchen-table messaging that appeals to voters about the everyday challenges they face, said Sara Sadhwani, a politics professor at Pomona College.

After she lost to Trump, a convicted felon targeted with several other criminal investigations, “Harris exemplifies the inability to thread that needle.”

Whatever Harris does to break through, it won’t be easy in today’s saturated media and political marketplace, which is so vastly different from what other former White House occupants faced.

After he declined to run for reelection in 1928, former President Coolidge wrote a nationally syndicated newspaper column. Today, Harris would be more likely to launch a podcast — but whether it will catch on nationally is anyone’s guess.

Winger said Harris does have massive name recognition, and Fast said she has many of the important forms of “capital” for a leader to continue being successful and influential — including financial and social.

Still, “it’s tough,” Winger said. “It’s a very different media ecosystem just because of how crowded and how fractured it has become.”

Kyle Lierman, who worked for more than six years in the Obama White House, is now chief executive of Civic Nation, a nonpartisan nonprofit that houses several education, gender equity and voter initiatives — including When We All Vote, the voter initiative Michelle Obama launched in 2018.

Lierman said he is excited to see what Harris does next, as it’s likely to show her “best side.”

“When you’re at the White House, you are working on a dozen different topics every day, and you are trying to make as big an impact as possible before the clock runs out,” Lierman said. “And when you leave, you have an opportunity to step back, think longer term, and go deeper on a few issues that you’re particularly passionate about. And I think that’s liberating in some ways.”

Former Sen. Laphonza Butler, a longtime friend of Harris’, said the former vice president might draw from the blueprints laid out by her recent predecessors.

“Whether you’re talking about the Clinton Global Initiative or When We All Vote … or the work that’s happening at the Obama Foundation, I think there’s plenty of examples,” Butler said.

Many former presidents have leveraged their experience in foreign affairs — and existing relationships with foreign leaders — to continue holding sway in international relations, particularly when members of their own party return to power. President Clinton, for instance, used President Carter in that way.

Andra Gillespie, a political scientist at Emory University, said Harris could be “really effective” in bolstering organizations that work for racial justice and to elect women, but said “that’s not what she was organizing her political career around” before the 2024 election and it may not be the path she chooses now.

Gillespie said she read Harris’ statement as indicating that she was most interested in finding a way to force change outside of government. She said she could see Harris — who is already in California, and whose husband Doug Emhoff is an entertainment lawyer — moving into production and podcasts like the Obamas.

Gillespie said she also could see Harris working closely with Howard University, her alma mater in Washington, D.C., on fundraising or building out a new center of study, as Joe Biden did at the University of Delaware.

“She’s still relatively young, and still could have a good 15 to 20 years of active engagement ahead of her,” Gillespie said, “in whatever form she wants that to take.”

A first glimpse at the new period drama has been shared as production begins.

Netflix has officially confirmed the remaining cast for its limited series adaptation of the classic Jane Austen novel, Pride and Prejudice. Austen’s works have been adapted many times for the small screen, including an adaptation for the BBC.

The series, promising to be a “faithful, classic adaptation of the novel”, will see The Diplomat star Rufus Sewell as Mr Bennet, with Freya Mavor as Jane Bennet and Heartstopper alumnus Rhea Norwood as Lydia Bennet.

Rounding off the Bennet sisterhood are newcomers Hollie Avery and Hopey Parish in their debut roles of Kitty and Mary. Louis Partridge will take on Mr Wickham, with Stath Lets Flats star Jamie Demetriou as the pompous Mr Collins.

Last to join the cast is Killing Eve star Fiona Shaw as the fearsome Lady Catherine de Bourg, Daryl McCormack as Mr Bingley and Siena Kelly as Caroline Bingley.

READ MORE: Jane Austen fans urged to watch ‘brilliant’ and ‘refreshing’ movie adaptationREAD MORE: Pride and Prejudice fans urged to watch ‘captivating’ Jane Austen period drama

Pride and Prejudice, one of the most iconic novels of all time, is being adapted into a six-part limited series for the streamer.

Austen’s beloved works have enraptured generations for hundreds of years and her most famous and widely-read novel, Pride and Prejudice has inspired countless writers and filmmakers.

Executive producer Dolly Alderton said: “Once in a generation, a group of people get to retell this wonderful story and I feel very lucky that I get to be a part of it.

“Jane Austen’s Pride and Prejudice is the blueprint for romantic comedy – it has been a joy to delve back into its pages to find both familiar and fresh ways of bringing this beloved book to life.

“With Euros Lyn directing our stellar cast, I am so excited to reintroduce these hilarious and complicated characters to those who count Pride and Prejudice as their favourite book, and those who are yet to meet their Lizzie and Mr Darcy.”

Previously announced stars joining the cast are The Crown’s Emma Corrin and Olivia Colman, and Slow Horses star Jack Lowden.

Also joining the cast are the following:

Anjana Vasan will be Mrs Gardiner

Sebastian Armesto will be Mr Gardiner

Rosie Cavaliero will be Lady Lucas

Saffron Coomber will be Mrs Hurst

James Dryden will be Mr Hurst

Justin Edwards will be Sir William Lucas

James Northcote will be Colonel Forster

Eloise Webb will be Harriet Forster

Isabella Sermon will be Georgiana Darcy

Pride and Prejudice will air on Netflix

Ken Jennings wants you to know he didn’t name his trivia game “Kennections.”

“It’s really an unpleasant name,” the “Jeopardy!” champion turned host says of the quizzes now published weekly by Mental Floss. “We have to lead with that. It was suggested by an editor at Parade Magazine, but it doesn’t look good or sound good.”

But Jennings loves the quizzes themselves, which are now collected (kellected?) in “The Complete Kennections.” The Simon & Schuster release, on shelves July 29, follows earlier Jennings books that included more writing. Those include: “Brainiac: Adventures in the Curious, Competitive, Compulsive World of Trivia Buffs,” “Maphead: Charting the Wide, Weird World of Geography Wonks,” “Because I Said So!: The Truth Behind the Myths, Tales, and Warnings Every Generation Passes Down to Its Kids” and “100 Places to See After You Die: A Travel Guide to the Afterlife.”

Jennings recently spoke about his books, AI and why trivia matters. This interview has been edited for length and clarity.

Was writing books always a goal?

I was an English major in college. I wanted to write and to teach, but writing didn’t seem like a practical choice. I was also doing a double major in computer science, and in 2000 it was absurdly easy to get a job at a friend’s startup, even if you were a terrible programmer, which I was.

Writing about geography and myths and fabled places of the afterlife all seem to make sense coming from the brain of a “Jeopardy!” champion.

It’s easy to imagine the same kid in an elementary school library, reading about these things in the World Book encyclopedia during a rainy recess. That’s my origin story. I was just a sponge for weird information. That’s my origin story right there.

I thought of “Jeopardy!” as a fun, crazy summer and did not think it would be my life, so I tried making each book less about “Jeopardy!” and trivia than the one before it.

Is the information in your books trivial, or do you think it’s important to get readers to understand geography and the way our culture passes down myths and tales?

I’m a believer that trivia is not just a bar pastime, or even a way for little Lisa Simpsons to get told they’re smart into adulthood. I always felt trivia was kind of a universal social good, a way to enjoy cultural literacy.

I feel I’m part of the last generation that had to justify having nerdy interests. It was kind of shameful and made you the punchline of jokes in movie comedies and stand-up. Today, it seems self-evident to everyone younger than us that, well, of course you would just be obsessive about lunchboxes or about “Battlestar Galactica” or fossils. That’s totally normalized, and it’s actually good.

But I’ve also been mourning the loss of generalists, people who knew a little bit about everything, which is what “Jeopardy!” celebrates, but it’s not fashionable. We live in a siloed society of specialists. And I really think we’d be better off if everybody knew a little bit about everything.

I do think it’s good to know trivia is not something that makes you better than other people. It doesn’t exist to show off or even to make you feel smarter about yourself. Ideally, it should bring people together and make the world more interesting and make you a more sparkling conversationalist.

“Jeopardy!” and your books strive to make learning facts fun. Is there a lesson there for educators?

I think that’s the beauty of trivia. I wrote a series of books for kids with amazing facts because I liked that kind of book when I was a kid. And you can see it in a classroom, when you see kids’ eyes light up about information and about serious subjects and about knowledge when it’s presented in a fun way, especially with narrative.

Narrative is the secret sauce. It just makes kids think the world is an amazing adventure and you just have to be curious and dig into it. But that gets beaten out of us, and then a lot of us at some point just specialize in one thing. You need to remind people that learning is not a chore. If it’s not fun, you’re doing it wrong. And trivia is very good at that.

Every good “Jeopardy!” clue tells a story in some way, saying, here’s why you should want to know this or here’s what this might have to do with life and the reason why this is not random minutia, which I think is a lot of people’s stereotype of trivia nerds. A trivia question can help you connect it to other things. Trivia is just an art of connections.

That’s certainly true in your “Kennections” book.

I grew up doing crosswords, riddles and rebuses. I’ve always liked trivia that rewards not just the recall of the right fact but has a little more mental clockwork involved so you have to solve some puzzles. You have to analyze the clue and figure out why it exists and what it’s asking or what it’s not asking, what was included, what was omitted. There’s a lot of analysis that can kind of lead you to the right answer by deduction, even if you don’t know the right fact off the top of your head. One half of your brain is just trying to recall these five facts, but you’ve got this other half that’s trying to figure it out and step back and take the big picture. And it might be something outside the box.

The art of it is finding five things that fit in the category but that can have double meanings: Commodore is both a computer and a member of a Lionel Richie combo.

You write that “Kennections” consumes your life — you go into a bagel store and wonder if you can build five questions out of the flavors. Is the problem that in your day-to-day life, you’re constantly seeing things and thinking things this way? Or is the problem that you can’t say this out loud because you’ll make your family crazy?

That’s something I learned early — that being this trivia-loving kid has the potential to be annoying. But my kids know what they’re getting from me at this point. And they both have the gene themselves. One is obsessed with Major League Baseball, and one is obsessed with the history of Disney theme parks, and they have encyclopedic knowledge every bit as awe-inspiring and freakish as I had as a kid. And I’m proud of that.

Do you worry about living in a culture that’s so polarized that facts aren’t even universally received and where AI takes over people’s need to be curious, allowing students to take shortcuts in learning?

I think an oligarch class is going to deliver us a combination of both, where the AI will not only create reliance on it but give us bad, counterfactual information about important issues. And it’s really something I take seriously. It’s really something we need to be pushing back on now.

You don’t want to trust an AI summary of a subject or AI’s take on an issue without understanding who controls that algorithm and why they want you to hear that information.

Canadian novelist Esi Edugyan’s “Washington Black,” a prizewinning story of race, romance, friendship and identity set in the early 19th century, has been translated by Selwyn Seyfu Hinds and Kimberly Ann Harrison into a Hulu miniseries. Unsurprisingly, it plays more like a miniseries than a novel, amplifying the action, the drama and the romance; beefing up lesser characters; drawing lines under, after all, valid points about prejudice, inequality and injustice; and dressing it up with Hollywood musical cues. Taking the show as a sometimes fantastic historical adventure, those aren’t bad things, but, unlike the book, subtlety is not the series’ strong suit.

Written in the first person, the novel proceeds chronologically, while the series, which follows other, sometimes added characters into interpolated storylines, switches between 1830 — when our hero, George Washington Black, called Wash, is 11 years old and enslaved on a Barbados sugar plantation — and 1837, when he lives as a free young man in Halifax, Nova Scotia, drawing beautiful pictures and designing a before-its-time airship. (For the benefit of American viewers wondering why we’re in Halifax, opening narration helpfully identifies it as the last stop on the Underground Railroad.)

The split timeline does make Entertainment Sense. We don’t have to wait around for young Wash (Eddie Karanja) to grow up into older Wash (Ernest Kingsley Jr.), and we are immediately introduced to Tanna Goff (Iola Evans), arriving from London with her father (Rupert Graves) for a “fresh start.” (There was a scandal back in Britain.) Unbeknownst to Tanna, her father plans to marry her off to a young Canadian bigwig (Edward Bluemel), for what he believes is her own security. This is new, if very familiar, material.

Wash and Tanna meet-cute at the docks where he works, when based on her skin, he mistakes her for a servant — she’s been passing for white, but he (and we) recognize her as a person of color. (Melanesian, to be exact.) In the coming days, he’ll contrive to meet her here and there, until they get friendly, and friendlier. Like Wash, she’ll be a voice for living free, “to be myself, to live in my own skin.” (“We’re both dreamers,” she muses. “Can’t we dream up a different world?”) Coincidentally, and not unfortunately, her papa is a marine biologist, the author of a book Wash, who has a keen interest in the subject, knows well. Wash’s gift for capturing the essence of living things on paper may prove useful to him.

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1. Eddie Karanja plays young Wash in the series. (James Van Evers / Disney) 2. Sterling K. Brown, an executive producer, also stars. (Chris Reardon / Disney)

Meanwhile, if that’s the word, back in 1830, the future looks dim for young Wash under the harsh rule of plantation owner Erasmus Wilde (Julian Rhind-Tutt), a situation eased only by his beloved caring protector Big Kit (Shaunette Renée Wilson). (Ironically, the end of slavery throughout the British Empire was just around the corner.) One day, Erasmus’ brother Christopher (Tom Ellis), called Titch, arrives driving a giant steam-powered tractor for no practical reason other than to announce him as a somewhat eccentric inventor, like Caractacus Pott; but it provides a point of connection between Titch and Wash, who becomes his assistant. Another character who had to leave London, Titch plans to use an island hilltop to launch his “cloud cutter,” a flying machine that won’t exist in the real world for many years but which looks cool. (Steampunk is the applicable term.)

When an incident on the island threatens to paint Wash, wrongly, as a murderer, Titch takes him up, up and away in his beautiful balloon. It’s in the supercharged spirit of this adaptation that when they crash into a sailing ship, it should be full of pirates, and not merely pirates, but pirates who have stolen from the British a new sort of craft powered by a dynamo that looks heavy enough to sink it. This passage is crafted to show us a self-determined society, multiethnic and multigendered. When the pirates mutiny (bloodlessly), the new captain is a woman. They like Wash more than Titch, whom they throw in the brig, but they are nice, relatively speaking.

Titch is an avowed abolitionist who won’t use the sugar the plantation produces, and though we are called upon to note small hypocrisies or to question his motivations — is he trying to assuage his 19th century white liberal guilt even as he uses Wash to his own ends? — I will declare him sincere, if also a man of his time. The showrunners put him into a (very) brief debate with fierce figure from history Nat Turner (Jamie Hector), opposing Turner’s militarism against Titch’s less persuasive “reason, logic and the appeal to man’s better nature,” an argument suspended when Turner holds a knife to his throat. (Wash intercedes on his behalf; he is more than once his mentor’s protector.) It also adds a shot of American history into this Canadian story.

Sterling K. Brown, an executive producer, plays Medwin, a character much expanded from the novel, the unofficial mayor of the Black community who will swashbuckle in when a day needs to be saved. (There are bounty hunters from down south, looking for Wash; Billy Boyd, former Hobbit, is wonderfully creepy as Willard.) As to Wash, it’s not enough that he’s a gifted artist and scientist; the show introduces him as “a boy brave enough to change the world.”

The novel trots the globe, from Barbados to Virginia to Nova Scotia to the Arctic to London to Morocco, and besides the hot-air balloon, includes the invention of the public aquarium. Though only four episodes of the series were available to review, photos indicate that lands of snow and sand are indeed on the itinerary (not sure about the aquarium), and as a fan of 19th century globe-trotting adventures, I do remain eager to see what the series makes of them. Kingsley and Evans, in their blossoming love story and otherwise, are good company throughout.

Edugyan ends her book on a suspended chord, a note of mystery I don’t imagine will be definitive enough for the filmmakers. But we shall see.