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Palestinian boy Nidal Abu Rabeea died in Gaza after waiting 14 months for Israel to allow his medical evacuation, despite having the necessary clearance. Thousands of Palestinians are blocked from seeking urgent medical care through the partially reopened Rafah crossing.

A sparkly pink electric guitar hangs on a wall of the recording studio where Hilary Duff made her new album. The cozy, gear-filled joint near the Van Nuys Airport belongs to her husband, Matthew Koma, who produced “Luck… or Something,” the singer and actor’s first LP in more than a decade. But as Duff points out on a recent afternoon, the paisley-print guitar is all hers.

“I got it for my 16th birthday,” she says proudly — a gift from the Fender company. “I found it in the storage unit and Matt was like, ‘Oh, that’s going up there.’”

Before Miley Cyrus, before Sabrina Carpenter, before Olivia Rodrigo, Duff arrived in the early 2000s as a Disney kid with pop-idol ambitions. She broke out in the endearingly awkward title role of the Disney Channel’s “Lizzie McGuire” then went on to star in family-friendly movies like “Agent Cody Banks” and “Cheaper by the Dozen.” By the time she received that guitar, she’d topped the Billboard 200 with her album “Metamorphosis,” which sold 4 million copies and spawned hit singles like “So Yesterday” and “Come Clean.”

Duff stepped away from music for most of her 20s to focus on acting and starting a family. (An attempted comeback album in 2015, “Breathe In. Breathe Out.,” didn’t really go anywhere.) Now, at 38, she’s returned with a bracingly honest record full of the texture and detail of her life as a wife, sister and mother of four.

In frank yet wordy songs that layer guitars and synths over shimmering grooves, Duff sings about trying to overcome old habits and about her fear that her best times are behind her. “We Don’t Talk” appears to address her estrangement from her older sister, Haylie, while “Weather for Tennis” describes her tendency to keep the peace as a child of divorce. In “Holiday Party,” she recounts a recurring dream in which Koma cheats on her with her friends.

“I wake up in a rage and he’s like, ‘I didn’t do anything!’” she says with a laugh. “And I’m like, ‘But you want to.’ A lot of this stuff came out of the hormonal boom of: I’ve just had a baby and I’m nursing and I’m trying to get my two feet back on the ground again.” (Duff and Koma have three daughters aged 7, 4 and 1, while Duff shares a 13-year-old son with her ex-husband, former hockey player Mike Comrie.)

Asked how he hopes the album fares commercially, Koma says, “I don’t [care]. Public perception or sales, that’s all cool, but it’s a separate experience from why we did it.” The producer, who’s known for his work with Zedd and Shania Twain, adds, “The whole purpose was to make something that Hilary could feel good about stepping into.”

Yet early-2000s nostalgia led to a recent run of sold-out theater gigs, and this summer it’ll carry her into arenas around the world, including Inglewood’s Kia Forum on July 8 and 9. (Less happily for Duff, it also made a viral sensation of an essay in the Cut by her fellow millennial Ashley Tisdale in which Tisdale wrote about leaving a “toxic mom group” that allegedly included Duff and Mandy Moore.)

Curled on a sofa in the studio’s control room, Duff says, “I’m finally at this place where I’m zero percent ashamed of my past and any of the things that used to embarrass me” — one reason she made the bold choice to open her set at the Wiltern last month with two of her biggest hits, “Wake Up” and “So Yesterday.”

After those songs came “Roommates,” perhaps the most vulnerable track on Duff’s new album. It’s about navigating a dry patch in a marriage, and the language is as vivid as it is unsparing: “I only want the beginning / I don’t want the end,” she sings, adding that she longs to be in the “back of a dive bar, giving you h—.”

A surprising word choice.
How would you have said it? Sometimes you need to make the lyrics fit — you need it to rhyme with something. [Laughs] It’s meant to be polarizing because it’s such a desperate plea. I can say I haven’t actually given h— in the back of a dive bar. But it’s just trying to capture the feeling of a time when you felt alive.

Like all teen stars, you had to figure out how to grow up and talk about sex as a public figure. Now there’s the idea that it’s better left to the young.
I finally feel like I know a lot about sex. My whole 20s, sex was not always enjoyable — it was so much to figure out. Now I finally understand it. Maybe that’s a female thing, but I’m not ready to be put out to pasture. People come up to me all the time and they’re like, “Wow, you aged really well.” I’m like, “I’m only 38! Just because you’ve known me since I was 9…”

You’re handling senior citizenship well.
When do I start getting the discounts? I feel like 38 is not old, although when I thought about my parents at 40, they looked so different than we look now.

I always stop at those TikToks where it shows what 35 looked like in 1982.
I don’t think anyone drank water back then. They were, like, dusty-crusty.

Hilary Duff, left, and Matthew Koma at Apple Music Studios in Los Angeles in December.

(Amy Sussman / Getty Images for Apple Music)

You borrow the chorus of Blink-182’s “Dammit” for your song “Growing Up.” Why?
Blink is one of my favorite bands. I remember getting my driver’s license, and that was what was playing on my iPod. “Growing Up” is such a deeply personal song to me, talking about sitting in the backyard with one of my best friends and just needing to drink too much wine and unload about life. But it also feels like a love letter to my fans. I don’t like saying that word, but I genuinely feel like I’ve had fans for 25 years, and getting to see them now in adulthood — I didn’t know I was going to have this opportunity.

What’s the problem with “fan”?
It puts me on a pedestal that makes me feel uncomfortable. If you were to talk to Matt or someone close to me, they’d probably say, “Hilary doesn’t understand what she’s meant to some people.” And I think that’s true. When I think of myself, I’m not like a grand pop star — I feel more like a woman of the people.

A woman of the people?
Am I allowed to say that? [Laughs] Is that offensive in any way? My feet hit the ground in the morning, and I’ve got a million things to do. Sometimes my baby’s still sleeping. And I have a teenager to get ready for school that we’re always all waiting on.

Why do you have four children?
I know — we’re sick.

Did you expect to have four?
I thought I would have at least three. I always wanted a big family because I come from a super small family and I always wanted more siblings. I had Luca obviously pre-Matt, and then we had Banks before we got married. Then the pandemic hit — we had a pandemic baby like everybody else. The fourth was just a crazy-a— decision. Matt was like, “Everybody’s gonna think we’re really Christ-y if we go for No. 4.” We also have three dogs, two cats and eight chickens.

As two artists, how do you sort out the work of child-rearing?
I don’t know if I’ve actually said this out loud — to Matt I have for sure — but I think that part of my wanting to make a record was coming out of having my fourth child. I love motherhood, obviously — I wouldn’t have four kids if I didn’t. But I think I felt really jealous that he got to go to work every day and just be alone with his thoughts. I was like, I need to stretch. That’s what it felt like after the fourth baby: I’m either gonna lose myself completely and just become a stay-at-home mom and wait for the phone to ring, or I’m gonna go make something that moves me.

You don’t need me to tell you that our culture is always happy to make moms feel guilty. Was it a journey to accept that it’s OK to do something for yourself?
That’s what the healthy part of the brain says. But the other part that’s wired to be with the children you birthed — sometimes that part overshadows it. And it’s very hard to fight that. I could probably cry right now thinking about all the things I’m gonna miss this year.

Hilary Duff in the studio where she recorded her new album.

(Jay L Clendenin / For The Times)

You’ve got a line in “Roommates” where you say, “Life is life-ing and pressure is pressuring me.” At the shows you just played, did you think of your audience as being at the same place in life as you?
For sure. When they were scream-singing it back to me, I was like, “Oh, you know.” That doesn’t mean you have to be a parent. “Life is life-ing” is the bills and the monotony and the traffic and the family — it’s all the things. I knew that if it’s bumping around inside my head, and I’ve been living a pretty normal life for 10 years — normal as I can get — then people would see themselves in it.

Twenty-five years ago, you were playing to 10-year-olds. Would a 10-year-old today be interested in your new songs?
I don’t think so. But I mean, I used to sing Natalie Imbruglia’s “Torn” all the time, and I had no idea what it was about.

The last decade has been a golden age for young female songwriters: Taylor Swift, Billie Eilish, Olivia Rodrigo.
You forgot Chappell Roan.

“Luck… or Something” feels aligned with that deepening craft. But maybe your early stuff felt sophisticated to you.
I don’t think the intent back then was sophisticated songwriting. There was no Taylor Swift yet — it’s like before Christ and after Christ.

She changed the game?
On all the levels.

How’d you end up on Atlantic Records? I wondered whether this was a product of personal friendships — the Elliot Grainge and Sofia Richie and Good Charlotte of it all.
We’re more personally friends with them now. I finished making the record and for the first time ever was like, “It’s done — do you like it?”

You weren’t looking for notes from the label.
I’m not saying I didn’t have meetings with A&R. But pretty much the record was created, and that was that. I didn’t go shopping anywhere else, which was fantastic because I hate a dog-and-pony show.

Did you feel like you’d been chewed up by the record industry in any way?
After “Breathe In. Breathe Out.,” it was very easy to be like, “RCA forced me to lead with this song when I knew it should’ve been this song.” But that was me not having [courage], you know what I mean? It was a joint effort of [messing] it up. But I learned a lot from that. I don’t think I would’ve made this record if I hadn’t fumbled the ball a little.

The story about the toxic mom group blew up just as you were launching this album. Did that experience give you pause about reentering the pop world?
I mean, this is not new for me. I’ve had this since I was maybe 15 and starting to get followed around by paparazzi. Everything starts getting documented and everyone knows my life and all the players in it. So the stories that get news pickup — it’s not what happens to a normal person who maybe became an actor as an adult. And now it’s escalated by the talking heads on TikTok that need clickbait. It’s hard because you’re like, “Wait, whoa, that person kind of got it right,” and “Whoa that person doesn’t know what they’re talking about.” I saw something that was like, “None of the moms at school actually like her and neither do the teachers,” and I was like, “First of all…”

Is it hard or easy for you to tune out —
By the way, the women at school are lovely and I’m obsessed with all of them.

But can you ignore the chatter about you on social media?
It just depends on the day. Knowing that I get to open up the backdoors and play soccer as a family and take a hot tub and go get our chicken eggs — that’s the purpose of life. On the days when crazy s— happens, I go home and quiet the noise.

The nominated Oscar shorts come in three categories — and a lot of subjects, styles and temperaments. It’s further proof that an award dictated by length needn’t be bound by anything else.

In the live-action category, a mixed bag of approaches — some inspired by classic literature — are burnished by inspired performances. Lee Knight’s “A Friend of Dorothy” may be a tad on the nose about the cultural and emotional impact of a lonely London widow on a closeted teenaged boy. But leads Miriam Margolyes and Alistair Nwachukwu practically shimmer with humor and warmth. “Jane Austen’s Period Drama,” a loving tweak of the writer’s oeuvre from Steve Pinder and Julia Aks (who also stars), is essentially a one-joke calling card to make feature comedies and it should do the job. Its cast is exactly the sprightly ensemble needed to land its what-if laughs.

Two others just miss the mark in terms of bringing their tensions to powerful resolutions yet benefit from who the camera adores. Meyer Levinson-Blount’s “Butcher’s Stain,” centered on a flimsy accusation against a friendly Palestinian butcher in an Israeli market, undercuts its gripping story with lackadaisical filmmaking and an unnecessary subplot, but lead Omar Sameer is commanding. The black-and-white future shock “Two People Exchanging Saliva,” directed by Natalie Musteata and Alexandre Singh, is an uneven Euro-art bath of unrealized intimacy and casual violence — kissing is punishable by death, slapping is currency — but is given exquisite tautness by the elegant, unrequited swooniness of stars Zar Amir and Luana Bajrami.

A scene from “Jane Austen’s Period Drama,” nominated in the live-action short category.

(Roadside Attractions)

Then there’s my favorite, Sam A. Davis’ likely winner “The Singers,” from Ivan Turgenev’s short story, which pays off handsomely in bites of soulful warbling that briefly turn a barroom’s den of anesthesia into a temple of feeling.

Most of this year’s documentary nominees deal with the grimmest of tragedies, as in “All the Empty Rooms” and “Children No More: Were and Are Gone,” which address the remembrance of children brutally killed. The former film, from Joshua Seftel, follows CBS correspondent Steve Hartman and photographer Lou Bopp on an essay project into the bedrooms of kids gunned down in school shootings, their private worlds heartbreakingly preserved by their families. The latter short, directed by Hilla Medalia, witnesses Tel Aviv’s silent vigils for Gaza’s children, protests marked by posters with beaming faces, and sometimes met with open scorn. These are dutiful, sobering acts of mourning — Seftel’s is the probable awardee. You may wish they were more than that, however, considering the issues (guns, war, political intransigence) that created the devastation.

Combat is what drove award-winning photojournalist Brent Renaud, killed in Ukraine in 2022. But his brother Craig’s memorializing of him, “Armed Only With a Camera,” is oddly uninvolving, more an excerpted flipbook of Brent’s far-flung assignments than a meaningful portrait of excelling at a dangerous job. A more affecting real-world dispatch (and my pick, if I could vote) is “The Devil Is Busy,” directed by Christalyn Hampton and dual nominee Geeta Gandbhir, also up for the feature “The Perfect Neighbor.” It observes a day in the operation of a carefully guarded, female-run Georgia abortion clinic as if it were a newly medieval world’s last chance healthcare outpost, getting by on grit, compassion and prayer. You certainly won’t forget security head Tracii, the clinic’s heavyhearted knight and guide.

A scene from “Perfectly a Strangeness,” nominated in the documentary short category.

(Roadside Attractions)

Your chaser is Alison McAlpine’s appealing, aptly titled “Perfectly a Strangeness,” sans humans, but starring three donkeys in an unnamed desert happening upon a cluster of hilltop observatories. The whir of science meets the wonder of nature and this charming, gorgeously shot ode to discovery (both on Earth and out there) makes one hope the motion picture academy sees fit to recognize more imaginative nonfiction works going forward.

Animation, of course, thrives on the thrill of conjured worlds, like the one in Konstantin Bronzit’s wordless (but not soundless) desert island farce “The Three Sisters.” It owes nothing to Chekhov — though there are seagulls — but much to a classically Russian sense of humor and a Chaplinesque ingenuity. Elsewhere, you can watch the overly cute Christian homily “Forevergreen,” from Nathan Engelhardt and Jeremy Spears, about a nurturing tree, a restless bear and the dangerous allure of potato chips. The message gets muddled but this eco-conscious journey is charming.

It’s tough to predict a winner when the entrants are this strong, but John Kelly’s “Retirement Plan” feasts on wry relatability, as Domhnall Gleeson narrates a paunchy middle-aged man’s ambitious post-career goals, while the cascade of deadpan funny, thickly-lined and mundanely hued images stress a more poignant, finite reality. In its all-too-human view of life, this is, entertainingly, whatever the opposite of a cloying graduation speech is.

A scene from “Retirement Plan,” nominated in the animated short category.

(Roadside Attractions)

The spindly aged-doll puppetry in the stop-motion gem “The Girl Who Cried Pearls” marks a sly fable of need, greed and destiny, centered on a wealthy grandfather’s Dickensian fashioning of his poverty-stricken childhood in early 19th century Montreal. Filmmakers Chris Lavis and Maciek Szczerbowski find an enchanting balance between storybook allure and adult trickery. Maybe this one steals it?

Whichever the case, the animation that moved me the most is “Butterfly,” from Florence Miailhe, imagining the last, memory-laden swim of Jewish French-Algerian athlete Alfred Nakache, who competed in the Olympics before and after the Holocaust. In the cocooning fluidity of an ocean-borne day, rendered with thick-brushed painterliness and splashes of sound, we travel across flashes of community, injustice, achievement, love and despair. The visual, thematic constant, though, is water as a haven and a poetic life force that feeds renewal.

A BRITAIN’S Got Talent star was accused of a child sex offence just days before she was found dead at home, an inquest heard.

Kerri-Anne Donaldson, 38, reached the semi-final of the ITV show in 2014 as part of the group Kings and Queens.

An inquest heard today Kerri-Anne was arrested on suspicion of “child sex offending” but no further details were revealed.

The dancer was detained on June 4, 2023, and questioned at a police station.

She was discovered dead at home in Farnborough, Hampshire, three days later by her sister Cara Donaldson.

There was a note at the top of the stairs urging Cara not to come inside alongside photos of her dog and family.

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The song “You are so Beautiful” was also playing when Kerri-Anne was found, the inquest heard.

The court was told the performer’s cause of death was given as hanging.

A post mortem also found she had non-fatal levels of medication in her blood, which were consistent with an overdose.

The inquest heard evidence yesterday from Detective Constable Benjamin Harris, of Hampshire Constabulary, who led the investigation into the unknown accusation against Kerri-Anne.

He said her accuser had let police know the dancer threatened to take her own life “if someone finds out” about the allegation.

Det Con Harris said he had considered the possibility her comments could be a “form of control” against the complainant.

He said: “In my experience in some offences it can often be said without wanting to carry it out.”

The officer told the inquest the suggestion of self-harm was “something we take very seriously” and he reported it to his senior officers and advised his colleagues who arrested Kerri-Anne.

He said following the interview, he graded the dancer’s risk of self-harm as “standard”.

The officer added: “When I spoke to Kerri, which was after the interview, in the cell she presented to me at that time that she was fine, so normal.

“She had no indication that she wanted to take her own life, when that was spoken about with her she gave no indication that would happen.”

Det Con Harris said Kerri-Anne told him she had seen a counsellor previously and added: “She knew how to get help and she was in no way considering harming herself.”

But he told the court “with the benefits of hindsight” he should have included a question about the complainant’s comments when making the risk assessment.

The inquest heard yesterday how following her release from custody, Kerri-Anne failed to return home – causing her family to report her as a missing person.

She was later found at a Travelodge hotel in Woking, Surrey, after taking an overdose.

Cara said her sister told an emergency doctor at St Peter’s Hospital in Surrey that she had wanted to kill herself.

Recalling the tragic statement, she continued: “I just wanted to hug her.”

Psychiatric liaison nurse Serina Juru, who carried out a mental health assessment after the overdose, said today she assessed Kerri-Anne as at a “high and imminent risk of suicide” and rated her risk as level 10 out of 10.

She told the court the dancer said she could be sent to prison if convicted of the offence and that she “could not face that”.

The nurse added: “She wanted to end her life because she was embarrassed about what had happened.”

Ms Juru said she offered Kerri-Anne an “informal” admission to hospital for further assessment or home care support but she refused both that day leading her to start a “high-risk care plan”.

She said the performer also told her that if she was discharged into the care of her sister Cara, she would wait for her to leave to look after her children and then take her own life.

The inquest heard Kerri-Anne was discharged from hospital the following day into Cara’s care when Ms Juru was not on duty.

Psychiatrist Dr David Enright, who had assessed her, said she was “calm” and no longer thinking about suicide.

But Cara said when she drove her sister home on June 6, the dancer told her she had made the decision to take her own life.

She claimed the family had not been given any care plan or advice on how to assist the star when they left the hospital.

Cara also said she asked her sister about the allegation and was told she was not guilty and that it had “all been constructed”.

She said she spent the evening with her sister and was reluctant to leave her alone, saying: “If you do anything, Kerri, that will always be on my shoulders.”

Cara continued: “[Kerri-Anne] joked ‘I am not going to do that’, so I left.

“One of the last messages was ‘Thanks for everything today’ and she gave a heart emoji, I just thought she was OK.”

But when Kerri-Anne did not answer the phone the next morning, Cara went round to her home and discovered her dead.

Describing her sister, she said: “Heart of gold, full of fun, brought happiness to life, especially mine, career-driven, adored her family, adored her friends, fantastic dance teacher, everyone loved her.”

She said Kerri-Anne had been on television a few times and added: “Her main passion was to choreograph dancing.”

The Kings and Queens Latin dance troupe were a big hit with BGT fans, making it all the way to the semi-final of the ITV show.

Kerri-Anne performed alongside Neil and Katya Jones and Kai Widdrington, all of whom became professionals on Strictly Come Dancing.

Following her death, Neil said: “Kerri Anne Donaldson – remember that name and please never forget it because it belongs to a woman who loved to dance, create and perform, she had the cheekiest laugh and a heart of gold.

“She hated getting in the car with me, but would always listen to my crazy ideas, we shared so many moments and stories and she was always the voice of reason.

“Kerri you were my friend and like my big sister.”

Ex-Strictly dancer Joanne Clifton also paid her respects to the “beautiful dancer”.

She said: “I have no words… This is just heartbreaking.. truly devastating.

“We’ve known you and shared the dance floor with you basically all our lives.

“Dance up there with the angels Kerri.. you beautiful dancer, you beautiful soul.”

Amy Dowden echoed those sentiments, writing: “So shocked and sad. Such a beautiful dancer and kind soul.

“Sending love to all your family and friends. Heaven has certainly gained an angel. Keep dancing up there lovely.”

If you are affected by any of the issues raised in this article, please call the Samaritans for free on 116123.

SACRAMENTO — Gavin Newsom writes in his upcoming memoir about San Francisco’s highborn Getty family fitting him in Brioni suits “appropriate to meet a king” when he was 20 years old. Then he flew aboard their private “Jetty” to Spain for a royal princess’s debutante-style party.

Back home, real life wasn’t as grand.

In an annual performance for their single mom, Newsom and his sister would pretend to find problems with the fancy clothes his dad’s friends, the heirs of ruthless oil baron J. Paul Getty, sent for Christmas. Poor fit. Wrong color. Not my style. The ritual gave her an excuse to return the gifts and use the store credit on presents for her children she placed under the tree.

California’s 41st governor, a possible suitor for the White House, opens up about the duality of his upbringing in his new book. Newsom details the everyday struggle living with his mom after his parents divorced and occasional interludes into his father’s life charmed by the Gettys’ affluence, including that day when the Gettys outfitted him in designer clothes at a luxury department store.

“I walked out understanding that this was the split personality of my life,” Newsom writes in “Young Man in a Hurry.”

For years, Newsom asserted that his “one-dimensional” public image as a slick, privileged politician on a path to power paved with Getty oil money fails to tell the whole story.

“I’m not trying to be something I’m not,” Newsom said in a recent interview. “I’m not trying to talk about, you know, ‘I was born in a town called Hope with no running water.’ That’s not what this book is about. But it’s a very different portrayal than the one I think 9 out of 10 people believe.”

As he explores a 2028 presidential run and basks in the limelight as one of President Trump’s most vociferous critics, the book offers the Democratic politician a chance to write his own narrative and address the skeletons in his closet before opponents begin to exploit his past.

A book tour, which is set to begin Feb. 21 in Nashville, also gives Newsom a reason to travel the country, meet voters and promote his life story without officially entering the race. He’s expected to make additional stops in Georgia, South Carolina, New York, San Francisco and Los Angeles.

The governor describes the book as a “memoir of discovery” that sent him interviewing family members and friends and digging through troves of old documents about his lineage that his mother never spoke about and his father smoothed over. Learning about his family history, the good and the bad, Newsom said, helped him understand and accept himself. Mark Arax, an author and former Los Angeles Times journalist, was his ghostwriter.

“I’ve changed the opinion of myself,” Newsom said when asked if he believed the book would revise his glossy public image. “It kind of rocked so many parts of my life, and kind of cracked things open. And I started to understand where my anxieties come from and why I’m overcompensating in certain areas.”

Newsom writes that his interest in politics brought him and his father, William, closer. His mother, Tessa, on the other hand, didn’t share his father’s enthusiasm.

She warned him to get out while he still could, worried her only son would eschew his true self.

“My mother did not want that world for me: the shrewd marriage of tall husbands and tall wives that kept each year’s Cotillion Debutante Ball stocked with children of the same; the gritted teeth behind the social smiles; the spectator sport of who was in and who was out based on so-and-so’s dinner party guest list,” Newsom wrote.

At the heart of her concern was her belief that Newsom’s “obsessive drive” into business and politics was in response to his upbringing and an effort to solve “the riddle” of his identity from his learning disorder, dyslexia, and the two different worlds he inhabited.

“As I grew up trying to grasp which of these worlds, if either, suited me best, she had worried about the persona I was constructing to cover up what she considered a crack at my core,” Newsom writes. “If my remaking was skim plaster, she feared, it would crumble. It would not hold me into adulthood.”

Newsom’s mother was 19 years old when she married his father, then 32. He learned through writing the book that his mother hailed from a “family of brilliant and daring misfits who had carved new paths in botany and medicine and left-wing politics,” he writes.

There was also secret pain and struggles with mental health. His maternal grandfather, a World War II POW, turned to the bottle after returning home. One night he told his three young daughters to line up in front of the fireplace so he could shoot them, but stopped when his wife walked in the door and took the gun from his hand. He committed suicide years later.

Newsom’s father’s family was full of more traditional Democrats and Irish Catholic storytellers who worked in banking, homebuilding, law enforcement and law. Newsom describes his paternal grandfather as one of the “thinkers behind the throne” for former California Gov. Edmund “Pat” Brown, but his family never held public office despite his dad’s bids for the San Francisco Board of Supervisors and the California Legislature.

The failed campaigns left his father in financial and emotional turmoil that crippled his marriage when Newsom was a small boy. A divorce set the stage for an unusual contrasting existence for the would-be governor, offering him brief exposures to the wealth and power of the Gettys through his dad.

Newsom said he moved casually between the rich and poor neighborhoods of San Francisco as a boy.

“It was a wonder how effortlessly I glided because the two realms of my life, the characters of my mother’s world and the characters of my father’s world, did not fit together in the least,” Newsom writes.

Mayor Gavin Newsom and his dad, Judge William Newsom, have lunch at the Balboa Cafe in San Francisco.

(Christina Koci Hernandez / San Francisco Chronicle via Getty Images)

Though William Alfred Newsom III went on to become an appellate court justice, Newsom’s father was best known for his role delivering ransom money to the kidnappers of J. Paul Getty’s grandson. He served as an adviser to the family without pay and a paid administrator of the $4 billion family trust.

The governor wrote in the book that the ties between the two families go back three generations. His father was close friends with Getty’s sons John Paul Jr. and Gordon since childhood when they became like his sixth and seventh siblings at Newsom’s grandparents’ house.

Gordon Getty in particular considered Newsom’s father his “best-best friend.” Newsom’s dad helped connect the eccentric music composer “to the outside world,” the governor wrote.

“My father had this way of creating a safe space for Gordon to open up,” Newsom writes. “He became Gordon’s whisperer, his interpreter and translator, a bridge to their friends, a bridge to Gordon’s own children.”

San Francisco Mayor Gavin Newsom and his sister, Hilary Newsom, in a promotional portrait for the Search for the Cause campaign, which raises funds for cancer research, on Nov. 21, 2025.

(Caroline Schiff/Getty Images)

His father’s friendship with Gordon Getty exposed Newsom and his younger sister, Hillary, to a world far beyond their family’s own means. Gordon’s wife, Ann, and Newsom’s father organized elaborate adventures for the Gettys’ four sons and the Newsom children.

Newsom describes fishing on the Rogue River and riding in a helicopter while studying polar bears on the shores of the Hudson Bay in Canada. He recalled donning tuxedos and carrying toy guns pretending to be James Bond on a European yacht vacation and soaring over the Serengeti in a hot air balloon during an East African safari.

Throughout his travels, Newsom often blended in with the Gettys’ brown-haired sons. He wrote that the actor Jack Nicholson once mistakenly called him one of the “Getty boys” at a party in a 16th-century palazzo in Venice where guests arrived via gondola. Newsom didn’t correct him.

“Had I shared this encounter with my mother, she likely would have asked me if deception was something I practiced whenever I hobnobbed with the Gettys,” Newsom said in the book. “Fact is, I was always aware of the line that separated us from the Gettys. Not because they went out of their way to make us aware of it but because we, as good Newsoms, paid constant mind to the distinction.”

Newsom wrote that his mother seemed to begrudge the excursions when her children returned home. She raised them in a much more ordinary existence. Newsom describes his father’s presence as “episodic.”

“For a day or two, she’d give us the silent treatment, and then we’d all fall back into the form of a life trying to make ends meet,” he wrote. “After enough vacations came and went, a cone of silence took hold.”

Newsom’s mother worked as an assistant retail buyer, a bookkeeper, a waitress at a Mexican restaurant, a development director for a nonprofit and a real estate agent — holding as many as three jobs at once — to provide for her children. His mother’s sister and brother-in-law helped care for them when they could, but he likened himself to a latchkey kid because of the amount of time he and his sister spent alone.

They moved five times in 10 years in search of a “better house in a better neighborhood” with good schools, taking the family from San Francisco to the Marin County suburbs. Though his mother owned a home, she often rented out rooms to bring in extra money.

Tired of his mother complaining about finances and his father not coming through, Newsom wrote that he took on a paper route.

In the book, Newsom describes his struggles with dyslexia and how the learning disorder undercut his self-esteem when he was an emotionally vulnerable child.

Eager to make himself something more than an awkward kid with sweaty palms and a bowl haircut who couldn’t read, Newsom mimicked Remington Steele, the suave character on the popular 1980s detective show. He chugged down glassfuls of raw eggs like Sylvester Stallone in “Rocky” and ran across town and back like a prizefighter in training.

He found confidence in high school sports, but his struggle to find himself continued into young adulthood. Newsom wrote that he watched tapes of motivational guru Tony Robbins and heeded his advice to remake yourself in the image of someone you admire. For Newsom, that became Robbins himself.

“Find a person who embodies all of the outward traits of personality, bearing, charisma, language, and power lacking in yourself,” Newsom described the philosophy in the book. “Study that person. Copy that person. The borrowed traits may fit awkwardly at first, but don’t fret. You’ll be surprised by how fast the pose becomes you, and you the pose.”

His father scoffed at the self-help gurus and nurtured his interest in business.

More than a half-dozen friends and family members, including Gordon Getty, invested equal shares to help him launch a wine shop in San Francisco. Newsom named the business, which expanded to include restaurants, hotels and wineries, “PlumpJack,” the nickname of Shakespeare’s fictional character Sir John Falstaff and the title of Gordon Getty’s opera.

“Gordon’s really inspired me to be bolder and more audacious. He’s inspired me to be more authentic,” Newsom said. “The risks I take in business … just trying to march to the beat of a different drummer and to be a little bolder. That’s my politics. But I also think he played a huge role in that, in terms of shaping me in that respect as well.”

Newsom described Gordon and Ann Getty as like family. The Gettys also became the biggest investors in his wineries and among his largest political donors.

In an interview, Newsom said there are many days when he feels his mother “absolutely” was right to worry about the facade of politics and the mold her son stuffed himself into.

Gavin Newsom heads for his home neighborhood on Nov. 3, 2003, to cast hisvote for San Francisco mayor.

(Mike Kepka / San Francisco Chronicle via Getty Images)

He described the day the recall against him qualified for the ballot amid the COVID-19 pandemic as humbling and humiliating, though it later failed by a wide margin. Still today, he said, there’s a voice in his head constantly questioning why he’s in politics, what he’s exposing his wife and children to and doing with his life.

By choosing a career as an elected official despite his mother’s warnings, Newsom ultimately picked his father’s world and accomplished his father’s dream of taking office. But he said the book taught him that so much of his own more gutsy positions, such as his early support for gay marriage, and his hustle were from his mother.

Newsom said he’s accepted that he can’t control which version of himself people choose to see. Writing the book felt cathartic, he said, and left him more comfortable taking off his mask.

“It allowed me to understand better my motivations, my purpose, my meaning, my mission… who my mom and dad were and who I am as a consequence of them and what truly motivates me,” Newsom said. “There’s a freedom. There’s a real freedom. And it’s nice. It’s just so much nicer than the plaster of the past.”

Support for James Van Der Beek’s family continues to pour in. The GoFundMe created to support them following the “Dawson’s Creek” star’s death approached $2.3 million in donations Friday morning.

Steven Spielberg and his wife Kate Capshaw are among the celebrity donors who have contributed to the fundraiser organized by the late actor’s friends. The couple’s donation is listed as $25,000. Those familiar with Van Der Beek’s breakout role on the millennial teen drama know that Spielberg is Dawson Leery’s favorite director.

Originally airing from 1998 to 2003, “Dawson’s Creek” was a seminal teen drama that followed four friends growing up in a small coastal town as they navigated their dreams, relationships and various coming-of-age milestones. Van Der Beek’s Dawson was an aspiring filmmaker whose dreams were bigger than his small hometown. Along with friends Joey (Katie Holmes), Pacey (Joshua Jackson) and Jen (Michelle Williams), Dawson grappled with very relatable teen dilemmas including heartbreak, betrayal and bad decisions.

The fundraiser, which had more than 44,000 donors as of Friday morning, was organized to help support Van Der Beek’s wife and children, who “are facing an uncertain future” due to the financial strain of the late actor’s medical costs. The late actor died following a battle with colorectal cancer. Funds will be used to “help cover essential living expenses, pay bills, and support the children’s education,” the organizers wrote.

Van Der Beek revealed in 2012 that he had been paid “almost nothing” for his work on “Dawson’s Creek” and had not received any residuals from the hit show.

“There was no residual money,” he told “Today.” “I was 20. It was a bad contract. I saw almost nothing from that.”

Before his death, Van Der Beek auctioned off personal memorabilia and sold collectibles to help pay for his cancer treatments. In September, his “Dawson’s Creek” co-stars helped organize and stage a reunion fundraiser to support Van Der Beek and his family — a reunion the actor had to miss because of a virus. “Black Bird” actor Paul Walter Hauser had also been raising funds through Cameo videos and auctions to help the late actor prior to his death.

Besides Spielberg, celebrity donors to Van Der Beek’s GoFundMe also reportedly include Zoe Saldaña, Jon M. Chu, Derek Hough, Busy Philipps, Jenna Dewan and others.

Van Der Beek’s “Dawson’s Creek” colleagues have also been among the many who have shared tributes to the late actor.

“Several times today, from my heart, I’ve tried to form the words to express the beautiful brilliance of James and what his presence has meant to my life,” “Dawson’s” creator Kevin Williamson wrote Thursday in a post shared on Instagram. “But I am truly at a loss for words. I will have to trust that one day those words will come… But today, all I can think about is Kimberly and the entire Van Der Beek family.”

Holmes, meanwhile, shared a handwritten note addressed to Van Der Beek on Instagram Wednesday. She was the first of “Dawson’s Creek’s” surviving core quartet to publicly acknowledge Van Der Beek’s death.

“Thank you,” Holmes wrote in her note, which was addressed to Van Der Beek. “To share a space with your imagination is sacred — breathing the same air in the land of make believe and trusting that each others’ hearts are safe in their expression.”

In her remembrance, Holmes highlighted their shared “laughter, conversations about life, James Taylor songs” and their “adventures of a unique youth.” She also highlighted Van Der Beek’s “Bravery. Compassion. Selflessness [and] Strength.”

“I mourn this loss with a heart holding the reality of his absence and deep gratitude for his imprint on it,” wrote Holmes, who also sent love to Van Der Beek’s wife and children in her message.

Other members of the extended “Dawson’s Creek” family, including actors Chad Michael Murray, Kerr Smith and Sasha Alexander, have also been among those offering condolences and paying tribute to Van Der Beek and his family online.

“James Van Der Beek was one in a billion and he will be forever missed and i don’t know what else to say,” wrote Busy Philipps in her Instagram tribute. “He was my friend and i loved him and i’m so grateful for our friendship all these years.”

At a House Judiciary hearing on Wednesday, Atty. Gen. Pam Bondi was holding a document labeled “Jayapal Pramila Search History” that included a list of files from the unredacted Epstein archive accessible to lawmakers such as Rep. Pramila Jayapal (D-Wash.).

That means over the course of a year Bondi’s Department of Justice has made time to speak with Ghislaine Maxwell — the New York socialite who helped Jeffrey Epstein run his billion-dollar child-sex-trafficking operation — and it made time to surveil a Democratic lawmaker who conducts oversight as a member of the Judiciary Committee. But it has yet to meet with the victims of Epstein’s crimes who want to talk.

When she took office, Bondi promised us transparency. She didn’t promise we would like what we would see from her.

The general public’s awareness of Epstein’s heinous crimes came with political baggage. However at this point, the question we all should wonder is: How does redacting the names of the men who helped fund Epstein’s operation benefit either political party? It may be good for the rich and powerful men trying to avoid accountability, but it’s not exactly a campaign platform.

Yet here we are as a country, chained to the same vocabulary used during an election, so a conversation that should be about right and wrong is accompanied by poll numbers and analysis about the midterm elections. As if the Justice Department’s refusal to interview rape survivors is an inside-the-Beltway topic and not reflective of a larger moral crisis. We have seen Congress kept out of session to avoid voting on the release of the Epstein files; we have heard equivocation about whether Epstein was a pedophile. We know Epstein’s island was a place where evil resided.

The investigation, or lack of investigation, into Epstein’s fellow abusers should not be seen by anyone as a political quandary in which the object of the game is to keep your party in power. The fact that there is a Republican-vs.-Democrat divide on accountability for sex abuse reveals a national moral crisis. When the abuse of children is viewed through a partisan lens, how else can one describe this period in America?

Fifty years ago, when President Carter was tasked with healing the nation after the Watergate scandal, he told Americans in his inaugural address that he was leaning on his faith, and one prophet in particular.

“He hath shewed thee, O man, what is good; and what doth the Lord require of thee, but to do justly, and to love mercy, and to walk humbly with thy God?,” Carter said, quoting Micah 6:8. “This inauguration ceremony marks a new beginning, a new dedication within our government, and a new spirit among us all. A president may sense and proclaim that new spirit, but only a people can provide it.”

The Hebrew prophet Micah was from a rural area, not born into the wealth of the royal court. He was not being compensated by those who were. Instead, Micah reflected the voice of the people who were forced to live in poor conditions because of corruption. He described the actions of the morally bankrupt judges, political leaders and other elites in graphic, violent terms, condemning those “who hate the good, and love the evil; who pluck off their skin from off them, and their flesh from off their bones.”

This, he said, is what it is like being ruled by those who are not guided by what is good and what is evil, but rather what is most beneficial for themselves in the moment. When Micah spoke, it wasn’t about the latest poll numbers. His warnings about government corruption are not unique to any particular faith, nor are they married to any political party. They embody centuries of human history, a history that tells what happens to a society when power goes unchecked.

And be not mistaken, it was unchecked power — not any party affiliation — that provided Epstein and Maxwell with patronage. It was moral failure, not conservatives or liberals, that provided cover for their child-sex-trafficking ring.

So if for partisan reasons the abusers of children are not held accountable for their crimes, the language of politics fails us. The word for that is simply: evil.

YouTube: @LZGrandersonShow

GORDON Ramsay has opened up about his childhood – revealing he was so poor he ate toothpaste and didn’t have food for days.

On Wednesday his new six-part Netflix documentary Being Gordon Ramsay airs, detailing his efforts to launch his latest ambitious project.

Britain’s highest eaterie, Restaurant Gordon Ramsay High is on the 60th floor of skyscraper 22 Bishopsgate in the City of London.

Having trained under Marco Pierre White, aged 35 he set up his first eponymous restaurant, winning three coveted Michelin stars shortly after.

He now has eateries all across the globe, and is arguably the planet’s most famous chef.

His work ethic is relentless – possibly a result of his humble upbringing.

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In one episode, Gordon gets emotional recalling his own childhood struggles, growing up on a council estate in Glasgow.

Relying on food vouchers at school to eat, he speaks powerfully on the embarrassment of being desperately poor.

Today, he has teamed up with a fantastic charity, Feeding Britain, to tackle child poverty. The aim is to provide Britain’s 800,000 kids in poverty with affordable food.

Gordon has quietly and personally donated “very heavily” to the cause.
Shockingly Gordon recalls: “I was hungry all the time, there was no food in the house.

“I was sometimes too embarrassed to use my vouchers to get mt free shepherds pie in case, you know, aged 15 or 16, a girl I fancied saw me.

”I was a skinny f***ing bean. I remember eating toothpaste thinking that was delicious because there were multiple nights where we never ate.

“It is appalling that we’re in this situation now. It’s disgusting, an embarrassment. The system’s dysfunctional.”

While Gordon’s father, who died from a heart attack aged 53, was an alcoholic, his younger brother Ronnie is, tragically, a heroin addict.

Having gone for long swathes of time not speaking, he reveals the pair had  a reconciliation of sorts on the phone last week.

Becoming visibly emotional, Gordon recalls: “It was just sad because at the end of that call he said, ‘did I hear you ask for my bank details? I’ve got no electricity’.

“And so I said, ‘Come on, Ronnie, you know damn well if I knew that was going on electricity, I would. But I know full well that’s going to go on drugs.’
”’And it pains me, it kills me, mate.’ 

“We’ve been down this road so many times.”

Gordon’s new Netflix series will see the star put all his energy into his new project, 22 Bishopsgate.

Home to Britain’s tallest restaurant, its Restaurant Gordon Ramsay High, an intimate 12-seater chef’s table experience, has already earned him another Michelin star.

I’ve seen the show, and it’s brilliant, giving viewers a fly-on-the-wall look into Gordon’s frenetic and fabulous – he and Tana are parents to six kids – home life, as well as the sheer hell of getting a new business off the ground.

”I won’t watch it,” he smiles. “I never ever watch myself on telly because it’s just incredibly nerve-wracking.

“I think when you’ve done it and lived it, the last thing you want to do is sit there with lots of popcorn. There’s a level of embarrassment.”

Even without Gordon’s viewership, it is sure to be another Netflix smash.

KATHERINE Ryan has revealed the results of her £16k full facelift which she underwent just weeks after giving birth to her fourth child.

The comedian, 42, who is known for her love tweakments like Botox and fillers, welcomed her daughter Holland in October.

In December, Katherine teased that she’d had “serious cosmetic surgery” and even taken her newborn along with her.

However, she didn’t reveal what work she’d had done, until now.

Today the Canadian-born star spilled the beans and revealed that she’d undergone a full facelift in York, North Yorkshire.

Speaking on the latest edition of her Telling Everybody Everything podcast, Katherine said: “The surgery was a facelift. Yes, a full facelift – a little bit of fat transfer to my cheekbone area, and a small bleph[aroplasty].

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“A bleph is when they take a tiny bit of your eyelid skin, though not too much, and then they’ll usually – to avoid hollowness, put a little bit of fat back in there too.

“So I had some fat put in like my upper face, my eyelids, and then I had a facelift.’

Explaining why she wanted to have the cosmetic procedure, Katherine said: “Almost metaphorically I needed to do something, to reclaim my identity, to reclaim my autonomy, to claw back the face that I had in, like, 2019,’ she said.

“I am not crazy. I’m not trying to wind it back to 2006. I’m just trying to look the way I did, like, pre-COVID, pre-six pregnancies in five years.”

Talking about how she felt afterwards, The Duchess star said: “The beauty is you’re pretty numb afterwards.

“I was bruised, and I was swollen, and I think I am still a little bit swollen. But basically, I just went about my daily life from day one.

“They sent me home with some paracetamol. If I had needed stronger drugs, I think that was available, but I didn’t. I took ibuprofen, paracetamol for like three days.”

As she had the surgery in December, Katherine then added: “I went to Christmas parties.

“I took the kids to Lapland. I went to the Royal Hall for carolling. I did all of the Christmas stuff. I looked after a newborn baby.”

Katherine previously teased her surgery in December and told fans she was in “no pain” following the procedure.

“I went to York, it was three and a half hours, I elected to take the baby with me because she just turned eight weeks that day and I’m still breastfeeding her, obviously, I will be for a long time,” she told her fans.

“You can’t breastfeed immediately after surgery but I could obviously spend the night with her before and breastfeed her then.

“I was thinking to myself, after I got this surgery – which, wait until you see it, is pretty serious surgery – I was like, ‘Katherine Ryan what is your damage? What the f*** are you doing? Why have you brought a baby to surgery.’

“But then i thought, up and down this country, worldwide, everyday, we are giving women C-sections and then saying, ‘Sweet, go keep these twins alive’.”

Katherine clarified that a C section is “much more serious” than the procedure she had.

She joked: “So, what’s an elective cosmetic procedure with a newborn?”

She says there is more information coming soon on the show.

Katherine’s husband, Bobby Kootstra revealed in October that the comedian welcomed their newborn in just 45 minutes.

She appeared to have a speedy bounce back, as Bobby even shared a snap of the star enjoying a flute of prosecco in hospital following he birth,

Alongside baby Holland, Katherine and bobby share children Fenna, two, and three-year-old Fred.

The comedian is also a mum to 15-year-old Violet, who she has from a previous relationship.

YouTube TV will start offering customers lower-priced channel packages, including one aimed at sports fans.

The Google-owned pay-TV service announced Monday it will roll out more than 10 plans that will be priced below a full YouTube TV subscription that offers more than 100 channels.

The introduction, which will begin over the next few weeks, is in response to growing consumer resentment over the rising cost for the service, currently available for $82.99 a month. YouTube TV was introduced in 2017 as an alternative to increasingly expensive cable and satellite services with an initial price of $35 a month.

Consumer interest is likely to be highest for the Sports Plan, available this fall. For $64.99 a month, consumers will get the four broadcast networks, which all carry the NFL, plus Fox Sports 1, the NBC Sports Network and all of the ESPN channels. New subscribers will be offered a one-year introductory rate of $54.99 a month.

YouTube will also offer a Sports + News plan, which combine the two most-watched genres in the pay TV bundle. For $71.99 a month, consumers get the sports package and news networks CNN, Fox News, MS NOW, Bloomberg, C-SPAN and Fox Business. The introductory rate is $56.99.

The new plans will aim to compete with the direct to consumer offering of ESPN, which is available in tandem with Fox One, a service combining Fox Corp’s news and sports channels. The two are being offered together for $39.99 a month.

Over the last two years, El Segundo-based DirecTV rolled out smaller packages of channels aimed at consumers who no longer want a big monthly bill for networks they don’t watch. The satellite TV service now offers smaller genre packages of channels and streaming apps that cater to a particular interest available at a lower price — designed for news junkies, sports fans, children and Spanish-language speakers.

Pay-TV providers are under pressure to provide more pricing options to consumers to keep them from cutting the cord.

At the same time, carriage negotiations with programmers are more fraught, often leading to standoffs where channels are pulled, disrupting service to customers.

Disney’s channels, including ESPN, were off of YouTube TV for nearly 15 days last fall. Separately, YouTube TV customers lost access to Univision’s Spanish-language channels for two months, which drew the attention of legislators on both sides of the political spectrum.

YouTube, which has about 10 million subscribers, is also offering an Entertainment Plan that includes the major broadcast networks and an array of cable channels including FX, Hallmark, Comedy Central, Bravo, Paramount, Food Network and HGTV at $54.99 a month and an introductory rate of $44.99.

A News + Entertainment + Family Plan — which combines, news, entertainment and children’s channels including Disney Channel, Cartoon Network and Nickelodeon, will be available for $69.99 a month and an introductory rate of $59.99.

Currently nominated for multiple Oscars, Chloé Zhao’s “Hamnet” traces how the immeasurable sorrow of losing a child fueled William Shakespeare to write “Hamlet” as a literary effigy to loss. That revered text, which has inspired countless adaptations (“The Lion King” among them), takes on a new form in the hands of Japanese animation master Mamoru Hosoda for his latest fantastical epic, “Scarlet.”

In a career of animated features with thematic heft and deep emotional impact, “Scarlet” may be the director’s most sobering and intense effort to date, not only given the severity of the violence on display, but because it advocates for the sometimes-impossible task of forgiving one’s foes, even when they show no remorse. Here, what’s at stake is one’s very soul. What remains is Hosoda’s investment in parent-child relationships, a recurring subject for him, always explored with compassion for both parties: the child in need of guidance and the parent struggling to be a beacon.

Gender-swapping the play, Hosoda once again centers a heroine (he seems to prefer female protagonists). The 16th century eponymous Danish princess (voiced by Mana Ashida) loses her father, King Amleth (Masachika Ichimura), to a gruesome betrayal. Her unscrupulous, power-hungry uncle Claudius (Kôji Yakusho) murders his own brother to become king. But in his final moments, as Scarlet watches, Amleth pleads a request she cannot hear. Avenging her fallen father — and finding out what he asked for before dying — becomes the young woman’s sole purpose going forward. Rage consumes her.

Hosoda’s body of work consists almost exclusively of movies that take place on two distinct planes, whether those be reality and a digital world (“Summer Wars,” “Belle”) or reality and a magical realm (“Mirai,” “The Boy and the Beast”). “Scarlet” is no different in that regard.

This time, however, he explores an afterlife with its own set of rules. Sensing Scarlet’s resolve to destroy him, Claudius poisons her. Scarlet wakes up in the Otherworld, an endless, arid landscape with an ocean for sky where a dragon roams. The deceased from the past and the present convene here. That’s how Scarlet and Hijiri (Masaki Okada), a paramedic from our present who refuses to believe he’s died, can exist in the same timeline. This purgatory essentially mirrors life: There’s conflict and suffering and if you die again here, you vanish into darkness forever. The goal is to ascend to the Infinite Land, a stand-in for heaven. But Scarlet cares not for eternal peace. She learns that Claudius is here and embarks on a trek to find him and kill him for good.

Hosoda doesn’t dwell on the differences between Scarlet and Hijiri’s realities back in the land of living. Instead, he zeroes in on their clashing worldviews. While Scarlet doesn’t think twice about slaughtering anyone who gets in her way, Hijiri protects life at all costs, so much that one can understand Scarlet’s frustration with him. After a brutal fight, for example, Hijiri bandages her enemies’ wounds with as much care as he does hers.

Multiple battles with Claudius’ henchmen pepper Scarlet and Hijiri’s journey, as does an encounter with the United Nations of this place: a group of wandering nomads from around the world who’ve come together for companionship. Even after death, Hosoda suggests, all people truly hope for is a shoulder to cry on and someone to share their burdens with.

For “Scarlet,” Hosoda ventures into uncharted aesthetic territory. When the narrative is in the Otherworld, fans will immediately notice the look differs from his previous creations. And that’s because Hosoda has opted for photorealistic, computer-generated animation in those sections. The early scenes in Scarlet’s time period are conceived using the more traditional hand-drawn technique.

Still, the characters in the Otherworld, created in CGI, retain qualities of hand-drawn animation, making one hyperaware of the relationship between the figure’s movement and the environment. The mix of visual approaches shocks the eye at first, though it comes to seem fitting.

If probed too closely, Hosoda’s high-concept interpretation of life after death may raise more questions than it can answer (have all of history’s villains been killed in the Otherworld?). But despite any narrative quibbles, the movie deserves praise for its genuine call for compassion. Scarlet’s final encounter with Claudius radiates with the complicated poignancy expected of real, difficult catharsis.

Admittedly, the film’s resolution feels naïve. Scarlet’s good intentions to end wars by way of sheer determination to do what’s right might prove insubstantial in practice. In that regard, “Scarlet” is the prayer of a director who fervently wants to believe in kindness (even for those who don’t deserve it) as the one true road to healing. That’s a tall order these days, especially in this country, but it’s hard to fault Hosoda for the sincere reminder of what could be.

Feb. 6 (UPI) — A New Mexico grand jury on Friday indicted actor Timothy Busfield on four counts that accuse him of criminal sexual contact of a child.

Each charge carries a minimum sentence of three years in prison if Busfield, 68, is found guilty, according to New Mexico law.

“As with all criminal proceedings, Mr. Busfield is presumed innocent unless and until proven guilty in a court of law,” Bernalillo County District Attorney Sam Bregman said in a social media post.

“This case will proceed through the judicial process and is expected to move forward to trial,” he said, adding that the Special Victims Unit of the Bernalillo County District Attorney’s Office will prosecute the case.

Bregman said protecting children is his top priority and the Bernalillo County District Attorney’s Office “remains committed to doing everything possible to protect children and ensure justice for victims.”

Busfield’s attorney, Larry Stein, said the indictment was expected but called the case a weak one.

“As the saying goes, a grand jury will indict a ham sandwich,” Stein told NBC News.

He called the case against Busfield “fundamentally unsound” and said it “cannot be proven at trial.”

Stein suggested the case is “driven by something other than the facts or the law” and said “Mr. Busfield will fight these charges at every stage and looks forward to testing the state’s case in open court — where evidence matters — not behind closed doors.”

He has pleaded not guilty to all charges filed against him after allegations by two boys who had been cast members of the Fox television series The Cleaning Lady, in which Busfield acted and directed from 2022 to 2024.

Busfield accused the mother of the two boys of falsely accusing him because he did not cast the two boys in the series’ final season.

Bernalillo County Deputy District Attorney Savannah Brandenburg-Koch said the claims against Busfield are genuine during a January detention hearing.

A photography director who worked on the show said he never witnessed any inappropriate behavior while testifying during the same hearing.

The television show’s co-producer, Warner Bros., undertook an independent investigation of the claims and said no evidence was found to support the claims against Busfield, his attorney argued.

Presiding Judge David Murphy ordered Busfield to be released on his own recognizance after ruling he is not a danger to the community or a flight risk.

The latest nauseant from MAGA types pretending to care about children was dished up last week, but amid the internment of kindergartners, the slashing of funds to catch child predators and a measles outbreak at a detention center, you are forgiven for missing it.

I am talking about a coordinated campaign launched by the religious right to overturn gay marriage, arguing it harms children. The effort is a direct attack on the Supreme Court’s 2015 Obergefell vs. Hodges decision making same-sex marriage a fundamental right of equality under the 14th Amendment, but also seeks to engage churches on the issue and change public opinion.

Good luck with that last part. Most Americans support marriage equality. But the Supreme Court? That’s much iffier these days.

But what disturbs me the most, while we wait for litigation, is that the campaign is yet another disingenuous ploy by MAGA to use children as an excuse for attacking civil rights, and attempting, Christian nationalist-style, to impose religious values on general society.

MAGA frames so much hate — especially around immigrants and diversity — as protection of children, and through decades’ worth of conspiracy theory has attempted to paint LGBTQ+ parents as deviant and predatory. (QAnon, for example, was all about saving kids from gay and Democratic predators.)

In reality, it’s the MAGA folks who are traumatizing children.

“Our children are afraid. They’re terrorized,” Chauntyll Allen told me. She’s the St. Paul, Minn., school board member who was arrested recently for her part in the church protest of a pastor who is also an ICE official.

“And we’re not just talking about immigrants,” she continued. All kids “are watching this, they’re experiencing this, and they’re carrying the terror in their body. What is this going to do for our society in 20 years?”

This campaign to undo marriage equality, far from protecting kids, is just another injury inflicted on them for political gain. It features two California cases that are meant to show how terrible any form of same-sex parenting is, but mischaracterizes the facts for maximum outrage.

The campaign also specifically targets in vitro fertilization and surrogacy as dangerous gateways to promoting LGBTQ+ families, an increasingly common position in far-right religious circles that would like to see more white women having babies through sex with white husbands.

Attacking marriage equality isn’t about protecting children any more than deporting immigrants is about stopping crime. Allowing it to be framed that way actually puts in danger the stability of the approximately 300,000 kids nationwide who are being raised by about 832,000 couples in same-sex marriages.

It endangers the physical and mental health of LGBTQ+ kids in any family who are growing up in a world that is increasingly hostile to them — with gender and identity hate crimes on the rise.

And it endangers everyone who values a free and fair democracy that separates church and state by eroding the rights of the vulnerable as precedent for eroding the rights of whomever ticks them off next. If LGBTQ+ marriages aren’t legally protected, how long before racists come for the Loving decision, which legalized interracial marriage?

If you doubt the MAGA agenda extends that far, when Second Lady Usha Vance recently announced her fourth pregnancy, one lovely fellow on social media wrote, “There is nothing exciting about this. We will never vote for your race traitor husband.”

Hate is a virus that spreads how it pleases.

Those behind the effort to undo marriage equality say that by legalizing the ability for LGBTQ+ folks to tie the knot, America put “adult desires” ahead of children’s well-being, which is dependent on being raised in a home that includes a married man and woman.

Never mind the millions of kids being raised by single parents, grandparents (looking at you, JD Vance) or other guardians who aren’t the biological John-and-Jane mommy and daddy of conservative lore. Never mind the many same-sex marriages that don’t include kids.

“Americans need to understand the threat that gay marriage poses to children and that natural marriage is directly connected to children protection,” Katy Faust, the leader of the campaign, said in an interview with a Christian news website.

Of course, the campaign also makes no mention of the hundreds of children currently held in detention camps around the country — on some days, the number of children locked up just by ICE (not Border Patrol or in the care of other agencies) has skyrocketed to 400 under Trump, according to the Marshall Project.

Outside of lockup, Black and brown children are being traumatized daily by the fear that they or their parents will be taken or even killed by federal agents. Thousands of kids across the country, including in California, have stopped going to school and other public places for fear of endangering themselves or their families. Don’t expect to see these folks campaigning to protect those kids.

The campaign also ignores the fact that U.S. Department of Justice funding to combat sex crimes against children was just slashed, leaving victims and prosecutors without crucial resources to fight that real and undoubtedly harmful exploitation of our youth by sex traffickers.

And Epstein. I cannot even start on save-the-children folks who seemingly ignore the victims of the sex crimes detailed in those files — many of them children at the time — while wringing their hands over families who don’t look like their own. It is a mind-blowing amount of hypocrisy.

But of course, none of this is about saving children — yours, mine or anyone’s.

But framing it around protecting children is a powerful manipulation — a last-ditch effort as same sex marriage does in fact become more accepted. Because who doesn’t want to save our kids? From whatever.

Don’t be surprised if this effort gains traction in coming months. As we head into elections, the MAGA machine will attempt to turn the lens away from immigration and back to old-school issues such as feminism, abortion and same-sex marriage, which time and again its base has been willing to vote on regardless of what else is happening.

Because they actually don’t care about kids. They care about power, and they’re perfectly willing to exploit kids to get it.

On Monday, BBC News reported figures from the Home Office stating a total of 933 migrants crossed the Channel in small boats in January.

Guardiola said: “The people who have to do that, run away from their countries, go in the sea and then go on a boat to get rescued – don’t ask if he is right or wrong, rescue him. It is about a human being.

“After we can agree, criticise but everyone is right, everyone has an idea and you have to express it. People are dying, you have to help him. Protecting the human being and human life is the only thing we have.”

Last month, two US citizens were shot dead by federal agents carrying out US President Donald Trump’s immigration crackdown in Minneapolis over the past month.

Fan group Football Supporters Europe (FSE) says it is “extremely concerned by the ongoing militarisation of police forces in the US” before this summer’s World Cup in North America.

Guardiola added: “When I see the images, I am sorry it hurts. That is why in every position I can help speak up to be a better society, I will try and will be there. All the time. It is for my kids, my families, for you.

“From my point of view, the justice? You have to talk. Otherwise it will just move on. Look what happened in the United States of America, Renee Good and Alex Pretti have been killed. Tell me how you can defend that?

“There is not a perfect society, nowhere is perfect, I am not perfect, we have to work to be better.”

I can’t believe it’s happening to us.

“The Kelly Clarkson Show,” the Daytime Emmy Award-winning series hosted by the Grammy-winning musician, is ending after a seven-season run. Kelly Clarkson announced Monday that she had decided to step away from hosting the daily talk show.

In a statement, Clarkson said she made her decision to prioritize spending time with her children. The former singer had two children, in 2014 and 2016, with ex-husband Brandon Blackstock, who died in August at age 48.

“I have been extremely fortunate to work with such an outstanding group of people at ‘The Kelly Clarkson Show,’ both in Los Angeles and New York,” Clarkson said in a statement. “This was not an easy decision, but this season will be my last hosting ‘The Kelly Clarkson Show.’ Stepping away from the daily schedule will allow me to prioritize my kids, which feels necessary and right for this next chapter of our lives.”

The syndicated talk show launched in September 2019 after Clarkson, who won over TV audiences as the first-ever winner of “American Idol,” in 2002, returned to the world of musical reality competitions as a coach on “The Voice” in 2018. “The Kelly Clarkson Show” showcased the “Since U Been Gone” singer’s affable, approachable charm in her sit-down interviews with celebrities and everyday heroes, as well as her talents in popular segments including “Kellyoke,” which saw Clarkson sing covers of other people’s songs.

“I am forever grateful and honored to have worked alongside the greatest band and crew you could hope for, all the talent and inspiring people who have shared their time and lives with us, all the fans who have supported our show and to NBC for always being such a supportive and incredible partner,” Clarkson added in her statement. “This isn’t goodbye. I’ll still be making music, playing shows here and there and you may catch me on ‘The Voice’ from time to time. … You never know where I might show up next. But for now, I want to thank y’all so much for allowing our show to be a part of your lives, and for believing in us and hanging with us for seven incredible years.”

The seventh season of “The Kelly Clarkson Show” kicked off in September and production will continue as planned. Clarkson will continue to host Season 7, with a few yet-to-be-announced guest hosts. The episodes for Season 7 will run through September.

But in an email to a “Ferg” in 2011, Epstein writes: “of course you can have mothers army, it was always for you„ Im not sure how to transfer it, but rest assured , it is your in its entirety, I will ask how the transfer is accomplished, we just want to be careful that there is no downside at the moment to have a transaction between you and I.”

It all began after a viral video alleging fraud in Somali-run child-care centers in Minneapolis: strangers peering through windows, right-wing journalists showing up outside homes, influencers hurling false accusations.

In San Diego, child-care provider Samsam Khalif was shuttling kids to her home-based center when she was spooked by two men with a camera waiting in a car parked outside, prompting her to circle the block several times before unloading the children.

“I’m scared. I don’t know what their intention is,” said Khalif, who decided to install additional security cameras outside her home.

Somali-run child-care centers across the United States have become targets since the video caught the attention of the White House amid the administration’s immigration crackdown. Child-care providers worry about how they can maintain the safe learning environments they have worked to create for young children who may be spending their first days away from their parents.

In the Minneapolis area, child-care providers, many of them immigrants, say they’re being antagonized, exacerbating the stress they face from immigration enforcement activity that has engulfed the city.

One child-care provider said she watched someone emerge from a car that had been circling the building and defecate near the center’s entrance. The same day, a motorist driving by yelled that the center was a “fake day care.” She’s had to create new lockdown procedures, is budgeting for security and now keeps the blinds closed to shield children from unwanted visitors and from witnessing immigration enforcement actions.

“I can’t have peace of mind about whether the center will be safe today,” said the provider, who spoke on condition of anonymity for fear of being targeted. “That’s a hard pill to swallow.”

Video’s claims disproved

The day after Christmas, right-wing influencer Nick Shirley posted a lengthy video with allegations that members of Minneapolis’ large Somali community were running fake child-care centers so they could collect federal child-care subsidies.

The U.S. occasionally has seen fraud cases related to child-care subsidies. But the Minneapolis video’s central claims — that business owners were billing the government for children they were not caring for — were disproved by inspectors. Nonetheless, the Trump administration attempted to freeze child-care funding for Minnesota and five other Democratic-led states until a court ordered the funding to be released.

President Trump has repeatedly targeted Somali immigrants with dehumanizing rhetoric, calling them “garbage” and “low IQ” and suggesting that Rep. Ilhan Omar, a Minnesota Democrat who was born in Somalia, should be deported: “Throw her the hell out!” In Minnesota, 87% of foreign-born Somalis are naturalized U.S. citizens.

Trump has zeroed in on a years-old case in which a sprawling network of fraudsters — many of them Somali Americans — bilked Minnesota of an estimated $300 million that was supposed to help feed children and families. His rhetoric intensified after Shirley’s video was posted.

Activists take it upon themselves to investigate

In Federal Way, Wash., and Columbus, Ohio, both home to large Somali communities, right-wing journalists and influencers began showing up unannounced at addresses for child-care operations they pulled from state websites.

In one video, a man arrives at a bungalow-style building in Columbus. He films through the glass front door, showing a foyer with cheerful posters that read “When we learn, we grow” and “Make today happy.”

“It does not look like a child-care center at all,” the man says.

Ohio dispatched an inspector to the address and found that it was, in fact, a legitimate child-care center. The center’s voicemail was hacked, so parents calling heard a slur-laden message calling Somalis “sand rats” and saying they “worship a false religion of baby-raping terrorists,” according to WOSU-FM.

In Washington state, child-care workers called police on the right-wing journalists who kept appearing outside their homes.

Journalists with the right-leaning Washington outlet Center Square filmed themselves pressing a woman for proof that she ran a child-care center for which she was collecting federal subsidies. She refused to answer questions.

“Are you aware of the Somali day-care fraud? We’re just trying to check out if this is a real day care,” one of the journalists said. “Where are the children?”

Local officials speak out

Seattle Mayor Katie Wilson posted a statement on X saying she would not tolerate anyone trying to “intimidate, harass or film Somali child care providers.” Then, Harmeet Dhillon, who heads the Justice Department’s Civil Rights Division, issued her own warning: “Asking questions/citizen journalism are NOT HATE CRIMES in America — they are protected speech, and if Seattle tries to chill that speech, @CivilRights will step in to protect it and set them straight!”

In Ohio, Republican Gov. Mike DeWine held a news conference to debunk a right-wing influencer’s fraud claims about a Columbus child-care center and assured people the state diligently monitored centers that receive public money. He said a child-care provider refusing to let in a stranger should not be read as a sign of fraud.

“It shouldn’t be a shock when someone sees something on social media, and someone is going, ‘I can’t get into this place, no one will let me in,’” DeWine said in a news conference in January. “Well, hell, no! No one should let them in.”

Even after DeWine refuted the claims, Republicans in the Statehouse introduced legislation to more closely monitor child-care centers, including one measure that would require those that take public money to provide live video feeds of their classrooms to state officials.

Advocates say fraud claims are a distraction

Child-care advocates say the fraud allegations are detracting from more pressing crises.

Child-care subsidy programs in many states have lengthy waiting lists, making it difficult for parents to return to work. The programs that subsidize child care for families that struggle to afford it are also facing funding threats, including from the Trump administration.

Ruth Friedman, who headed the Office of Child Care under President Biden, accused Trump and Republicans of manufacturing a crisis for political gain.

“They are using it to try to discredit the movement toward investing in child care,” said Friedman, who is now a senior fellow at the left-leaning think tank Century Foundation.

Health and Human Services spokesperson Andrew Nixon said in a statement that the department “rejects the claim that concerns about child care program integrity are manufactured.” He urged people to report suspected fraud to the government.

Balingit and Kramon write for the Associated Press.

Demond Wilson, who was best known for playing Lamont Sanford, the son of Redd Foxx’s character on the 1970s TV show “Sanford and Son,” died in his sleep at his home in the Coachella Valley on Jan. 30. He was 79.

Wilson’s publicist, Mark Goldman, confirmed that he died from complications related to cancer.

“Demond was surrounded by love throughout his final days,” Goldman said in a statement. “A devoted father, actor, author, and minister, Demond lived a life rooted in faith, service, and compassion. Through his work on screen, his writing, and his ministry, he sought to uplift others and leave a meaningful impact on the communities he served.”

Demond Wilson attends the 2016 Chiller Theater Expo at the Parsippany Hilton in New Jersey on April 22, 2016.

(Bobby Bank / WireImage)

Grady Demond Wilson was born in Valdosta, Ga., on Oct. 13, 1946, and grew up in New York City. His mother, Laura, was a dietitian, and his father, Grady Wilson, was a tailor. Wilson learned tap dance and ballet and appeared on Broadway at just 4 years old. After serving in the Army from 1966 to 1968 in Vietnam, where he was wounded, he made his TV debut in 1971, playing a burglar alongside Cleavon Little in Norman Lear’s sitcom “All in the Family.” That role led to his casting in “Sanford and Son” in 1972, which was notable at the time for having a nearly all-Black cast.

Redd Foxx, left, broods next to Demond Wilson about one of the 3,000 pieces used on the “pleasantly junky” set of “Sanford and Son.”

(NBC)

Although “Sanford and Son” was his most famous role, Wilson also appeared in “Baby, I’m Back,” “The New Odd Couple” and “Girlfriends.” His last TV appearance was in “Eleanor’s Bench” in 2023.

Despite his success, Wilson left acting, sold his Bel-Air mansion and Rolls-Royce and became an interdenominational preacher in 1983.

The change was not surprising given his background. “I was raised a Catholic, was an altar boy, and at 14 I seriously considered becoming a priest,” Wilson told The Times in 1986. When he was 12, his appendix ruptured and he nearly died, leading him to promise to serve God as an adult. “I was always aware that God was the guiding force in my life,” he said.

Disillusioned with Hollywood, Wilson moved his wife and children to what he jokingly called a “respectable, Republican, upper-middle-class” neighborhood in Mission Viejo. He wanted his five children at the time to have “normal childhoods.” “We’ve left the rat race and false people behind,” he said.

Wilson was also an author. He published “The New Age Millennium: An Exposé of Symbols, Slogans and Hidden Agendas” in 1998, and his autobiography, “Second Banana: The Bittersweet Memoirs of the Sanford & Son Years,” in 2009. He also wrote 11 children’s books.

Wilson is survived by his wife, Cicely; his six children, Nicole, Melissa, Christopher, Demond Jr., Tabitha and Sarah; and his two grandchildren, Madison and Isabella.

SAN ANTONIO — A 5-year-old boy and his father must be released by Tuesday from the Texas center where they’ve been held after being detained by immigration officers in Minnesota, a federal judge ordered Saturday in a ruling that harshly criticized the Trump administration’s approach to enforcement.

Images of Liam Conejo Ramos, with a bunny hat and Spider-Man backpack being surrounded by Immigration and Customs Enforcement officers, have been a rallying point in the outcry over the Trump administration’s immigration crackdown in Minnesota. It also led to a protest at the Texas family detention center and a visit by two Democratic members of Congress.

U.S. District Judge Fred Biery, an appointee of President Clinton, said in his ruling that “the case has its genesis in the ill-conceived and incompetently-implemented government pursuit of daily deportation quotas, apparently even if it requires traumatizing children.”

Biery had previously ruled that the boy and his father, Adrian Conejo Arias, could not be removed from the U.S., at least for now.

In his order Saturday, Biery wrote: “Apparent also is the government’s ignorance of an American historical document called the Declaration of Independence,” suggesting the Trump administration’s actions echo those that Thomas Jefferson enumerated as grievances against England.

Biery also included in his ruling a photo of Liam Conejo Ramos and references to two lines in the Bible: “Jesus said, ’Let the little children come to me, and do not hinder them, for the kingdom of heaven belongs to such as these,’” and “Jesus Wept.”

He’s not the only federal judge who has been tough on ICE recently. A Minnesota-based judge with a conservative pedigree said this week that ICE had disobeyed nearly 100 court orders in the last month.

Stephen Miller, the White House chief of staff for policy, has said there’s a target of 3,000 immigration arrests a day. It’s that figure that the judge seemed to describe as a “quota.”

Spokespersons from the departments of Justice and Homeland Security did not immediately reply to requests for comment.

Neighbors and school officials say that federal immigration officers in Minnesota used the preschooler as “bait” by telling him to knock on the door to his house so that his mother would answer. The Department of Homeland Security has called that description of events an “abject lie.” It said the father ran off and left the boy in a running vehicle in their driveway.

The government says the elder Arias entered the U.S. illegally in December 2024. The family’s lawyer says he has a pending asylum claim that allows him to remain in the country.

During a visit Wednesday to the South Texas Family Residential Center in Dilley, Texas, by U.S. Reps. Joaquin Castro and Jasmine Crockett, the boy slept in the arms of his father, who said Liam was frequently tired and not eating well at the detention facility housing about 1,100 people, according to Castro.

Detained families report poor conditions including worms in food, fighting for clean water, and poor medical care at the detention center since its reopening last year. In December, a report filed by ICE acknowledged it held about 400 children longer than the recommended limit of 20 days.

Jan. 29 (UPI) — The National Highway Transportation and Safety Administration is investigating an incident in which an autonomous Waymo taxi struck and injured a child last week in Santa Monica, Calif.

The child was injured Friday after they ran into the street and was struck by an autonomous Waymo taxi about two blocks from an elementary school during its morning drop-off hours, the NHTSA’s Office of Defects said.

“The child ran across the street from behind a double-parked SUV towards the school and was struck by the Waymo AV,” NHTSA officials said in a document on the matter.

The child stood up after being struck and walked to the sidewalk as Waymo officials contacted local authorities to report the incident. The extent of the child’s injuries was not reported.

The autonomous vehicle remained in the spot where the incident occurred and stayed there until police cleared it to leave.

The agency said its Defects Investigation unit will determine if the driverless Waymo taxi “exercised appropriate caution given, among other things, its proximity to the elementary school during drop-off hours and the presence of young pedestrians and other potential vulnerable road users.”

Waymo officials said Wednesday they were committed to improving road safety for passengers and everyone who shares the road. Transparency regarding crashes and other incidents is a component of that commitment to safety, they said.

“Following the event, we voluntarily contacted the National Highway Traffic Safety Administration (NHTSA) that same day. NHTSA has indicated to us that they intend to open an investigation into this incident, and we will cooperate fully with them throughout the process.”

Waymo officials said the unidentified child “suddenly entered the roadway from behind a tall SUV, moving directly into our vehicle’s path.”.

“Our technology immediately detected the individual as soon as they began to emerge from behind the stopped vehicle,” Waymo officials said.

“The Waymo driver braked hard, reducing speed from approximately 17 mph to under 6 mph before contact was made.”

While the autonomous taxi struck the child, Waymo officials said a similar vehicle driven by a human likely would have struck the child at about 14 mph instead of less than 6 mph.

“This event demonstrates the critical value of our safety systems,” Waymo said. “We remain committed to improving road safety where we operate as we continue on our mission to be the world’s most trusted driver.”

Friday’s incident was the second for Waymo during the past week in California.

Another of its vehicles on Sunday struck several parked vehicles while traveling on a one-way street near Dodger Stadium in Los Angeles.

That vehicle was being operated in manual mode by a driver when the crash occurred, and no injuries were reported.

Tech firm Alphabet owns Waymo, as well as Google and other subsidiary companies.

Nicki Minaj, who revealed in 2018 that she was brought to the United States as an “illegal immigrant” from Trinidad and Tobago when she was 5 years old, flashed a Trump gold card Wednesday after an event formally launching the president’s IRA-style savings accounts for children. Her citizenship paperwork, she said on social media, was being finalized.

“Residency? Residency? The cope is coping. … Finalizing that citizenship paperwork as we speak as per MY wonderful, gracious, charming President,” the “Bang Bang” rapper, 43, wrote Wednesday on X, including a photo of the Chucky character flipping his middle finger. “Thanks to the petition. … I wouldn’t have done it without you. Oh CitizenNIKA you are thee moment. Gold Trump card free of charge.”

That post mentioning the card, which delivers citizenship in the United States for those who pay $1 million, may have referred to multiple petitions arguing that the rapper — real name Onika Tanya Maraj-Petty — should be deported to Trinidad and Tobago, where she was born before being raised in Queens, N.Y. A previous post contained a photo of the gold card and the single word “Welp …”

“I came to this country as an illegal immigrant @ 5 years old,” the rapper wrote on Facebook in 2018, posting a photo from the first Trump administration’s “zero tolerance” period of immigration enforcement when migrant children were being separated from their migrant parents at the country’s southern border.

The photo showed children on padded floor mats with silver Mylar thermal blankets, walled in by chain-link fencing. “I can’t imagine the horror of being in a strange place & having my parents stripped away from me at the age of 5. This is so scary to me. Please stop this. Can you try to imagine the terror & panic these kids feel right now?”

In 2020, she said in a Rolling Stone interview that she thought Trump was “funny as hell” on “Celebrity Apprentice” but was bothered by the images of children taken from their parents.

President Trump talks with rapper Nicki Minaj in Washington, D.C., on Wednesday at an event launching the Trump Accounts savings and investment program for children.

(Jose Luis Magana / Associated Press)

“I was one of those immigrant children coming to America to flee poverty,” Minaj told the outlet. “And I couldn’t imagine a little child going through all of that, trying to get to another country because they didn’t have money in their country, or whether you’re fleeing from war … and then being taken away from the one person that makes you feel comfort. That is what really raised my eyebrows.”

At the time, she said she would not “jump on the Donald Trump bandwagon.”

But Minaj has since come around to support the president in his second term, even calling herself his “No. 1 fan” in remarks Wednesday. “And that’s not going to change,” she said.

“The hate or what people have to say, it does not affect me at all. It actually motivates me to support him more, and it’s going to motivate all of us to support him more,” Minaj said. “We’re not going to let them get away with bullying him and the smear campaigns. It’s not going to work, OK? He has a lot of force behind him, and God is protecting him.”

The president introduced her as “the greatest and most successful female rapper in history,” a title that’s accurate going by record sales and overall presence on the Billboard Hot 100. (Of course, Missy Elliott and Ms. Lauryn Hill might want to have a conversation.)

“I didn’t know Nicki, and I’ve been hearing over the years she’s a big Trump supporter, Trump fan,” POTUS continued. “And she took a little heat on occasion because her community isn’t necessarily a Trump fan.”

Trump said Minaj was among those stepping up, along with people including Dell Computers Chief Executive Michael S. Dell, and donating “hundreds of thousands of dollars” of her money to the new accounts. In addition to her generosity, POTUS was definitely a fan of Minaj’s long, painted, pointy pink manicure. He chuckled as he told the audience, “I’m going to let my nails grow, because I love those nails. I’m going to let those nails grow.”

In December, before Christmas, the rapper also appeared onstage with conservative activist Erika Kirk, widow of Charlie Kirk, who was slain in September at Utah Valley University. Minaj took the opportunity at the Phoenix conference of Kirk’s organization, Turning Point USA, to praise Trump and mock California Gov. Gavin Newsom.

Minaj, a Christian, praised Trump at the time for standing up for Christians being persecuted in Nigeria and elsewhere.

“I have the utmost respect and admiration for our president,” Minaj said. “I don’t know if he even knows this but he has given so many people hope that there is a chance to beat the bad guys and to win and to do it with your head held high.”

She also declared onstage that there was “nothing wrong with being a boy.”

“How about that?” she continued. “How powerful is that? How profound is that? Boys will be boys, and there is nothing wrong with that.”

Then Minaj read aloud some of her social media posts mocking Newsom, calling him “Newscum” and “Gavie-poo” and criticizing his advocacy on behalf of “trans kids.”

It’s not as if the “Starships” rapper hid the ball about being harsh when she said in 2023 that she was willing to “be cussing out” certain people at certain times.

“When I hear the word mean, I think about the core of who the person is,” she told Vogue. “I always tell people that the difference between being mean and being a bitch is that bitch passes. Bitch comes and goes. Mean is who you are. I could be the biggest bitch, at the height of my bitch-ness, but if the person I may be cussing out at that time needs something from me, I’m going to give it to them. I have to be able to look in the mirror and be OK with myself.”

Trump accounts for children, a new type of IRA for U.S. citizens who are younger than 18 on Dec. 31 of the year an account is opened, are part of the “Big Beautiful Bill” of tax breaks and spending cuts that was signed into law last summer.

For children born during the second Trump administration, calendar years 2025 through 2028, the accounts will be seeded with $1,000 from the U.S. Treasury when a parent submits a form to the IRS to open the account. Additional pre-tax contributions of up to $5,000 a year are allowed but not required, and a parent is the custodian of the account until the child turns 18. Withdrawals for education, housing or business will be taxed as ordinary income.

Minaj is married to Kenneth Petty — who served four years in prison after being convicted of attempted rape in New York in 1995 — and the couple has one son. Nicknamed “Papa Bear,” the tot was born in 2020, about five years too soon to qualify for that $1,000.

Marc Anthony and Nadia Ferreira have plans to grow their family, announcing on Wednesday that a little one is on the way.

The couple revealed in a joint Instagram post that their son “Marquito is going to be a big brother.” They posted a photo of their hands, along with their son’s hand, cradling Ferreira‘s baby bump. The pair also wrote in their caption in Spanish that their anniversary is a gift and God is great.

Grammy-winning “Vivir mi Vida” singer Anthony, 57, married model and former Miss Universe Paraguay and 2021 Miss Universe runner-up Ferreira, 26,in January 2023 in a star-studded ceremony in Miami. David Beckham served as best man and Salma Hayek, Lin-Manuel Miranda and Luis Fonsi were on the guest list.

The child will be Anthony’s eighth. The musician (real name Marco Antonio Muñiz) shares two adult children with ex-girlfriend Debbie Rosado, and two grown children from his marriage to former Miss Universe Dayanara Torres. He also shares twin teenagers with ex-wife Jennifer Lopez.

As Ferreira revealed news of her pregnancy, Anthony teased an upcoming collaboration with singer Nathy Peluso. The pair of Grammy winners posted a clip of themselves singing and dancing in a studio and urged followers to pre-save their latest song “Como En El Idilio.”

Anthony teased additional music on Tuesday. He posted a black-and-white video of himself and musicians performing in a studio. The clip ended simply with white text reading: “Feb 06.”

What seems to be Anthony’s newest music foray will drop a week before he launches his residency at the Fontainebleau Las Vegas. His Vegas My Way circuit of 10 live performances begins Feb. 13. Additional dates and information can be found on the residency’s website.