director

A new commission made up of legislators, public defenders, academics and advocates seeks to push California — one of just two states that don’t pay for basic public defense — to begin providing resources and enforcing minimum standards for county public defender systems.

The California Independent Commission on Public Defense includes three assemblymembers and two senators — among them Jesse Arreguín and Nick Schultz, chairs of the Senate and Assembly Public Safety Committees — as well as chief public defenders from several counties, retired judges, the directors of criminal justice nonprofits, and the heads of organizations representing thousands of defense attorneys in the state.

“We have discussed the problem of our public defense system for years,” said Schultz, a Democrat from Burbank and former prosecutor who has sponsored legislation to improve public defense.

The goal is to “move past discussion and study, and come up with an actionable road map of what we need to do to really build out the robust public defense infrastructure that Californians are rightfully entitled to,” he said.

The commissioners plan to develop a five-year plan to phase in state funding, along with enforceable standards like caseload limits and access to defense investigators.

A CalMatters investigation last year found that criminal defendants across the state are routinely convicted without anyone investigating the charges against them, significantly increasing the likelihood of wrongful convictions. Many California counties do not employ a single defense investigator who can interview witnesses, review police reports, visit crime scenes and retrieve video surveillance footage. CalMatters also found that lawyers in some rural counties are handling caseloads that far exceed even the most permissive standards, making them less likely than other defense attorneys to challenge the prosecution’s evidence in legal motions and take their cases to trial.

But the state has resisted stepping in. After a proposed bill that would have created an official state commission to address the issue was abandoned, two advocacy groups, the Wren Collective and UC Berkeley’s Criminal Law and Justice Center, decided to form an independent commission and began assembling participants who could develop and act on reforms. These types of commissions, which have facilitated significant improvements in other states’ public defender systems, are usually established by the governor.

“It became clear that this was an issue that was not a high priority for Sacramento, especially during a budget crisis,” said Chesa Boudin, the Berkeley center’s founding director and a former San Francisco district attorney. It also became clear, Boudin said, that “there was a tremendous gap between what experts understood to be the crisis and the public perception of California government as a kind of progressive leader in the country.”

In the decades since the U.S. Supreme Court established the right to an attorney in state court criminal proceedings, California has saddled its counties with the responsibility of providing lawyers to poor people accused of crimes. Many of those counties have opted for the cheapest path: paying private lawyers and firms a flat fee to represent indigent defendants, regardless of how many cases they handle or how much time they spend on each case.

“You’ve got some offices that have an incredibly high caliber of representation that they can provide, and you have other offices that are doing these flat-fee contracts where the quality has been documented to be pretty bad,” said Eve Brensike Primus, a law professor at the University of Michigan.

Primus is the only member of the new commission from outside of California. She was asked to join because of her extensive research and writing about the structure of indigent defense.

An indigent defense commission in Michigan, which was formed by the legislature in 2013, has led to significant reforms and a substantial influx in state funding.

The California commission’s work, Primus said, can serve “as a catalyst for political actors to do the right thing and start to fund and improve indigent defense delivery, or as fodder for lawsuits that then can try to get the judiciary to push the political actors to do what is necessary to provide for effective representation.”

The commission is scheduled to hold its first in-person meeting, which will be open to the public, in Berkeley in October, with additional meetings planned for Los Angeles, the Central Valley and Northern California over the next 12 months. Commissioners say they will work in subcommittees in between these quarterly sessions to develop a concrete fiscal plan for the state, draft legislative language, and establish minimum standards for how counties should structure their public defender offices, compensate their attorneys, provide access to experts, and report on their work.

Anat Rubin writes for CalMatters.

There have been dozens of football transfers in Southern California during the offseason, but the one transfer who could make the greatest impact is running back AJ McBean, who announced he was leaving Mira Costa High for Gardena Serra.

McBean, who ran 10.55 seconds in the 100 meters this spring thanks to Mira Costa’s track program and his commitment to getting faster, joins a Serra offense that returns all five starters on the offensive line. He’s got the speed and strength to help the Cavaliers make up for not reaching the Southern Section playoffs last season out of the extremely competitive Mission League.

He’s been a longtime resident of Hermosa Beach, so what would motivate him to leave Mira Costa after recently making a commitment to Stanford? He apparently wants to prepare for college by being used in a more versatile role catching passes out of the backfield to show off his many skills. At least that’s what his family told coach Scott Altenberg. Mira Costa was changing its offense to better feature him, so it’s a tough loss for the Mustangs.

McBean will have to move to become eligible immediately.

Hope at Whittier

Former Garfield coach Lorenzo Hernandez, in his first season at Whittier, has already discovered a talent he can’t wait to develop. Offensive and defensive lineman Joseph Medina from the class of 2028 has made quite a first impression on Hernandez.

Medina didn’t play last season, “and in three months that we have been here, he is off the charts,” Hernandez said.

Hernandez calls him “a great technician and amazing leader.”

Agoura QB depth

Never has coach Dustin Croick of Agoura had more quality depth at quarterback than what he will have this season thanks to two newcomers.

Junior Kris Carranza has transferred from Sierra Canyon to Agoura and is a top candidate to start. The Chargers are also adding incoming freshman quarterback Emerson Andrews, whose father, David, played tight end at Ohio State and was a member of the 2002 national championship team. He is director of athletic performance for UCLA’s men’s basketball program. If anyone has a strength and conditioning question, submit it to Emerson, who knows someone.

Commitments rolling in

With college recruiters headed on vacation, lots of players decided to make commitments to make sure they have a “certain” destination. There’s also a new trend of players announcing on social media posts that they are “shutting down” their recruitment, which is supposed to mean their decision is final. Then how come others keep recruiting them? Because it’s never final in this era of NIL.

Quarterback Chris Fields, the City Section player of the year from Carson, committed to Georgetown. Offensive lineman Micah Butler from Hamilton committed to Sacramento State. Kicker Gabriel Goroyan of Westlake committed to Stanford. Defensive back Wesley Ace from Gardena Serra committed to San Jose State. Safety Jaden Walk-Green from Corona Centennial has committed to Washington and teammate Brett Smith has committed to UNLV. Running back Kamden Tillis of Los Alamitos has committed to San Diego State.

Man among boys

USC recruiters deserve praise for identifying the best in Southern California and pursuing them with great intensity. There’s no doubt that Damien safety Gavin Williams, a USC commit, will be the standard for excellence this coming season. He’s fast and strong and players who don’t adjust to his physical skills are in for a surprise.

Damien won the Chaminade seven-on-seven passing tournament on Saturday, beating Crespi in the final. On the first play, Williams caught a long touchdown pass, sprinting well past the defender who had no idea how fast he runs.

First-year coaches galore

It’s going to be fun tracking the progress of first-year football coaches this season because there are so many at well-known programs. The question of who will have the best record should be debated all summer.

Iggy Porchia became the latest new hire, replacing his mentor, the late Angelo Gasca, at Venice.

There should be a competition on which new private coach will have the best record and which new public school coach will have the best record. There are so many candidates with new coaches at JSerra, Orange Lutheran, Servite, Los Alamitos, St. Francis, St. Bernard, Bishop Montgomery, Oaks Christian, Whittier Christian, Bishop Alemany, Muir, Pasadena, Long Beach Poly, Arroyo, North Hollywood, Sun Valley Poly and on it goes.

Transfer issues coming

It appears the Southern Section will be busy again this fall after last year’s eligibility scandal when it declared 19 transfer students ineligible at Bishop Montgomery, resulting in the varsity season ending after one game and forcing the Archdiocese of Los Angeles to clean up what looked like a preventable mess.

This time, it could be public schools facing scrutiny. The same rumors that started last summer about schools loading up on transfers are circulating again this summer. Principals who don’t act after multiple transfers seemingly out of nowhere start showing up to play football only have themselves to blame.

And schools that delay submitting transfer paperwork until the last minute thinking investigators will be too busy to spot an error don’t understand the process.

City Section commissioner Vicky Lagos has a policy that she immediately schedules a meeting with the administration, athletic director, coach and parents when one school receives multiple transfers to review paperwork. The Southern Section deployed AI last fall to help it catch parents submitting false information.

So prepare for more exciting times. It’s like a cat-and-mouse game. And don’t forget about the anonymous emails identifying parents not living at the official address they put on their transfer paperwork.

Unlike the movies, where directors get the glory, TV directors sit lower in the hierarchy, below creators, producers and actors. In most series, which might employ several over a season, they are interchangeable — which isn’t to say they aren’t valuable, transforming words on a page into a four-dimensional living thing. But a director hired to helm a pilot, as James Burrows, who died Friday at 85, was again and again — almost as a lucky charm — helps set the tone for the series. Jake Kasdan’s input was crucial to the feel (and philosophy) of “Freaks and Geeks,” as Hiro Murai’s was to “Atlanta” (and most recently “Widow’s Bay”). In some cases a director is a co-creator in all but title and union affiliation. A show might subsequently pass to later hands, but they’ll be honoring its established look and feel.

But Burrows was more than a little well known. If you sat through the opening credits of “Taxi,” whose pilot he directed along with 74 other episodes — and why wouldn’t you, with its pleasing Bob James theme and Checker Cab crossing the Queensboro Bridge — you would have seen his name for weeks on end. You might have noticed it on “Cheers,” which he co-created and for which he directed 236 episodes, or on “Will & Grace” (246 episodes), or “Frasier,” “The Big Bang Theory,” “3rd Rock From the Sun,” “Caroline in the City,” “Two and a Half Men,” “2 Broke Girls,” “The Neighborhood” or, just last year, “Mid-Century Modern” — all series whose pilots he directed. You might have caught it on episodes of “The Mary Tyler Moore Show,” “Phyllis,” “Rhoda” or “Laverne & Shirley,” until you began to think that maybe there was nobody else directing network multi-camera situation comedies, the most human of television formats and a specialty from which he rarely strayed.

And you might have seen him as himself this year in the third season of Lisa Kudrow’s “The Comeback,” as the man she enlists to save a television pilot from hacky AI jokes. “Surprising only comes from a group of writers huddled in a corner, beating themselves up to beat out a better joke,” he says.

“As director, I am there to help create the ensemble, to do everything I can to foster a community among the company, and to train a new set of actors to behave as a group and respect one another,” he wrote in his 2022 memoir, “Directed by James Burrows.” He famously took the cast of “Friends” to Las Vegas before the show premiered in order to foster bonds in a soon-to-be-impossible state of anonymity. “I guess I have a gift for creating families,” he told the New York Times in 2023.

But if “Friends” refers to the characters and the people who play them, it includes the audience too. Burrows’ talent was to midwife a real relationship between the viewer and the viewed, “You want to go where everybody knows your name,” runs the “Cheers” theme, and where you know everyone’s name. The families he excelled at creating were yours as well, and one watched knowing that these things happened in real time in real space, and that you could be in the room, if you made the effort. Tickets were available.

The son of Abe Burrows, who wrote or co-wrote the books for “Guys and Dolls,” “Can-Can” and “How to Succeed in Business Without Really Trying,” and co-created the radio comedy “Duffy’s Tavern” — set, like “Cheers,” in a bar, though the younger Burrows denied any influence — he’d been directing dinner theater when he had the idea to write to Mary Tyler Moore, whom he’d met on the set of a never-opened “Breakfast at Tiffany’s” musical. His stage experience (and his Yale School of Drama degree, presumably) proved eminently transferable to the proscenium reality of multi-camera situation comedy.

What Burrows shows share — the ones we remember, at least, out of many we don’t — is that they’re fundamentally joyful. They lack cynicism. They’re expressive of their times without being showily edgy. They walk a line between freshness and familiarity, which makes one want to return week after week. They may push an envelope — “Friends” was something new, after all — but subtly. We can assume, given his reputation and the fact that he could have retired on “Cheers” alone, that he liked what he did and did what he liked, and regard his choice of projects as a form of personal expression in itself, the basis of a body of work that has and will live on.

Comedy director James Burrows, the 11-time Emmy-winning director who co-created “Cheers” and helped turn such long-running sitcoms as “Taxi,” “Friends,” “Will & Grace” and “The Big Bang Theory” into fan favorites, has died, his family confirmed to People. He was 85.

“We celebrate the extraordinary life and enduring legacy of James ‘Jimmy’ Burrows, who passed away peacefully today surrounded by his loving family,” his family said in a statement to People. “For more than five decades, Burrows was one of the most influential and beloved directors in television history. As a legendary director, mentor, and creative force, he helped shape generations of comedy and brought immeasurable joy to audiences around the world.”

A master of the multi-camera sitcom, Burrows started his career shooting episodes of “The Mary Tyler Moore Show” in 1974 and “The Bob Newhart Show” in 1975. He soon joined the quality-oriented production company, MTM, which counted James L. Brooks, Steven Bochco and Gary David Goldberg among its alumni.

“They were smart enough to know that it’s better to have a director who can talk to actors rather than a director who can move cameras. You can’t really learn how to make something funny, but you can learn to move the cameras,” Burrows said in a 1995 interview with The Times.

Burrows was born in Los Angeles and later moved to New York with his family where he attended the High School of Music & Art. He graduated from Oberlin College and completed a graduate program at the Yale School of Drama. He worked years as a stage manager with his father, a playwright and director, assisting on shows such as “Breakfast at Tiffany’s” starring Moore and Richard Chamberlain.

He solidified his name in television with “Cheers,” co-creating the lively Boston travern “where everybody knows your name” with Glen and Les Charles. Over its 11 seasons on the air, Burrows directed 237 of its 275 episodes, emerging as a behind-the-scenes comedy legend.

“You bring ‘em in, you sit ‘em down and they talk. That’s all ‘Cheers’ was,” Burrows told The Times. “The word is more important than the goofiness. It was all about the words — which is how I was trained, how my father was trained, how anybody who reads books is trained. It’s the word.”

His father, Abe Burrows, was a Pulitzer Prize-winning playwright, screenwriter and director who performed in radio comedies and co-wrote the books for the Broadway musicals “Guys and Dolls” and “How to Succeed in Business Without Really Trying.” The younger Burrows said that growing up on radio comedies helped him hone his ear for humor.

“I know what’s funny, and I probably know the best way to deliver the joke. Whether it’s walking out of a room, facing that way, facing this way,” Burrows said in a 2010 interview with The Times. “I just have a sense of that.”

Another skill he learned from his dad? was working on his feet.

“He’d run the scenes over and over. He created this wonderful camaraderie, which I always try to do. I love to do ensemble shows because that’s where you get the camaraderie.”

Burrows, often considered a fatherly manager, tried to bridge the gap between actors and writers and notably took the cast of “Friends” on a trip to Las Vegas before directing 15 episodes of the blockbuster comedy. He also threw a party for the “Mike & Molly” cast to build rapport because he believed when everyone liked each other, it showed onscreen.

Actors would know when a joke landed when they would hear Burrows giggle as the scene unfolded.

“I’m the guy that wants you to walk the comic plank for me,” he said. “Take it as far out as you want to take it and I’ll bring it back. Sometimes I’ll take it further. But trust me.”

With his slate of hits — he’s credited for directing several shows in NBC’s primetime “Must See TV” lineup of the 1990s — Burrows amassed sizable wealth and, from an early age, was in constant demand by those seeking his magic touch for their show. However, he also saw his fair share of flops: Henry Winkler’s “Monty, “Cafe Americain” with Valerie Bertinelli and a slew of promising pilots that never got off the ground. He also felt that ABC’s “The Associates” and “The Class” on CBS were canceled too soon.

From 1998 to 2006, Burrows helmed every episode of “Will & Grace,” the Emmy-nominated sitcom about a woman and her gay best friend that aired on NBC for eight seasons during its original run. To Burrows, it was the funniest show he ever worked on. He was also behind the camera for the comedy’s 2017 revival, which brought the envelope-pushing antics of Will, Grace, Jack and Karen back for three more seasons.

“It was a fairytale literally and figuratively,” he said in a 2016 Hypable interview. “It was not of the real world in a strange kind of way. These were exaggerated characters. Although they were grounded with Will and Grace, there was this exaggeration that made the stuff you could do and get away with on that show so extraordinary.”

He won his 11th Emmy Award serving as an executive producer on 2019’s all-star re-staging of “Live in front of a Studio Audience: ‘All in the Family’ and ‘Good Times.’” A year earlier, he was nominated for directing the “‘All in the Family’ and ‘The Jeffersons’” TV special.

James Burrows behind the scenes.

(Chris Pizzello / Invision / Associated Press)

Throughout his career Burrows had a penchant for directing pilots because it meant “you’re better than an episodic director” and could create something new in the writer-driven medium of television. He was also drawn to “more uptown, the more urbane, the more sophisticated” comedies. He tried doing cinema once — 1981’s “Partners” with Ryan O’Neal and John Hurt — and said the result confirmed his belief that he was built for television.

“I’m not a cinematic guy. I’m a theater guy. For what I do, I need a live audience,” he said in a 2016 interview with the Television Academy.

Among his favorite TV moments were the pilots for “Frasier” and “Third Rock From the Sun,” the long-awaited kiss between Sam (Ted Danson) and Diane (Shelley Long) and Woody’s (Woody Harrelson) wedding on “Cheers,” Rev. Jim (Christopher Lloyd) taking his driving test in “Taxi,” Ross (David Schwimmer) being attacked by a cat in “Friends” and Will, Grace, Jack and Karen getting in the shower together on “Will & Grace.”

Late into his career, Burrows continued to work in the multi-camera sitcom format, which is shot in a studio, usually before a live audience. In 2013, he was honored by the Television Academy, and, in 2016, he celebrated directing his 1,000th episode of television programming, crossing the milestone with an episode of “Crowded.” NBC marked the milestone with “Must See TV: An All-Star Tribute” special. According to critics, the show — billed by several outlets as the elusive “Friends” reunion and came off as a living eulogy to Burrows — fell short and did not do the legendary director justice.

In all, Burrows was nominated for 45 Emmy Awards and 17 Directors Guild of America Awards.

THE daughter of a legendary Hollywood director and her husband have been mysteriously found dead inside a running car parked on a highway.

Judith “Judy” Wyler Sheldon, 84, and her husband Wylie Sheldon, 86, were discovered unresponsive in a Jeep Compass on Interstate 5 near Redding, California.

A California Highway Patrol officer made the grim discovery on the shoulder of the northbound carriageway, just north of Fawndale Road, at approximately 5.46pm on Monday.

Judy, a prominent San Francisco arts patron, is the daughter of famous filmmaker William Wyler.

She was found behind the wheel, while her husband was in the passenger seat.

Despite emergency medical personnel attempting life-saving measures, both were declared dead at the scene.

The circumstances surrounding the tragedy remain unclear, and investigators are working to determine what happened inside the vehicle.

The California Highway Patrol’s Northern Division Investigative Services Unit has taken over the case.

While authorities have not publicly disclosed any indication of foul play or a medical emergency, the deaths occurred during a period of extreme heat.

The National Weather Service had issued a warning for the Redding area, where temperatures soared to 109 degrees Fahrenheit (43C) on the day the couple were found, though investigators have not confirmed if the weather played a role.

The news has stunned California’s arts and film communities, where Judy spent decades championing silent-film preservation.

She was the long-time chair and former president of the San Francisco Silent Film Festival.

Anita Monga, the festival’s artistic director, said the community was “reeling” from the devastating loss.

“Judy and Wylie were very dear to us, supportive and a positive presence at all our events,” she said, recalling how the couple regularly opened their home to visiting film archivists and musicians.

“Judy would allow, actually encourage, our visiting guests to pose for pictures with her father William Wyler’s Oscars.

The perfect hosts.”

Born Judith Wyler in Los Angeles, she briefly appeared on screen during the 1950s with credits in The Errol Flynn Theatre, The Buccaneers, and BBC Sunday-Night Theatre.

However, her lasting legacy was behind the scenes.

Judy’s passion for film preservation intensified after attending a 2007 retrospective of her father’s silent-era films in Pordenone, Italy.

Her cultural influence also extended to other institutions, including serving as a gala co-chair for San Francisco Performances.

The tragedy carries a deep resonance due to Judy’s family’s monumental place in cinema history.

Her father, William Wyler, remains one of the most acclaimed directors in American film, directing classics such as Roman Holiday, Ben-Hur, The Best Years of Our Lives, Mrs. Miniver, and Wuthering Heights.

William won three Academy Awards for Best Director, a feat achieved by only a handful of filmmakers.

EVIAN-LES-BAINS, France — President Trump said Wednesday that he was delaying federal prosecutor Jay Clayton’s nomination to lead the U.S. intelligence community in a bid to force Congress to act on a voter ID bill that currently lacks enough support for passage.

The Republican president said in a social media post just hours before Clayton’s scheduled confirmation hearing that he will keep Bill Pulte, a top U.S. housing official, as acting director of national intelligence. Democratic and Republican lawmakers had opposed Trump’s selection of Pulte, citing his lack of known experience in intelligence and his use of his current administration perch to target perceived adversaries of the president — resistance that last week forced Trump to turn to Clayton.

The abrupt announcement creates instant uncertainty over the long-term leadership of the 18-agency intelligence community and dashes hopes for a swift renewal of a crucial surveillance program that expired in Congress last week due to bipartisan anger over Trump’s pick of Pulte.

That tool, Section 702 of the Foreign Intelligence Surveillance Act, permits spy agencies to collect without a warrant the communications of targeted foreigners located outside the United States. National security officials across both major political parties have for years described Section 702 as vital for gathering intelligence that can disrupt terror attacks and espionage operations, though some lawmakers and civil liberties advocates have raised concerns over the government’s use of information about Americans that is incidentally collected through the program.

Clayton had been set to appear on Wednesday for a Senate confirmation hearing that was fast-tracked because of the program’s lapse. Democrats had said they would not renew the expired surveillance programs until Trump withdrew the selection of Pulte.

Trump’s post suggests that debate to revive Section 702 could be indefinitely postponed. Lawmakers have sounded the alarm about the government operating without congressional authorization of the powerful spy tool.

A court order from last March certified that the program could continue for another 12 months, though it’s possible that communications companies could challenge the government’s authority to force them to cooperate and share data.

In his social media post, Trump accused Democrats of breaking a deal to renew the program after he nominated Clayton. Trump also said he does not want to remove Clayton from his current position as U.S. attorney for the Southern District of New York before his replacement, James McDonald, is approved. McDonald was named to the Justice Department post on Saturday.

And Trump added another condition: linking his approval of the surveillance program to the passage of a bill requiring people to show ID to vote.

“Therefore, to add a slight bit of intrigue but, for the Good of the Nation, and the People of our Country, I will not approve FISA without THE SAVE AMERICA ACT going along with it,” Trump said, using the acronym for the surveillance program and his name for the voter ID bill.

The Republican-controlled Congress has not acted on the voting bill because it does not have enough support in either chamber, particularly from Democrats.

Trump made the announcement in Evian-les-Bains, France, where he was participating in the final day of the Group of Seven summit of leading industrial economies.

The intelligence director position became available after Tulsi Gabbard, who had held the job, announced last month that she was resigning to spend time with her husband as he fights cancer.

Clayton, a chairman of the Securities and Exchange Commission during Trump’s first term, has spent the last 14 months as the top federal prosecutor in Manhattan, one of the Justice Department’s premier posts.

His office during that time facilitated the unsealing of thousands of pages of court records from the prosecutions of Jeffrey Epstein and Ghislaine Maxwell, documents that were made public as part of the Justice Department’s release of records related to the late sex offender and his longtime confidant.

Clayton has also overseen the prosecution of former Venezuelan President Nicolás Maduro and Maduro’s wife, Cilia Flores, on drug trafficking charges.

Epstein died by suicide in a New York jail cell in 2019 while awaiting trial on sex trafficking charges. Maxwell was convicted of luring teenage girls to be sexually abused by Epstein but insists she’s innocent. Maduro and his wife have protested their capture and said they’re not guilty.

Madhani, Superville, Tucker and Jalonick write for the Associated Press. Superville reported from Geneva. Tucker and Jalonick reported from Washington.

WASHINGTON — Law enforcement officials disrupted “planned attacks” meant to target the UFC cage-fighting show staged at the White House this past weekend for President Trump’s birthday, and multiple people were in custody, FBI Director Kash Patel said on Tuesday.

The nature of the potential threat was not immediately disclosed, with additional details expected to be released once charges are unsealed later Tuesday.

Five people were arrested from states including Ohio, Missouri and California, said a law enforcement official familiar with the matter. The official spoke to The Associated Press on the condition of anonymity to discuss information that was not yet public.

The FBI learned about the possible threat on June 10, four days before the mixed martial arts extravaganza on the White House’s South Lawn, “and thanks to the rapid action of the FBI, our partners, and the Department of Justice in a multi-state operation, multiple individuals are now in custody and allegedly planned attacks were stopped cold,” Patel said in a post on X on Tuesday morning.

The Secret Service “worked around the clock to identify those responsible and hold them accountable,” Director Sean Curran said in a separate statement.

Trump, who celebrated his 80th birthday at the UFC event on Sunday, sought to tie the fights to larger celebrations of the 250th anniversary of the signing of the Declaration of Independence. Speaking to reporters Tuesday in Évian-les-Bains, France, where he was attending the Group of Seven summit, Trump said he had not been briefed on the thwarted plot.

Tucker writes for the Associated Press. AP writer Darlene Superville in Évian-les-Bains, France, contributed to this report.

A VHS tape of 1993’s “The Nightmare Before Christmas” introduced brothers Roy and Arturo Ambriz to the tactile whimsy of stop-motion, an animation technique where physical objects are manipulated and photographed frame by frame to achieve the illusion of life.

Realizing that the characters on screen were figures in real sets shocked the Mexican filmmakers’ young minds and set them on an arduous path to craft their own worlds.

“If there’s something we’ve loved our whole lives it’s toys: collecting them, modifying them, playing with them, creating dioramas for them,” said Roy, 36, from under his dark shades during a recent interview at Netflix Animation Studios in Burbank.

“And for us, the most sublime moments in life are when we’re doing something artistic, whether that’s painting, drawing or sculpting. And stop-motion animation combines all of that.”

The culmination of years of tireless work and financial stress for the Ambriz siblings is the breathtaking period fantasy “I Am Frankelda,” Mexico’s first-ever stop-motion feature, which is now streaming on Netflix.

“Thankfully, no one put it into our heads that it was impossible to do this,” said Arturo, 38. “That’s why we don’t like going around saying that this is extremely difficult, because maybe if young people hear that, they might not want to do stop-motion. Don’t tell them!”

A lavish musical, “I Am Frankelda” follows Francisca Imelda (voiced by Mireya Mendoza), a young aspiring writer living in 19th century Mexico and struggling to publish her stories. Meanwhile, in the Realm of Spooks, an alternative reality that’s home to all of the fictional characters Francisca has written, Herneval (Juan Pablo Monterrubio), a winged prince, must save his parents and his kingdom. The creatures in this world live off of human fear, so they create our nightmares.

Herneval crosses into the human world to bring Francisca with him to the Realm of Spooks, so that she can write new nightmares that actually scare people. Humans have become difficult to terrify. By this point, a frustrated Francisca has decided to change her name to Frankelda (a reference to “Frankenstein” author Mary Shelley, who inspired the character). Frankelda and Herneval sing of the relationship between fiction and reality. One can’t exist without the other.

Frankelda was first introduced as part of the 2021 series “Frankelda’s Book of Spooks,” which HBO Max commissioned. In the show, the heroine shares nightmarish tales alongside Herneval, who appears not as a prince but a sentient book. The film “I Am Frankelda” is a prequel that explains the relationship between these characters.

Last month, “I Am Frankelda” screened at the Los Angeles Latino International Film Festival, where Guillermo del Toro moderated the post-screening Q&A. A longtime mentor of the Ambriz brothers, Del Toro first supported them by donating to a Kickstarter campaign to finance their ambitious 2016 short film inspired by cubist art, “Revoltoso,” about a one-eyed boar living during the Mexican Revolution.

“In that moment, it was incredibly validating to realize that if Guillermo liked what we were doing, then it made sense to keep on doing it,” Roy said.

Two years apart in age, Roy and Arturo both studied filmmaking at the Centro, a university in Mexico City. Yet directing together wasn’t always the plan.

“I said, ‘We have to co-direct,’ because the situation naturally lent itself for me, being the older one, to take on the role of director while Roy would serve as production designer. But at a certain point, I realized that the hierarchy was wrong, and that if we wanted something sustainable for the rest of our lives, it had to be a 50/50 split between us. And I mean, 50/50, Roy!” said Arturo, playfully chastising his younger brother.

“It’s more like 60/40, with me having 60% of the power,” Roy added laughing.

In 2011, not long after graduating, Arturo found himself ridden with anxiety. Over the course of his education, he’d focused on artistic excellence but hadn’t much thought about how to actually make a living out of his and his brother’s shared passion. That’s when he decided they should create their own studio, Cinema Fantasma, so as to have control of the projects they took on. Their productions for hire include the Adult Swim show “Women Wearing Shoulder Pads,” which was produced entirely at their company in Mexico City.

“It’s been very difficult because we are filmmakers by vocation, but we are businesspeople by necessity,” said Arturo. “Developing that side of things has been the hardest part, but both are indispensable.”

To wrap up the “Frankelda” series, HBO Max requested a 30-minute special. Instead of accepting that offer, Roy suggested they use the proposed budget allocated to partially fund a full-length feature film. HBO Max agreed with the caveat that the brothers would have to come up with the rest of the money needed on their own.

To finance “I Am Frankelda,” Roy and Arturo mortgaged two homes. They are losing one of them to pay off their debts, so it helps that their dream of animation is a family affair. Their parents are executive producers on “Frankelda”; Roy’s wife, Ana Coronilla, worked as production designer; and Arturo’s spouse, Irene Melis, as a director of photography.

That “I Am Frankelda” is a musical is due in great part to Roy’s love of musical theater.

“At first, Arturo wasn’t sure, but using my 60% share of the power, I convinced him that it should be a musical,” Roy said. Yet it’s Arturo who wrote the lyrics to musical numbers. Each track starts as a poem that composer Kevin Smithers transformed into songs.

A fantastical stop-motion musical period piece, “I Am Frankelda” is far from an easy sell, and that’s what makes its existence all the more astonishing. The Ambriz brothers’ creative pursuit of the unpopular and the unfeasible has bonded them with Del Toro.

Mexican filmmaker Guillermo del Toro, pictured, interviewed “I Am Frankelda” directors Roy and Arturo Ambriz on May 30 during the film’s screening at the TCL Chinese Theatre as part of the Los Angeles Latino International Film Festival.

(Jill Connelly / For De Los)

“He is our most important mentor and the person we admire most in the world, and we also share many of the same interests,” Arturo explained. “That’s why when we saw ‘Pan’s Labyrinth,’ it was like when the glass slipper fits Cinderella. It was exactly what we loved: monsters, war, the cruelty of the human spirit, fairies and period settings.”

“Did you just call yourself Cinderella?” Roy interjected with the mischievous smirk typical of a younger brother trying to ruffle some feathers.

“Yes!” Arturo said quietly but without hesitation.

Every time they hear Del Toro speak about his interests, the Ambriz brothers discover a new well of references and “cultural protein,” from authors to painters.

“Guillermo is someone who actively champions the work of others, which I believe is the right way for an artist to be,” Arturo said.

When they finished “I Am Frankelda,” the brothers sent it to Del Toro, eager to hear his thoughts. As soon as he watched it, Del Toro called them.

“We spoke with him for hours, and he told us everything he saw, obviously with great tact, sharing both the good and the not-so-good,” Roy recalled. “But most importantly, he kept telling us that we had created something unprecedented. He insisted that we would pull through, even though we had ended up with a lot of debt.”

The version of “I Am Frankelda” that premiered at film festivals in 2025 is not the same one that will be available on Netflix. Based on Del Toro’s thorough feedback, the filmmakers recut the film and even animated new scenes. They playfully refer to this new cut that audiences will see globally as “The Grandfather Cut,” to honor Del Toro’s influence.

That “I Am Frankelda” was picked for distribution by Netflix is also Del Toro’s doing, the brothers said. It was the veteran director who suggested the film to the streaming company.

“I Am Frankelda” debuted in Mexico last October to an incredible reception, in part thanks to the fandom the characters had amassed via the episodic series.

“We receive fan art and fan fiction every day. People send us photos cosplaying the characters or of their ‘Frankelda’-themed quinceañeras. We’ve even bought bootleg merch at Mexican markets and on Temu or AliExpress too,” Roy said.

“We’ve bought ‘Frankelda’ socks from there that are of terrible quality, but all the more beautiful because of their bad quality,” he added.

“Of course, there are haters, too, but a large segment of the audience really identified with Frankelda as someone who perseveres, as someone who refuses to let her detractors hold her back. It’s been really beautiful watching that fandom grow,” Arturo said.

Another conviction where they align with Del Toro is their disinterest in engaging with artificial intelligence.

“AI is the antithesis of stop-motion. We’re not even remotely interested in it, because we do stop-motion to enjoy the artistic processes,” Roy said. “We created the studio for painting, drawing, sculpting and writing. Whatever happens with AI doesn’t really matter to us.”

Their second feature, “The Ballad of the Phoenix,” a medieval fantasy, is already in the works.

WASHINGTON — While millions of soccer fans cheer or groan over World Cup matches spanning North America, health officials are on high alert for germs.

A heat wave may be the most obvious health threat. But infectious diseases can spread in a crowd, and experts are scrutinizing wastewater, hospital visits, even social media for any signs that an outbreak might be brewing.

Measles, one of the most contagious diseases, is among the top concerns, sparking a warning this week from the Pan American Health Organization, PAHO. With a nearly six-week stretch of packed stadiums, bars and tourist sites in 16 cities, officials are on the lookout for a long list of infections, from the stomach bug norovirus to mosquito-borne dengue fever.

“This is truly a marathon,” said Palak Raval-Nelson, Philadelphia’s health commissioner.

The mass gatherings come at a tense moment for budget-strapped health agencies in the U.S. The Centers for Disease Control and Prevention, hit hard by Trump administration staffing cuts, already was grappling with a growing Ebola outbreak in central Africa and a cruise ship hantavirus outbreak. While CDC officials have advised state and local health departments behind the scenes, it’s expected World Cup disease surveillance dashboard still was “in final development” days before games began, according to the Department of Health and Human Services.

“Our public health professionals are pretty stretched,” said global health specialist Rebecca Katz of Georgetown University, who is leading an unusual new hub to help.

At the Health Security Operations Center, a joint effort between Georgetown and MedStar Health, workers are analyzing data from around the country so they can alert health authorities, even emergency rooms, to any early signs of trouble. The center is issuing daily “situation reports” about disease trends around World Cup host cities and team base camps to several hundred local and federal public health groups, emergency management and hospital officials and others who’ve signed up.

“It’s important that we don’t become alarmist,” said MedStar emergency medicine specialist Dr. Shane Kappler. “We’re trying to be the insurance policy.”

Measles is a top concern for potential World Cup spread

Already more than 2,000 people in the U.S. have come down with measles this year, nearly as many as during all of last year, according to the CDC. Patients can spread measles before the rash appears and they realize they’re sick. Not too long ago, the U.S. seldom saw measles except from international travel by unvaccinated people.

Now with frequent U.S. outbreaks, “actually a lot of our international partners are worried about measles being exported to them after the games,” said Georgetown’s Katz.

Measles is spreading in Canada, too, and has exceeded 11,000 cases in Mexico, according to PAHO. It’s urging soccer fans to be sure they’re vaccinated, with a health campaign saying a single measles patient can spread the virus to up to 18 unprotected people.

Is Ebola a concern at the World Cup?

Brown University’s Dr. Craig Spencer, who survived Ebola while working in the West Africa outbreak over a decade ago, said he’s repeatedly asked about the risk of Ebola during the World Cup — but “for me, Ebola is not the No. 1 or No. 2 or even No. 3 threat.”

“I am concerned about importation of measles, I am much more concerned about the importation of other infectious threats that may not seem as scary to us as Ebola,” Spencer said.

Many health experts agree that the risk of Ebola spreading in the U.S. is very low. That’s partly because of government travel screenings and restrictions on people recently in outbreak-affected areas. Moreover, Ebola spreads by contact with bodily fluids from someone showing symptoms, not through the air like measles or respiratory viruses.

“One fortunate thing about this virus is you’re most contagious when you’re really quite ill. It’s not like COVID, where you could be sitting next to someone who doesn’t even know they’re infected and perhaps contract the virus,” said Jennifer Nuzzo, director of Brown’s Pandemic Center.

How to spot brewing diseases

There’s precedent for germs invading major sporting events. Canadian scientists linked a community measles outbreak to the 2010 Olympics in Vancouver, and clusters of norovirus had to be contained during the Olympics this year in Milan and in 2018 in South Korea.

One way to detect signs of trouble: People with certain viral or bacterial infections shed genetic material that sophisticated testing of wastewater can spot. For example, measles can appear in wastewater days before an emergency room sees its first patients.

A recent surveillance reports from Katz’s center note that wastewater testing recently found diarrhea-causing rotavirus, hepatitis A and norovirus in some parts of the U.S., something to watch as soccer crowds arrive.

In Dallas, officials ramped up wastewater screening including at the international airport, casting a wide net rather than looking for specific illnesses, said Dr. Phil Huang, director of Dallas County Health and Human Services.

His team also is enhancing the usual mosquito testing, checking not just for West Nile virus that regularly spreads in the U.S. but for viruses more common in other countries like dengue and chikungunya.

Public health officials have been preparing for months, said Philadelphia’s Raval-Nelson, including with mock emergency drills and communications with counterparts around the country.

“I don’t want to send a message that there’s one key thing,” she said. “We have the frameworks in place to carry out what we need to.”

Neergaard writes for the Associated Press.

The Directors Guild of America’s national board on Friday unanimously recommended its membership vote in favor of a four-year contract with the major studios that would increase wages, boost contributions to its health plan and establish guardrails surrounding AI technology.

“We entered this negotiation with three main priorities: secure our Health Plan, protect jobs, and ensure that our members remain secure as AI continues to impact our industry,” DGA President Christopher Nolan said in a statement. “We succeeded in these areas and gained in many others.”

Under the proposed contract, major studios would increase their contributions to the DGA’s health plan by 24.4% over four years, the largest since the plan was founded. In return, the DGA would recommend changes to its plan’s trustees including “modest” increases to the eligibility threshold and annual premiums, the DGA said on Friday.

The contract also increases minimum salaries for most jobs by 2.5% in the first year and up 3% for each of the following years in the agreement. Directors of network non-prime time strip dramatic programs will see their minimum salaries increase 2.5% for each year under the agreement.

The union, which represents more than 19,500 directors and members of directorial teams in areas such as film, commercials and news, said the agreement helps the union’s push for a federal production incentive. Hollywood creatives believe such a benefit could prevent U.S. entertainment jobs from moving overseas where production costs can be significantly lower. The proposed agreement secures a commitment that most senior management at the major studios represented by the Alliance of Motion Picture and Television Producers “would engage in meaningful advocacy for a federal production incentive above and beyond the ongoing lobbying efforts of the Motion Picture Association,” according to the DGA.

The contract also adds more guardrails to AI technology, including treating footage created by artificial intelligence as the same as footage shot by a camera, meaning it will still be under the director’s control, according to the DGA. Major studios will also be required to notify the DGA if an employer decides to license a director’s work to train a generative AI system to create new work, the union said. The agreement also establishes an employer-funded program to enhance directors’ AI skills.

“With these gains, a four-year Agreement was both appropriate and necessary to provide stability and potential for growth at a moment when the industry has been experiencing contraction,” Nolan said in a note to members on Friday.

DGA and AMPTP reached the tentative contract earlier this week. At that time, AMPTP said “we appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry.”

DGA members will have until June 25 at 5 p.m. to vote on the plan. If approved, the contract would go into effect July 1 and run through June 30, 2030.

WASHINGTON — Dozens of House Democrats are asking the new director of Immigration and Customs Enforcement to roll back a policy that they say hinders their ability to speak with detainees during oversight visits.

The new policy requires that lawmakers identify detainees by name at least two business days before a visit and provide a signed consent form from each detainee. It’s the latest point of conflict in an ongoing battle over when and how lawmakers can inspect immigration facilities.

In a letter Thursday to acting ICE Director David Venturella, Rep. Mike Levin (D-San Juan Capistrano) and 77 other members of Congress, including two dozen from California, argued that they need to conduct constant oversight of immigration facilities because of historic levels of reports regarding the mistreatment of detainees, deaths in custody and substandard facility conditions.

“This Administration has enabled a revolving door of arbitrary policies, directives, and guidance on member access to facilities or on communication with detainees designed to hinder any productive oversight,” they wrote.

The letter was written in response to the new policy, which was outlined in a memo last month.

In the letter, Levin and the other members wrote that detainees have a hard time accessing the visitation form because it is at times unavailable at a detention center’s law library. They said it limits their ability to speak broadly with detainees, particularly those from vulnerable populations, such as the elderly.

Detainees previously used a sign-up sheet to meet with members of Congress or just started talking to detainees they encountered during facility tours.

In the memo outlining ICE’s new policy, then-acting director Todd Lyons said the increased visits by members of Congress have become a burden and a time suck. Homeland Security didn’t immediately reply to a request for comment, but previously said that the policy doesn’t prevent lawmakers from speaking with detainees.

Levin said the increase in visits was necessary because the agency slashed staffing of its oversight offices. The letter notes that for next fiscal year, the president requested additional cuts to the Homeland Security Office of Inspector General.

“These actions, coupled with the constant changes to policies surrounding member access to facilities, reveal a clear attack on the levers that ensure government transparency at every level,” the members wrote.

Democratic House members sued the Trump administration last July after they were repeatedly denied access to immigrant detention facilities in California and across the country.

Homeland Security officials previously implemented a policy requiring lawmakers to give seven days’ notice before a visit, but that policy was temporarily blocked in federal court.

This week, lawyers said a Belizean man who helped organize hunger strikes at the Adelanto ICE Processing Center was moved to facilities out of state and scheduled to be deported after he spoke to three members of Congress about conditions at the detention center in San Bernardino County.

WASHINGTON — President Trump said Thursday that he plans to nominate Jay Clayton, the U.S. attorney for the Southern District of New York and a former Securities and Exchange Commission chairman, as director of national intelligence.

Trump announced the nomination on social media amid pressure from Congress to name a permanent replacement for Tulsi Gabbard, who resigned last month. Trump faced intense pushback over his decision to name Bill Pulte, head of the Federal Housing Finance Agency, as acting director.

The situation has led to a standoff in Congress as Democrats said they would refuse to renew foreign intelligence powers unless Trump pulled Pulte’s nomination and named a permanent nominee.

“Few people anywhere in the Legal Community are respected at the level of Jay,” Trump wrote. “I encourage the United States Senate to confirm Jay as soon as possible.”

Mark Connolly has been appointed Derry City director of football after his decision to call time on his playing career.

Connolly left Derry to link up with former Candystripes boss Ruaidhri Higgins at Coleraine in January.

The Clones-born defender, 34, started his professional career at Bolton before spells at Crawley Town, Kilmarnock and Dundee United, where he won the Scottish Championship title in 2020.

He joined Derry in 2022 following a loan stint at Dundalk and helped the Brandywell club win the 2022 FAI Cup.

“I am delighted to rejoin the club in a new role and I can’t wait to get started,” said Connolly.

“I look forward to working with Tiernan [Lynch, manager] and everyone at the club to help create an environment where players, staff and the academy can thrive.”

Coleraine boss Higgins said Connolly “had a great influence on the group” during his time at the Showgrounds as the Bannsiders won the Irish Cup for the first time since 2018.

“He probably didn’t play as much as he would’ve liked towards the end, but his high level of professionalism remained the same,” said Higgins.

“Mark has been exemplary with me and my staff throughout our years working together at Derry City and Coleraine.

“Naturally at 34-years-old, you think about what’s next in your career and this new role at Derry City is a brilliant opportunity for him.

“I’m not surprised he’s been offered that role as he has all the characteristics to be a success. We wish him the very best of luck in the next stage of his career.”

Derry City sit sixth in the League of Ireland Premier Division standings and host Bohemians on Friday (19:45 BST), a game that can be watched on the BBC iPlayer, BBC Sport website and app.

The Director’s Guild of America has struck a tentative deal with the Alliance of Motion Picture and Television Producers, completing the negotiation cycle for Hollywood’s major unions.

SAG-AFTRA ratified its contract last week, the Writers Guild approved its deal back in April, and the DGA has similarly landed on a new contract, after nearly a month of negotiations. The latest deal with major film and TV studios was announced on Tuesday, but its terms have not yet been disclosed.

The Directors Guild, led by its president Christopher Nolan, reportedly entered negotiations in hopes of improving conditions to create new jobs, bulk up its health fund, and increase protections against generative AI.

“The tentative agreement will be presented to the DGA National Board for approval,” the DGA said in a statement. “Consistent with the Guild’s longstanding practice, terms of the agreement will not be released publicly until the National Board has completed its review.”

Negotiations started on May 11, and the current contract is set to expire on June 30. Once the DGA National Board approves the new contract, it will be sent to its members for a ratification vote. The union represents nearly 20,000 helmers, assistant directors, associate directors, unit production managers and stage managers.

The studios said they were pleased to have reached this latest tentative agreement with DGA.

“We appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry,” AMPTP said in a statement.

The DGA’s tentative contract marks the last few steps of the current Hollywood union negotiation cycle. The previous one in 2023 was marked by the industry-stopping strikes from SAG-AFTRA and WGA, and the industry is still feeling the impact from them. But this year’s bargaining season was much quieter and uncontroversial. SAG-AFTRA and WGA will reconvene with the studios for bargaining in 2030, as they all signed four-year contracts.

Martin Mull was best known to audiences for playing comedic characters like Col. Mustard in “Clue” and Gene Parmesan in “Arrested Development,” but a new exhibit opening next year at the Santa Barbara Museum of Art seeks to elevate the role Mull was most proud to inhabit: a respected painter.

“Martin Mull: The Joys of Indoor/Outdoor Living,” co-curated by comedian Steve Martin and Hammer Museum Director Emerita Ann Philbin, comes to SBMA next June and runs through October. It will be the first major museum exhibition of Mull’s artwork in 20 years.

The paintings featured include scenes of unassuming houses visited by otherworldly guests, dead-eyed office workers, gravity-defying displays and lambs being led to the slaughter. They play with perspective, color, space and time to illuminate postwar American tensions, be they racial, political or existential.

“Martin Mull’s work as an artist will certainly be his primary legacy,” Martin said in a statement. “After a full-time career in painting, in the last 20 years of his life with his technical gifts fully developed, Martin’s art coalesced into tight, narrative paintings of a peculiar nature. Combining surreal elements with family idioms, he formed his own worried portrayal of American life.”

Martin Mull’s “Band on the Run,” 2014. Oil on panel.

(Estate of Martin Mull)

The exhibit, which will take over the museum’s 6,000 square feet of main galleries, will feature more than 50 paintings and drawings by Mull, most of which come from the artist’s estate and the private collections of Mull’s entertainment industry colleagues, including Steve Martin, Jennifer Tilly, and Ted and Nicole Sarandos .

The exhibit is the second curatorial collaboration between Martin and Philbin since 2015, when they partnered on “The Idea of North: The Paintings of Lawren Harris” at the Hammer Museum.

Steve Martin and Ann Philbin — at the Hammer Museum gala in 2005 — have been friends and collaborators for years.

(John Shearer / WireImage )

Philbin, who retired from her longtime role as the Hammer’s director in 2024, told The Times via email that the idea behind the Mull show came after she saw one of his paintings in Martin’s dining room.

“Steve talked about how Mull’s painting practice was his deepest passion, despite the fact that his fame was as an actor and comedian. It prompted me to do a little research, and I became very intrigued by his body of work. I wrote to Steve, ‘Martin Mull. There’s something there.’ That’s how the project began,” she said.

Along with Martin and Philbin, the upcoming exhibition is led by SBMA Chief Curator James Glisson and Amada Cruz, the museum’s director and CEO. In a news release, a museum spokesperson said Mull’s work “upsets any storybook picture of perfection” and resists nostalgia while acknowledging its allure.

Martin Mull’s “Envy,” 2008, from the series “Seven Deadly Sins.” Oil on linen.

(Estate of Martin Mull)

“It’s so deeply strange — dark and funny, hopeful and menacing all at once,” Philbin said. “The paintings are about the smoldering tensions that underlie the American dream, so I think it’s a particularly apt moment to bring them back into the public eye.”

Mull, who died in 2024, received his master of fine arts degree in painting from the Rhode Island School of Design in 1967. Though he went on to craft a career in the public eye as a musician, comedian and actor, painting remained his “true vocation.”

Martin, a longtime friend of the multidisciplinary artist, echoed this sentiment in an email to The Times.

“If a comedian says he is also a painter, run. Except this once.”

ABOARD AIR FORCE ONE — President Trump said Friday that he wants Bill Pulte, his new acting director of national intelligence, to cut the office, which has already been significantly scaled back during his second term.

Trump noted that the size of the office has been “way too high for way too long” and that “if he cut, I wouldn’t mind.”

“Bill Pulte is very good, he’s very talented,” Trump told reporters on Air Force One as he traveled to Wisconsin. The Republican president said in an earlier interview with the Wall Street Journal that he has asked Pulte to start the process of firing employees.

In the interview with the Journal, the president says he has already conveyed his view to Pulte, the incoming acting director of national intelligence, who has served as head of the Federal Housing Finance Agency but apparently has no national security expertise.

“I’d like to see it smaller. I think there are a lot of people in there that shouldn’t be there,” Trump said, which the Journal said was in reference to intelligence community officials who had served in the Democratic administrations of Presidents Biden and Obama.

Trump told the Journal that he wants Pulte to “start the process” of firing personnel and that the eventual permanent director of national intelligence should continue it. The president has indicated that he would not formally nominate Pulte for the position.

“Frankly, it might be good for him to shake it up before people come,” Trump said. “Because, if he [Pulte] reduced the size, in conjunction with me … and in conjunction with possibly the person coming in … he can do a lot of the hard work and we wouldn’t have to saddle somebody that goes in.”

Pulte was tapped by the president earlier this week in a surprising move that has been met with bipartisan resistance in the Senate, which confirms presidential nominations. The temporary appointment has now snarled the renewal of a critical national security surveillance program on Capitol Hill, with Democrats key to the vote pointing out that they did not trust Pulte — whose office oversees 18 intelligence agencies — to help administer the surveillance program.

Under Pulte’s successor, Tulsi Gabbard, the director of national intelligence’s office had already taken steps to scale back its size. In August, the Trump administration said that the office’s budget would be cut by more than $700 million per year, while slashing the size of its workforce.

At the time, Gabbard said the office had become “bloated and inefficient” while she announced the roughly 40% workforce reduction.

Gabbard resigned last month after revealing her husband’s cancer diagnosis.

Price and Kim write for the Associated Press. Kim reported from Washington.

June 4 (UPI) — Acting Director of National Intelligence Bill Pulte, whose new assignment has drawn bipartisan criticism, won’t be the “permanent” choice for the job, President Donald Trump said Thursday.

Trump, speaking to reporters Thursday the White House, said Pulte’s role as acting director of DNI to replace Tulsi Gabbard, which began Tuesday, would not be “permanent.”

Rather, the president said Pulte will be “very good” as he takes the job on for a “little while,” while also asserting he will be able to “figure it out quickly.”

Gabbard announced her resignation in May, saying she will step down June 30, and Trump’s pick of Pulte to replace her two days ago ignited a backlash among lawmakers of both parties.

A former housing developer and currently director of the Federal Housing Finance Agency, Pulte — a staunch Trump loyalist — has no experience in foreign intelligence work, a fact that has sparked criticism from both sides of the political aisle.

Sen. Thom Tillis., R-N.C., on Wednesday blasted Pulte as an “incendiary attack dog” for Trump who likely wouldn’t pass Senate muster for confirmation.

“I don’t think he has a prayer” of becoming the permanent DNI, Tillis told CNBC, adding that Pulte’s presence could hurt the GOP congressional majority’s efforts to reauthorize the part of the Foreign Intelligence Surveillance Act governing warrantless surveillance.

Similarly, Sen. Ron Wyden, D-Ore., a long-serving member of the Senate Intelligence Committee, decried the choice of Pulte for DNI director, saying Trump is “appointing his top political henchman to one of the most important positions for protecting the safety of Americans and preventing terrorist attacks like September 11th.”

Pulte, he said, “appears to be unscathed by intelligence or any semblance of ethics,” noting he has already used his post at a housing agency “to persecute Trump’s political opponents, including Senator Adam Schiff, New York Attorney General Leticia James and Federal Reserve Board member Lisa Cook.”

Pulte has alleged fraud against several of Trump’s foes in their mortgage applications, including Cook for claiming two different homes as her primary residence. She has appealed her firing by Trump to the U.S. Supreme Court.

WASHINGTON — President Trump said Thursday that federal housing finance regulator Bill Pulte, his pick for acting director of national intelligence, would not be his “permanent” choice for the critical security post.

The Republican president’s disclosure that he was ruling out installing Pulte in the position full time came after bipartisan pushback on Capitol Hill in recent days over Pulte’s lack of national security experience. The position requires Senate confirmation, something that lawmakers indicated was unlikely if Pulte were the nominee.

“He’s not going to be permanent because, you know, I don’t think he’d want to be permanent,” Trump said while taking questions in the Oval Office after an event on coal. He called Pulte a “very smart guy” and said he may look at past elections that Trump claims, without credible evidence, were “rigged” against him.

Trump said other candidates were under consideration for nomination to the post. “We’re interviewing people right now,” he said.

Pulte, a grandson of the founder of PulteGroup, has been a source of controversy within the administration for his work as director of the Federal Housing Finance Agency and his oversight of the mortgage companies Fannie Mae and Freddie Mac.

Pulte has used his position to pursue Trump’s perceived political rivals for alleged mortgage fraud and has verbally attacked Jerome H. Powell, whose term as the Federal Reserve chairman recently ended after months of Trump and Pulte attacking him for not slashing the central bank’s benchmark rates. The federal housing finance regulator has also pitched a 50-year mortgage, an idea that backfired as it meant that the process of building wealth through homeownership would be slowed.

Both Republican and Democratic senators expressed concerns about Pulte and his lack of national security credentials in occupying a role coordinating 18 federal agencies involved in domestic and foreign security issues. Trump’s initial director of national intelligence, Tulsi Gabbard, resigned last month, citing her husband’s recent cancer diagnosis.

Senate Majority Leader John Thune, a Republican from South Dakota, said the national intelligence director job shouldn’t be “weaponized” and should be led by “professionals.”

Republican Sens. Thom Tillis of North Carolina, Bill Cassidy of Louisiana and John Cornyn of Texas, who are each leaving the chamber after this year’s elections, also expressed concerns about Pulte.

Democratic senators view Pulte as a risk even if he is serving only temporarily as the director of national intelligence while keeping his position at the FHFA.

Sen. Elizabeth Warren (D-Mass.) sent Trump a letter on Thursday calling on him to rescind Pulte’s national security appointment.

“Americans cannot trust him to protect our nation and refrain from misusing the sensitive information he will have access to,” Warren wrote, saying that giving Pulte the job on an acting basis was a risk because Trump’s own words suggested the federal agency could be used “to promote election denial theories.”

At a hearing on Wednesday, Treasury Secretary Scott Bessent confirmed reports that he had threatened to fight Pulte in September, a sign of the friction that the federal housing finance director had generated inside the administration.

But as a frequent traveler on Air Force One, Pulte has a close relationship with Trump.

“He’s a person who’s got high integrity,” Trump said Thursday about Pulte.

Boak writes for the Associated Press.

Oscar-winning director Martin Scorsese is joining the ranks of entertainment industry power players embracing generative AI.

Black Forest Labs, the German AI startup behind the text-to-image model Flux, announced Tuesday that Scorsese is joining the company as an advisor.

The company unveiled the collaboration on its website with a video of the auteur using Flux to storyboard scenes, which involves mocking up shots before filming.

“This conveys a cinematic intelligence,” he said in the video, discussing the program’s uses with Black Forest Labs co-founder and Chief Executive Robin Rombach and Creative Artists Agency co-founder Michael Ovitz. According to the New York Times, Ovitz, an investor in Black Forest Labs, helped bring Scorsese aboard, along with Rick Yorn, Scorsese’s talent manager, whose investment firm BroadLight Capital is also an investor.

In a statement, Scorsese emphasized the potential for AI to transform the storyboarding process.

“For 70 years, I’ve been creating my own storyboards. There’s always been this problem of how do you communicate what you see in your head to your cast and crew. There are some things you have to see and feel,” he said. “I’m interested in the intersection of technology and storytelling, and seeing how that can push the bounds of creativity to create deeper and richer experiences for audiences.”

Traditionally, storyboarding is done by hand or digital illustration through a collaboration between directors and storyboard artists.

Scorsese’s public espousal of this technology marks the latest shift in attitude about AI from powerful Hollywood creatives. Since generative AI became widely accessible in 2022, Hollywood has struggled to navigate its power to rapidly upend industry norms.

Scorsese is not the first decorated filmmaker to embrace AI. James Cameron, the Oscar-winning “Avatar” director, is on the board of directors for Stability AI, where Rombach worked before launching Black Forest Labs. In his keynote address at the AI on the Lot conference last week, director and screenwriter Paul Schrader expressed a mixture of admiration and caution toward the technology.

“AI does not create — it combines,” Shrader said. “If AI wants an idea, it has to go to where that idea already exists. Of course, you can make the argument that that’s all artists do anyway, and to a degree that’s a valid argument. But you still have to come up with something.”

Not everybody is on board with generative AI’s potential transformations. Guillermo del Toro and Seth Rogen spoke out against the technology at Cannes last month, and below-the-line wokers, screenwriters and actors have continued to express apprehension and even horror at the prospect of being replaced by generative AI.

Scorsese’s entry into the AI field might especially shock fans given his traditionalist approach to filmmaking. In 2019, he famously criticized Marvel movies, calling them “theme parks” and “not cinema.”

“It isn’t the cinema of human beings trying to convey emotional, psychological experiences to another human being,” he said in a 2019 interview with Empire Magazine.

Even if his filmmaking centers humanity, Scorsese’s partnership with Black Forest Labs demonstrates his willingness to incorporate non-human assistance.

“Remember, cinema is a young medium, only around 125 years old, so we have to be open to how it can evolve,” he said in the statement on Black Forest Labs’ website.

WASHINGTON — President Trump has tapped Bill Pulte, head of the Federal Housing Finance Agency, to be the acting director of national intelligence — putting a real estate scion and fierce Trump loyalist in a key national security post as the U.S. remains at war with Iran.

Trump made the surprise announcement Tuesday on social media that Pulte would be replacing Tulsi Gabbard, the former Hawaii congresswoman who served as the director of national intelligence.

The Republican president cited Pulte’s work at the FHFA and his role as chair of the mortgage giants Fannie Mae and Freddie Mac, saying that the 38 year-old “has deep experience managing the most sensitive matters in America, the safety and soundness of the Markets, and over 10 Trillion Dollars at Fannie Mae/Freddie Mac, a substantial increase from where it was just 12 months ago.”

Pulte’s sudden elevation to a role coordinating sensitive national security matters is a sign of how Trump is putting a priority on loyalty over a traditional resume full of previous military and intelligence assignments. It’s unclear what national security expertise Pulte has, but he has been a frequent guest on Air Force One as Trump has traveled to Mar-a-Lago, his home and club in Palm Beach, Florida.

As the grandson of the founder of PulteGroup, one of the country’s largest homebuilders, Pulte has cut a combative streak on social media and used his post at the FHFA to attack perceived opponents of the Trump administration.

His time overseeing mortgage finance has been linked with criminal referrals for mortgage fraud by public officials Trump sought to punish, including New York Attorney General Letitia James, a Democrat; Sen. Adam Schiff, D-Calif.; and Lisa Cook, a member of the Federal Reserve, who was nominated by a Democratic president, Joe Biden.

Pulte has famously gone after then-Federal Reserve Chair Jerome Powell for not cutting the central bank’s benchmark interest rates as aggressively as the president wanted. He has also been linked to ideas such as the 50-year mortgage and efforts to lower mortgage rates through the purchase of home loan debt that have not paid off as promised.

Trump said Pulte will keep his other positions even as he fills in for Gabbard, who resigned last month after revealing her husband’s cancer diagnosis.

If formally nominated, Pulte would need to be confirmed by the Senate to hold the position full time.

Boak writes for the Associated Press.

Week by week, freshman left-handed pitcher Sheriff Hall of Loyola High has gotten better and better. It sets up for an intriguing Southern Section Division 2 baseball final on Saturday when Hall goes against Ganesha at 5:30 p.m. at the Rancho Cucamonga Quakes’ diamond.

He’s expected to face unbeaten left-handed pitcher Logan Schmidt after the Pomona Unified School District indicated that issues about top Ganesha players participating in an out-of-state camp have been resolved.

Whatever happens, Hall is ready. Coach Keith Ramsey has been preparing him for this moment. Hall is 7-3 with a 2.53 ERA while pitching mostly in the tough Mission League.

If Hall ever needs someone to put together a highlight tape, he knows whom to ask. His father, Jason, is a screenwriter and director who also played a recurring character in “Buffy the Vampire Slayer.”

Let’s see if Hall can be his own slayer on Saturday.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

President Trump plans to celebrate the nation’s 250th anniversary — and his own 80th birthday — next month by watching bare-chested and bloody UFC fighters kick, punch and choke each other on the storied South Lawn of the White House.

Later, during the administration’s summer-long festival to commemorate the signing of the Declaration of Independence, IndyCars will race in a fossil fuel-burning extravaganza around and around the National Mall — home to the U.S. Capitol and the Washington and Lincoln monuments.

Both venues are National Park Service land and are administered by the agency.

The planned spectacles — UFC Freedom 250 and the Freedom 250 Grand Prix — stray so far from the park service’s traditional mission and ethos that advocates and career employees are crying foul.

“These events are inappropriate and disrespectful to the history and importance of the White House and the National Mall,” said Jonathan Jarvis, who began his career as a park ranger on the Mall in 1976 and was named director of the National Park Service by President Obama in 2009.

White House officials insist that IndyCar and the UFC are extremely popular with everyday Americans: the race and the fights will be exuberant celebrations of patriotism and pride, they say.

The UFC event, in particular, “will be one of the greatest and most historic sports events in history, and President Trump hosting it at the White House is a testament to his vision to celebrate America’s monumental 250th anniversary,” said White House spokesperson Davis Ingle.

President Trump is hosting a UFC match on the White House grounds in honor of the 250th anniversary of the United States.

(Alex Wong / Getty Images)

To organize this summer’s events, the Trump administration asked the National Park Foundation — a congressionally chartered nonprofit that works closely with the park service and collects private donations to help maintain hiking trails and fund programs to get kids outdoors — to lend a hand.

Because of the scale of the planned celebrations, the foundation created a limited liability company, “Freedom 250,” to “execute events, activities, and celebrations in or around national parks,” according to the Freedom 250 website.

Freedom 250 has its own employees, but the foundation provides funds and the park service approves the events and reviews their budgets, according to the website.

Which is why advocates are appalled.

“Essentially, this is a hijacking of one of America’s oldest and most well-respected conservation organizations,” said Aaron Weiss, director of the Center for Western Priorities, an environmental nonprofit based in Denver. “There are so many very good people at the foundation, with so many years doing real work on behalf of America’s national parks, it’s heartbreaking to watch.”

When Jarvis was director of the park service — and therefore an ex-officio board member of the foundation — the two organizations worked hand in hand to ensure that the foundation’s work complemented that of the park service. They organized the annual Easter Egg Roll on the White House South Lawn and lit the Christmas tree on the Ellipse, Jarvis said.

Workers continue to paint the bottom of the Lincoln Memorial Reflecting Pool on the National Mall.

(Alex Wong / Getty Images)

Occasionally, the president made special requests, which were reviewed carefully to ensure they were consistent with park service principles. Michelle Obama’s famous “Kitchen Garden” passed the test, Jarvis said with a chuckle, providing fruits and vegetables for family meals — and the occasional state dinner — for years.

It’s hard to imagine any career parks employee, or the foundation board members he served with, coming up with the current agenda, Jarvis said.

In addition to the IndyCar race and cage fights, the National Park Foundation is sponsoring “Freedom Trucks” — six red, white and blue tractor trailers traveling the country as rolling museums — and Rededicate 250, a large Christian revival meeting held on the Mall earlier this month that raised objections about the mixing of church and state.

“I think the foundation is being told what to do,” Jarvis said. “And I think it’s hard to say no to the White House these days.”

Josh deBerge, a spokesperson for the National Park Foundation, insisted that no money from Freedom 250 is being spent on the IndyCar race or the UFC fights.

But the IndyCar race is listed as a “signature” event on the Freedom 250 website, and both IndyCar and the UFC are listed as Freedom 250 sponsors.

Danielle Alvarez, a former Trump campaign senior advisor, is a spokesperson for Freedom 250. She acknowledged that the race and the cage fights are happening on national park land and under the banner of Freedom 250, but said neither is receiving funds or logistical support from her organization.

“Many groups have adopted ‘Freedom 250’ branding as part of their festivities, even though it does not mean it is backed by Freedom 250 funding,” Alvarez said in a text message. “The shared terminology is a natural expression of collective pride in 250 years of American independence.”

Neither IndyCar nor the UFC responded to requests for comment.

All of this comes as the Trump administration has taken an ax to the National Park Service, cutting its staff by 25% through buyouts and layoffs since 2025, and proposing another 25% staff reduction this year.

A worker applies hot wax during the restoration process of the Gen. Nathanael Greene statue in Stanton Park on Capitol Hill.

(Tom Williams / CQ-Roll Call / Getty Images)

Trump has also proposed slashing nearly $800 million from the park system’s roughly $3-billion operating budget — potentially diminishing the ability to keep facilities clean and control crowds. Already this year, Yosemite National Park has ditched a reservation system, leading to enormous crowds in the valley and on nearby trails.

Parks advocates fear it’s part of a broader and deliberate strategy to marginalize an agency that has long been a sanctuary for environmentalists and progressives — most of whom presumably did not vote for Trump.

In addition to the staff and budget cuts, Trump last year instructed the National Park Service to scrub any language he would deem negative, unpatriotic or smacking of “improper partisan ideology” from signs and presentations visitors encounter at parks and historic sites.

Instead, he ordered the agency to ensure that its signs remind Americans of our “extraordinary heritage, consistent progress toward becoming a more perfect Union, and unmatched record of advancing liberty, prosperity and human flourishing.”

Those marching orders left opponents and free speech advocates in disbelief, wondering how park employees were supposed to put a sunny spin on monuments acknowledging slavery, Jim Crow laws and the incarceration of Japanese Americans during World War II.

Trump opponents also question the political wisdom of picking on an agency that’s routinely ranked among the most admired branches of the large and sprawling federal government. Even Americans who pay little attention to politics will probably never forget standing in Yosemite Valley and admiring a towering waterfall.

There were more than 323 million visits to America’s national parks in 2025, dwarfing attendance — 135 million — at professional football, baseball, basketball and hockey games combined.

That has not stopped the assault by the current administration.

Black granite was installed last month as the new walkway for the West Wing Colonnade at the White House.

(Andrew Harnik / Getty Images)

“The ideologues in power now take a very dim view of the federal government in general, and the last thing they want is a highly popular and successful federal agency,” Jarvis said. “So if they can kill it, or diminish it through neglect, they win. They don’t really care about the public’s opinion.”

Chuck Sams, the last director of the National Park Service, stepped down the day Trump was inaugurated. Since then, the agency has not had a Senate-confirmed director.

Sams agreed that the Trump administration seems to have it in for the Park Service and worried that the guardrails that used to prevent the executive branch from doing whatever it wants with park land are disappearing.

Destroying the East Wing of the White House for Trump’s proposed ballroom and paving over portions of the White House Rose Garden lawn are prime examples, Sams said.

During his tenure, any proposed change to the White House or its grounds was approached in a “very concerted and deliberate manner with a lot of educated professionals weighing in,” Sams said. “Was it slow? Absolutely, but that was because everyone understood these places belong to the people.”

Asked what he thought of the IndyCar race and the cage fights, Sams said, “We are in uncharted territory, on uncharted ground.”