director

BRITISH filmmaker Justin Hardy, who directed the sequel to his dad’s horror classic The Wicker Man, has died aged 61.

The director’s family said Hardy died on Friday – just weeks before his latest film premiered – after suffering a heart attack.

In a statement the grieving family said: “Our family is devastated to share that Justin Hardy passed away last night.

“He was so full of life right to the end, and incredibly energised to be working towards premiering his latest film this month.

“We are all so proud of him and heartbroken he won’t be with us at his premiere.

“He was a man of family, of boundless creativity, and of devotion for everyone he held dear.”

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Hardy studied history at Oxford University before going on to study film in Bournemouth and scriptwriting in California.

During his career Hardy directed series and films including The Bill, Princes In The Tower, Trafalgar Battle Surgeon, The Relief Of Belsen, Spanish Flu: The Forgotten Fallen and London’s Burning.

He was also nominated for an Emmy and a Bafta, and in recent years had been teaching screenwriting at University College London.

His brother, Dominic Hardy, said Justin would be remembered as someone “with an incredible appetite for life.”

In 2024 the brothers released the documentary Children Of The Wicker Man.

It covered their complicated relationship with their dad’s hit film, which initially bombed at the box office before becoming a cult classic.

Filming of The Wicker Man saw dad Robin sacrifice his family life for a film that performed poorly initially.

Before his death aged 86 in 2016 the legendary director of The Wicker Man – Robin Hardy – spoke publicly about his desire to complete trilogy after he released The Wicker Tree in 2011.

After he died, the brothers were contacted and asked about plans for the third film, which Dominic said they then saw as the “impetus to close the chapter on the films.”

The brothers then decided to wrap up their father’s film trilogy.

Released this month, Wrath Of The Gods was inspired by a concept discovered in a recently unearthed script written by Robin and stars Game of Thrones’ Francis Magee and Norwegian actress Christiane Schaldemose.

Dominic: “I really love writing projects like this and if I could write things like this for the rest of my career, that would be great.’”

Justin Hardy is survived by his wife Larissa, and children Sam, Ludo, Nico and Summer.

Wrath Of The Gods will premiere at FrightFest in Leicester Square on August 28.

To know Japanese filmmaker Kiyoshi Kurosawa’s work is to feel his love for danger.

Inexplicable malevolence, dread-filled moods and worrisome behavior haunt his genre-speckled oeuvre, from 1997’s unnerving serial-killer freak-out “Cure” through his vengeance-fueled internet cautionary tale “Cloud” from two years ago.

“What makes for good movies is a plot driven forward progressively through things that actively happen,” the 71-year-old director says recently over Zoom from his home in Tokyo, using a translator. “Audiences need to be drawn to this idea of: What will happen next?”

His fans don’t necessarily get an explanation for the unease Kurosawa sometimes generates, but it’s part of the draw. That mindset has made him a horror maestro for over three decades. Outside that genre, he enjoys a reputation for being an acutely psychological chronicler of contemporary anxieties, as in his award-winning 2008 drama of job loss and family secrets, “Tokyo Sonata.”

Now, though, Kurosawa has not only made his first film set prior to Japan’s modernizing Meiji era — a category of feudal period dramas known as jidaigeki — but an old-fashioned murder mystery to boot, complete with solutions to satisfy the most die-hard Agatha Christie reader.

Masahiro Motoki in the movie “The Samurai and the Prisoner.”

(Janus Films)

“The Samurai and the Prisoner,” which Kurosawa adapted from Honobu Yonezawa’s acclaimed 2021 novel (it recently premiered at Cannes), unfolds during the fractured Sengoku period in the 16th century, the same era as one of his favorite jidaigekis, “Throne of Blood,” directed by his unrelated namesake, Akira Kurosawa. In a besieged mountainside castle, rebellious Lord Murashige (Masahiro Motoki), trying to consolidate disparate clans of warriors, engages in a battle of wills with his nemesis’ emissary, Kanbei (Masaki Suda), whom he’s imprisoned. But when a succession of murders threatens to undermine his leadership, Murashige turns to his crafty hostage for help.

The result, broken up into seasons and marked by an impending sense of doom, is a multipart puzzle box as intricately folded and tucked as the traditional clothing on display. But it’s also a savvy, deliberative portrait of leadership in a fractured time, with a unique takeaway: Knowing oneself is as essential to the job as knowing who one’s friends and enemies are.

Kurosawa had always wanted to make a jidaigeki — the furthest he’d ever gone into the past was his World War II film “Wife of a Spy” — and yet creating one from scratch sounded too difficult and expensive. But the book’s scenario of a put-upon samurai leader compelled to unravel a series of puzzles to keep his castle’s unity appealed to his taste in a particular crime-solver: someone representing a wider system of responsibility and codes, rather than the classic American private eye.

“I’m drawn to police detectives, not private detectives,” he says, pointing to the duty-bound, badge-wearing protagonist in “Cure,” a Criterion-anointed classic now held in the same pantheon of serial killer tales as “Seven” and “Manhunter.”

“Police are part of an organization, with orders from above that make them responsible for figuring out the crime. If they could, they’d love to live their life peacefully without conflict, but they can’t because of their profession.” He considers his disinterest in gumshoes working on their own a quintessentially Japanese perspective. “Why try to solve a mystery and in the process end up in all these horrible situations, when you can just quit?” he asks with a wry smile.

Masaki Suda in the movie “The Samurai and the Prisoner.”

(Janus Films)

In “Samurai,” Murashige hews closer to someone overwhelmed by responsibility. Says Kurosawa, “Murashige is neither a police or private detective. It’s that he is in a minor position of power, but to maintain order, he must let go of that power to solve the mystery. It’s not curiosity leading him. The chain of mysteries is a trial he must go through.”

It’s a gauntlet made thornier whenever Murashige, who believes in mercy over violence, engages with Kanbei, chained in a dungeon but with a dangerous mind nonetheless. “In that era, hierarchy was incredibly important, very visible,” says Kurosawa. “If one person is standing, the rest must be kneeling. With Kanbei and Murashige, there is always a shifting of the power, and when they begin to see eye to eye, suddenly we don’t know who holds the power.”

To play the wily Kanbei, Kurosawa enlisted his young “Cloud” star Suda, whom he calls a genius. Directing Suda was its own destabilizing experience, he says.

“He had an almost demonic, devil-like quality and it was hard to tell if the lines he was saying as Kanbei were truths for the character or complete lies — or if he didn’t know,” recalls Kurosawa. “It was mesmerizing to me, his words becoming something that we increasingly can’t trust.”

His interest in Murashige, meanwhile, a real-life tactician fictionalized here as an under-the-gun leader presented with myriad problems, poses the question: Did Kurosawa make a film about directing films? “I never thought about that, but that might be,” he considers. “I’m constantly having to ask things of people, ordering people around, sometimes negotiating. But filmmaking is something I love. There are times when I wish I could escape those scenarios, but I can’t. I’m always held back by that sense of responsibility. That’s how I’ve been working for decades. It’s the first time I’m probably saying that out loud, but the various contradictions I hold within myself as director are reflected in Akira Murashige.”

Yuriko Yoshitaka, left, and Masahiro Motoki in the movie “The Samural and the Prisoner.”

(Janus Films)

Kurosawa is a late bloomer as an auteur. His breakthrough, “Cure,” hit Japanese theaters when he was 42. But he’d been directing features since 1983, first, Japan’s homeground adult movies called “pink films,” then, in the 1990s, direct-to-video yakuza gangster films known as “V-cinema.” (That’s “V” as in video.)

“It was a good training ground,” he remembers. “They had to be under 90 minutes, had limited shoot days, had to use certain actors, had to have scenes with yakuza. I learned that when you keep to the constraints you’re given, there’s also a kind of freedom. I had no personal interest in yakuza but I had to think: What’s the most unique yakuza I could come up with?”

With V-cinema behind him, Kurosawa came to exemplify the J-horror phenomenon with 2001’s “Pulse,” an ultra-disturbing, early tech apocalypse about online ghosts that was infamously bought by Harvey Weinstein and held from American release for years so it could be remade. Moving on from the trauma of his Hollywood flirtation, he’d distinguish himself with festival awards and a varied career.

But Kurosawa isn’t exactly precious about his filmography. “If possible, I’d love to forget all of my past works and go forward with new films with a completely fresh perspective,” he says. “However, I realize that often I’m repeating past themes. I think of this as something that’s very unfortunate.”

That doesn’t mean he won’t ever return to the horror genre, which he still likes and tries to keep up with. “I have a feeling viewers wouldn’t find scary what I find scary,” he worries, with a smile. “But it excites me that young directors are exploring the genre’s possibilities.”

Kurosawa can sound philosophical about the challenge each new film represents. Making one means coming from “a place of zero, from nothing.” As he puts it, “What one wants to do is a pretty unstable concept. You could want something today and not tomorrow. So instead of chasing that, I should be considering: What is correct?”

There is a professorial tone to Kurosawa. He taught for 18 years at Tokyo University of the Arts, including to future Oscar winner Ryusuke Hamaguchi (“Drive My Car”).

“I’ve probably said something similar to my students,” he acknowledges, adding that he and Hamaguchi were closer to likeminded friends than to student-teacher. “But in filmmaking, he never listened to a single thing I said. I would tell him to make adjustments and he was always concrete in what he wanted to do. And I thought that was very admirable.”

Now, they’re festival peers — both had films at Cannes this year — and Kurosawa’s cinematographer on “Samurai” was Sasaki Yasuyuki, who had previously worked with Hamaguchi. Kurosawa takes the opportunity for a friendly jab. “I thought, ‘I’m going to steal him away from Hamaguchi.’ And I was successful!”

Now, when he meets younger fans and budding filmmakers, their enthusiasm excites him, though it seems to cause him some consternation. Apparently, a lot of people pirate his films so they can be completists. “They tell me this happily,” he says. “I have mixed feelings about this, because they shouldn’t be doing that, but there’s a sparkle in their eye, and I have to accept they really wanted to see my films. So while carrying these complex feelings, I tell them, ‘Thank you.’”

Kurosawa is also of two minds regarding what he frequently hears from Japanese film students, that their goal is getting into top festivals, winning awards and securing global recognition.

“Maybe they need to interrogate what’s in front of them more closely,” he says. “I question it a bit.” He pauses. “I want to say, ‘Have you thought about making a 90-minute yakuza film first?’”

The official trailer for the film adaptation of the African fantasy novel “Children of Blood and Bone” is making a splash online, and the director just revealed that she almost didn’t make the film.

Directed by Gina Prince-Bythewood (“The Woman King”), the film stars a slew of A-list actors including Regina King, Damson Idris, Cynthia Erivo, Amandla Stenberg, Idris Elba, Tosin Cole, Viola Davis, Chiwetel Ejiofor, Lashana Lynch and Thuso Mbedu.

The adaptation of the first installment of author Tomi Adeyemi’s bestselling “Legacy of Orïsha” fantasy trilogy is slated to hit theaters Jan. 15. The story follows Zélie Adebola, a courageous young woman with dormant magical abilities who has drawn the attention of tyrannical King Saran, the ruler of the kingdom of Orïsha, a fictional country in an alternative precolonial Nigeria inhabited by two distinct ethnic groups: divîners (inherently magical people who have had their magic stolen by King Saran) and the non-magical kosidán.

On Monday, Paramount held a “Children of Blood and Bone” trailer launch event at the Brooklyn Academy of Music in New York City. In a discussion moderated by “Master of None” actor Lena Waithe, Prince-Bythewood and the cast talked about the making and almost-not-making of the film.

According to Prince-Bythewood, helming “The Woman King” felt like the thing she’d been working toward her entire career. “And then this came and it was something even bigger and in a space that we hadn’t got to see ourselves in, which was big epic fantasy,” she said. “And as much as I needed a little rest, I couldn’t say no. And the beauty of this is that I was actually offered this film two different times over the last seven years. And both times I turned it down.”

Prince-Bythewood admitted that she wasn’t emotionally ready to hop on board and that she didn’t know how to make an epic fantasy film yet. “But there was something about this third time when they came to me,” she said.

“I still said, ‘I already turned it down so you’re wasting your time.’” She continued that she had realized, in retrospect, that the third offer came when it was supposed to come. Plus, with “The Woman King” under her belt, now she knew how to make the movie.

“There was something so deep and guttural about my connection this time when I read it,” she said. “I felt so connected to this young hero who’s fighting to find her purpose. There is so much going on in the world right now, and there’s so many themes within this that speak to that.”

Prince-Bythewood gushed about loving the book, the story and the characters. “Now how do I actualize it? How do I make it a film? And that’s the exciting and scary part. How do we make magic feel cultural?”

The director said her big-screen adaptation was “beautifully inspired by Nigeria and also inclusive of the whole diaspora. We wanted all of us to be able to see ourselves within this, just our complete and utter humanity, all the beautiful hues.”

The remark is notable in light of behind-the-scenes drama that has unfolded over the last year and a half. Prince-Bythewood co-wrote the script with Adeyemi, but the author recently distanced herself from the book-to-screen project and said she would not see the film after a casting controversy involving Stenberg, who portrays Princess Amari in the film.

In February 2025, Stenberg posted a since-deleted nine-minute TikTok addressing backlash that suggested colorism was at play when she landed the gig. She told followers that Adeyemi had given the actor her blessing when cast as the series’ princess.

“I am four months into training for ‘Children of Blood and Bone’ and I am getting my ass whooped,” Stenberg joked in the video, per BET.

“I had the opportunity to meet Tomi, the novelist, for the first time. … And she goes, ‘Amandla, I want you to know that when you were a little girl and you were cast as Rue in ‘The Hunger Games,’ and people said that Rue’s death wouldn’t be as sad because you’re a Black girl — that inspired me to write this series so that Black girls like you and Black girls of all shades could have a story written about them.’”

Shortly after Stenberg said Adeyemi gave the actor her blessing, they had a text exchange that hinted at a change of heart or different story entirely.

This month, the Nigerian American author posted a since-deleted video on TikTok addressing fans who had been — according to her — asking her the same question, “Why don’t you post about the adaptation of your first film adaptation anymore?”

“There is a reason I will not post anything about the adaptation of my work,” the author wrote in what appeared to be screenshots of a group chat. “I have not seen the film, and I will not watch it.”

Alongside the screenshots of her comments in the group chat, she shared a February 2025 exchange with Stenberg. Adeyemi shared only her final message to the actor, which read, “Do not ever use my name in an interview or video again. Do not text me. Do not call me.” That exchange is followed by a notification that she blocked Stenberg.

The message from Stenberg that preceded Adeyemi’s reply was not shown in full.

July 28 (UPI) — The U.S. Senate voted 51-47 along party lines Tuesday evening to confirm Jay Clayton as director of national intelligence, succeeding Bill Pulte.

The vote comes one day after lawmakers voted to advance Clayton’s nomination with no Democrats voting to approve.

After the vote Tuesday, Sen. Mark Warner, D-Va., the top Democrat on the Senate Intelligence Committee, said that he is skeptical of Clayton in the role.

“I came away from his confirmation process with serious reservations about whether he would be willing to stand up to political pressure when it matters most,” Warner said. “Now that he has been confirmed, I sincerely hope he proves those concerned unfounded, because the intelligence community deserves steadier leadership than it has received in recent months.”

Bill Pulte, the acting director, announced Tuesday on social media that he had executed “a fifth and near-final round of TERMINATIONS” that mark a 30% staff reduction during his time in the office.

On July 15, Democrats in the Senate questioned Clayton, a U.S. attorney, on Trump’s allegations that he won the 2020 election. Clayton wouldn’t say that former President Joe Biden won the election, but would say that he was “certified” as president. Clayton said he is not an election denier.

“You refuse to answer a basic question about who won a presidential election, but you ask to lead America’s intelligence community,” Sen. Jon Ossoff, D-Ga., said the confirmation hearing. “Isn’t it humiliating to be unable to answer this question, to have to indulge the president’s delusions?

President Donald Trump announced Clayton as his nominee in June as senators on both sides of the aisle protested the placement of Pulte. Pulte runs the Federal Housing Finance Agency and has referred four of Trump’s perceived enemies for prosecution on allegations of mortgage fraud.

Democrats in the House wouldn’t renew Section 702 of the Foreign Intelligence Surveillance Act, a bill that would have extended warrantless spy powers rules, in retaliation for Pulte being named for the position. It’s unclear if the Senate will vote to extend FISA once Clayton is approved.

The House will not be back in session until September.

Tulsi Gabbard resigned from the ODNI in May.

President Trump ordered his administration Friday to install signs in front of the Smithsonian Institution’s U.S. history museum telling visitors that some of the exhibits are inaccurate, his latest move to reshape how the story of the United States is told.

Trump’s move follows a report released July 4 by his Domestic Policy Council saying leaders of the Smithsonian and its National Museum of American History don’t tell history “in a way that is inspiring, unifying, and worthy of our great republic.”

The president lacks authority to quickly fire the Smithsonian leadership or to order changes to exhibits, so his executive order targets the sidewalks out front, which are maintained by the National Park Service. The order calls for signs telling visitors about the White House report and directing them to resources for what he calls “accurate information regarding America’s history.” It also calls for a temporary exhibit that corrects information he deems inaccurate.

Smithsonian officials declined to comment on Trump’s order.

Anthea M. Hartig, director of the National Museum of American History, challenged the White House report during congressional hearings last week.

“As we continue to fact-check the report, we unwaveringly attest that it does not fairly or accurately characterize the full body of work at the museum,” she told lawmakers. “There is always room for improvement. But I also know the beauty and the inspiration and the expertise that lies in our collections, our exhibits, and our programming.”

The Smithsonian operates outside the executive branch, and museum directors report to Smithsonian Institution Secretary Lonnie Bunch, who is subject to oversight from its Board of Regents.

Trump’s escalating effort to force changes at the Smithsonian marks the president’s latest move to transform cultural pillars of society, such as universities and art, that he considers out of step with conservative sensibilities. Trump had himself installed as chairman of the John F. Kennedy Center for the Performing Arts with the aim of overhauling programming, and his handpicked board voted to add his name to the building, only for a federal judge to later order the signs to be removed.

Trump has also imposed changes on historical sites beyond Washington, including in Philadelphia, where the administration won a court ruling this month allowing it to reinstall interpretive panels that critics say whitewash the history of slavery at the site of President Washington’s home. Advocates, academics and officials have been concerned for months that the version that complies with Trump’s order could give a history that plays down the pain in the nation’s past in favor of a more triumphant view.

Trump in March revealed his intention to force changes at the Smithsonian Institution with an executive order that targeted funding for programs that advanced “divisive narratives” and “improper ideology.”

Cooper writes for the Associated Press.

July 23 (UPI) — A Senate committee delayed a vote on the Trump administration’s Centers for Disease Control and Prevention director nominee, Erica Schwartz, because enough members were not present.

Sen. Lisa Murkowski, R-Alaska, was absent from the Senate Committee on Health, Education, Labor and Pensions meeting on Thursday because of a family emergency, which led committee chair Bill Cassidy, R-La., to postpone the vote, Politico reported.

Cassidy also said Thursday that he decided to vote for Schwartz because of a “good faith action” the CDC reportedly made to its website earlier in the day.

The action included changing language on its website about the lack of an association between vaccines and autism, which had been ordered changed by Health and Human Services Secretary Robert F. Kennedy Jr. last year.

Cassidy asked detailed questions during her nomination hearing about vaccines and how the agency, which has had a full-time director for just one month since President Donald Trump re-entered the White House, would restore confidence in its public health mission, The Hill reported.

“I’m confident that she knows what she’s doing and will stand against those who do not,” Cassidy said during the meeting.

“If confirmed, I look forward to working with Dr. Schwartz to protect children’s health and regain trust in the CDC,” he said.

“There’s more to do to repair the damage that has been done to the U.S. public health response, but this is a start,” the Louisiana Republican added.

Even with Cassidy deciding to vote for Schwartz, Republicans on the committee would have needed a Democrat or Sen. Bernie Sanders, I-Vt., who caucuses with the Democrats, to vote in favor.

Sanders ended that possibility when he expressed respect for Schwartz’s career but said that he was concerned she would not be able to hold off some of the controversial changes Kennedy has either proposed or forced on the agency.

“I will be voting against Dr. Schwartz because we need people in this country who are going to stand up, protect the American people and I don’t think you can see that right now with Secretary Kennedy in his position,” Sanders said.

The HELP committee’s next executive session is scheduled for July 30, which is also the next time it will consider nominations, making it the next opportunity for Schwartz’s nomination to come up for a vote.

The committee also put off a vote on Sean Kaufman, who is nominated to lead the Administration for Strategic Preparedness and Response, because Republicans did not have enough votes to forward the nomination to the full Senate.

WASHINGTON — President Trump used a rare prime-time address Thursday night to renew his attacks on the security of U.S. elections, telling Americans that the nation’s voting system is “so broken” that “no one can possibly defend it,” an unprecedented effort by a sitting president to undermine public confidence in domestic elections.

Many of the claims he made, which echo those he made after he lost the 2020 election, have been debunked by investigations, audits and court proceedings. Trump did not claim that vote counts were changed or election systems were hacked, and his warnings that the nation’s elections could be vulnerable to foreign influence have long been made by members of both parties.

But the president amplified those claims and others in an effort to cast fresh doubt over what he said was a “stolen” and “rigged” election and renew calls to pass a federal voting law ahead of the November election.

“Addressing this crisis of elections security demands that Congress will pass the SAVE America Act,” Trump said. “How easy is that to do? Unless you want to cheat.”

Trump said he directed the White House to release a tranche of heavily redacted documents that purport to show “vulnerabilities” in the nation’s voting system, with the goal of “correcting them very, very quickly.”

The 26-minute address to the nation — a platform traditionally reserved for rare moments of national importance — was the latest effort by Trump to attempt to assert more federal control over state elections.

Major broadcast networks declined to air Trump’s speech in full, instead reporting on it. Trump complained about NBC and ABC as he spoke, saying they should lose their broadcasting licenses. He falsely claimed that “they and others in the media are part of a plot” to “continue this fraud.”

In his remarks, Trump alleged China carried out what is believed to be the “largest compromise of election data history” starting during the 2020 election cycle and claimed that “members of the deep state” in the American intelligence community covered it up.

He directed the FBI, the director of national intelligence and other agencies led by some of his loyalists to investigate and prosecute the people responsible for the cover up.

Democrats swiftly condemned Trump’s claims as baseless and rehashed ideas that have little to do with actual election administration.

“Donald Trump is releasing unverified, meaningless documents to appease his own delusions about an election he lost resoundingly, all while continuing to withhold 3 million pages of the Epstein files,” Senate Minority Leader Chuck Schumer said on X.

Multiple reviews of the 2020 election have concluded that Democrat Joe Biden won legitimately, and election experts say there is no evidence that widespread fraud affected the outcome of the election.

“It’s been more than half a decade, with numerous audits, recounts, and more than 60 court cases, each finding no evidence of widespread voter fraud,” Sen. Alex Padilla (D-Calif.) said in a statement. “Clearly, this is no longer about an election Donald Trump lost six years ago. It’s about him laying the groundwork to try to ‘take over the voting’ in the upcoming midterm elections.”

Ahead of the speech, elections and democracy experts had cautioned that the president may attempt to sow doubt in the security of the nation’s election system or bolster debunked fraud claims.

Trump has taken a series of steps since retaking office aimed at exerting control over elections. Some experts said Thursday’s address could be interpreted as a sign that Trump is running out of moves in the lead up to the midterm elections, where Republican control of the House is at stake.

“The fact that they’re throwing everything up on the walls at this point demonstrates panic,” said David Becker, executive director of the nonpartisan Center for Election Innovation and Research. “They are not operating from strength right now. They are operating from weakness.”

Trump delivered the address with his approval rating stagnating at 37%, according to a Washington Post-Ipsos poll released Thursday, with weakening enthusiasm among Republicans.

This is a breaking news story and will be updated.

“Remake” has a tragic tale to tell and director Ross McElwee wastes no time revealing its grieving heart. Near the start of this funereal documentary, the filmmaker addresses his subject directly: “It’s been seven years since you died,” he says to his late son Adrian through voice-over, “and I still miss you every day.”

Across McElwee’s 50-year career, he has worked intimately without a crew to make sense of his own life by diligently recording it. In the process, he turned his friends and loved ones into the unlikely stars of his acclaimed independent documentaries.

With “Remake,” he looks back at that footage, concentrating on the images he shot of Adrian since his birth in 1989. Adrian died on Christmas Eve 2016 of a drug overdose and McElwee clearly remains shattered. For a documentarian who specializes in personal movies, “Remake” feels especially revealing — both in terms of the glimpses we get of this father-son relationship and of unsolved mysteries that linger just outside the frame.

The film’s title ostensibly refers to a surprising phone call McElwee received about 20 years ago, when he was approached by Steve Carr, the director of broad comedies like “Paul Blart: Mall Cop,” who was eager to adapt McElwee’s 1986 documentary “Sherman’s March” into a movie. That landmark picture features McElwee, then in his mid-30s, as he tries to chronicle the exploits of Union Gen. William Tecumseh Sherman, who laid siege to the South during the Civil War. Except, in the midst of that project, McElwee’s focus shifts, delightfully, to his disastrous love life and the fascinating women he meets in his travels, becoming a deeply humane examination of modern courtship.

Carr doesn’t seem like an obvious choice to oversee a narrative remake, but McElwee decides to sell him the rights anyway. Soon in “Remake,” though, it becomes apparent that this is just one chapter of the story — and hardly the most essential. McElwee’s last film, 2011’s “Photographic Memory,” dealt with his increasingly frayed connection to Adrian, who was already fighting substance-abuse issues. “Remake” retraces Adrian’s childhood while filling in the details of the director’s life after “Photographic Memory,” including brain surgery and the dissolution of his 24-year marriage.

But Adrian is never far from his thoughts or absent from the screen: this smiling, happy boy slowly transforming into an edgy, troubled young man whose sweetness still occasionally shines through.

The passage of time is central to McElwee’s work, but he’s rarely scrutinized the topic as aggressively as he does here. It’s not simply that we watch Adrian age or revisit some of McElwee’s “Sherman’s March” subjects. (“Sherman’s March” is now screening in a new 4K restoration at the Laemmle Royal with “Remake.”) It’s also in the way that McElwee’s formerly wry narration now sounds far more resigned, his voice grown froggy and hushed as he nears 80. McElwee has often pondered the downside of essentially treating himself like a human camera, observing the world rather than fully engaging in it. But in “Remake,” he openly questions his artistic approach and, fittingly, he lets his son be his loudest critic.

As a boy, Adrian is enchanted by McElwee’s filming. In childhood, he paints an abstract picture of God in which the Almighty eerily resembles a movie camera. But although Adrian soon picks up a camera as well, increasingly interested in being a filmmaker himself, he resents how his father intrudes on their time together by constantly shooting their conversations. McElwee’s scenes of them at the Venice Film Festival for the “Photographic Memory” premiere are especially fraught, Adrian’s prickly reaction to a movie about his drug abuse creating tension between the two men at the subsequent press conference.

In “Remake,” McElwee laments that he didn’t do enough to help him navigate addiction and the mental-health issues that exacerbated it. (Adrian was diagnosed with bipolar disorder.) Was McElwee too consumed with his own career to be there for his son? The question haunts “Remake” — he includes an indelible sequence from “Sherman’s March” in which his longtime friend Charleen upbraids him for always having the camera out. “This isn’t art,” she hollers. “This is life!” Did McElwee never come to appreciate the difference?

A eulogy that also serves as an apology, a reckoning and a confession, “Remake” is filled with moments that are crushing because of how understated they are, none more brutal than when McElwee visits Adrian near the end of his life, when he’d moved to Colorado to get a fresh start. “He seemed to be doing OK,” McElwee recalls thinking. “But I always leave knowing I’m probably not seeing the whole picture.”

Even now, poring through his footage, desperately looking for clues, McElwee pines for that larger view — the one that might somehow bring the boy back to his inconsolable father.

The Trump administration’s latest nominee to lead the nation’ top public health agency drew frustrated reactions from some U.S. senators on Wednesday when they pressed her on whether she would protect the Centers for Disease Control and Prevention from political meddling.

Dr. Erica Schwartz told the Senate health committee she “will never betray the science” and pledged to use “radical transparency” in a bid to rebuild public trust in the agency. But several senators questioned how she might handle pressure from Health Secretary Robert F. Kennedy Jr., who has repeatedly moved to alter U.S. vaccine and CDC policies. Schwartz repeatedly declined to dissent from some of those actions.

Schwartz, 54, is up for director of the Atlanta-based CDC, which is charged with protecting Americans from preventable health threats.

Her career has largely been spent in military uniform, including in a leadership position at the U.S. Coast Guard where she oversaw the organization’s system of 41 clinics and 150 sick bays — as well as policies promoting vaccinations of service members. She later served as deputy surgeon general, where she helped lead uniformed medical and health professionals posted at the CDC and government health agencies that serve the general public.

The CDC long enjoyed a sterling international reputation but has been in turmoil since Trump returned to office last year. Largely due to layoffs and resignations, the agency has lost more than 3,000 employees, or more than a quarter of its workforce. Morale has plummeted as a succession of mostly temporary leaders have come and gone — the front office filled with political appointees, many of them with little or no training in medicine or public health.

“There’s still really good people who work there (at the CDC). They are doing their best to navigate choppy waters,” said Dr. David Margolius, director of Cleveland’s health department and a leader in a U.S. coalition of big city health departments. But CDC no longer seems to the authoritative and communicative lead that it was on outbreaks and other public health emergencies.

“Basically everybody’s got to kind of choose their own adventure, as opposed to being led by a national public health department,” Margolius said.

CDC has had several leaders

The agency is overseen by Kennedy, who was a leading voice in the anti-vaccine movement before he was tapped to lead the CDC and other federal health agencies. Kennedy had promised not to change the nation’s vaccination schedule. But shortly after taking office, Kennedy said he was going to investigate the childhood vaccine schedule and went on to attempt a substantial rewrite of vaccine recommendations for kids. Some of those efforts were put on hold earlier this year by a federal judge.

The administration’s first pick to run the CDC was former Florida congressman Dr. David Weldon, but his March 2025 Senate confirmation hearing was canceled an hour before it was to begin. Weldon said at the time that he’d been told not enough senators were willing to vote for him.

The White House then moved on to Susan Monarez, who had been serving as the CDC’s acting director. Monarez was confirmed by the Senate, but she was ousted in less than a month. Trump administration officials said she wasn’t aligned with their agenda so they terminated her.

Several key CDC scientific leaders resigned in protest, saying Monarez’s dismissal dashed their hopes that a CDC director would be able to guard against political meddling in the agency’s scientific research and health recommendations.

Since then, there’s been a revolving door in agency leadership, with the short-term role of acting director being passed from one Washington-based HHS official to another. National Institutes of Health Director Jay Bhattacharya has been overseeing the CDC most recently.

Schwartz said she was unaware of actions that hurt the CDC

On Wednesday, some senators suggested Schwartz should follow Monarez’s example, and they asked her about actions Kennedy has taken that have affected CDC.

Schwartz said she was unaware that CDC programs that worked to prevent smoking and promote vaccinations had been curtailed. She declined to commit to taking down a CDC website that suggests there’s a link between childhood vaccines and autism (she said she had not seen it), though she agreed existing medical evidence has not found a link.

Sen. Maggie Hassan, a New Hampshire Democrat, asked if she would — if Kennedy ordered her — suspend promotion of a flu vaccination campaign during a deadly flu season.

“Senator, I don’t speak in hypotheticals,” Schwartz responded.

“It isn’t hypothetical. It happened,” said Hassan, referring to internal CDC emails, released by Sen. Bernie Sanders last month, that documented such a directive from Kennedy to CDC staff last year.

Schwartz said she agreed that CDC should prioritize responding to infectious diseases. “I think over time, the CDC has had some mission creep, and it’s trying to be all things to all people,” she said.

But she also agreed to requests from Republican senators to — if confirmed — look into whether AI data centers cause health problems and into the possibility of establishing a World Trade Center Health Program clinical center in Florida.

Senators also heard from nominee overseeing health emergency preparedness

In April, Trump nominated Schwartz, calling her “incredibly talented.” In a congressional hearing in April, Kennedy said he approved of the choice, but refused to commit to supporting whatever vaccine guidance she might issue.

Last month, Schwartz filed letters with the government that address her finances and potential conflicts of interest. She wrote that if confirmed, she will leave her current job with UnitedHealth Group, where she’s making about $850,000 in salary and bonus money and cash out her stock options. She also will resign from the board of directors of Butterfly Network Inc., a Massachusetts company that makes ultrasound devices; from the board of Atlanta-based Aveanna Healthcare, a medical home care provider; and from the board of the Florida-based Searching for Solutions Institute.

At Wednesday’s hearing, senators also considered the nomination of Sean Kaufman as the Assistant Secretary for Preparedness and Response, or ASPR. That job entails overseeing preparations and response to public health emergencies and disasters.

Last year, the Trump administration announced a plan to bring those responsibilities under CDC, but the dramatic HHS restructuring has not happened.

The assistant secretary’s office is involved in decisions about funding next-generation vaccines against pandemic flu or other infectious disease threats. In postings on LinkedIn, Kaufman has made comments cheered by vaccine skeptics, arguing against hepatitis B vaccinations for newborns and saying he served as an expert witness to advocate for people who refused the COVID-19 vaccine.

On Wednesday, Kaufman faced questions about past social media posts, including one in which he expressed hatred for the CDC. He also repeatedly was asked about his support of a Trump administration decision last year to cancel 22 projects, totaling $500 million, to develop vaccines using mRNA technology.

Infectious disease experts say the mRNA technology used in vaccines is safe, and they credit its development during the first Trump administration with slowing the 2020 coronavirus pandemic. Future pandemics, they warned, will be harder to stop without the help of mRNA.

Kaufman said he supported mRNA technology and believes COVID-19 vaccines are safe and effective, but said it made sense to study work that’s been done so far before, including learning more about any side effects.

Sen. John Hickenlooper, a Colorado Democrat, said such evaluations are the responsibility of other federal offices — not ASPR. He also said it may slow the nation’s ability to respond to emerging new infectious threats.

Stobbe writes for the Associated Press.

Scott Bryce, the actor best known for originating the role of Craig Montgomery on the soap opera “As the World Turns,” has died. He was 68.

Bryce died Sunday evening “surrounded by his loving wife Jodi Stevens-Bryce and loving son Jackson Bryce,” his agent Ken Melamed told The Times by email on Tuesday. “He was beloved by all!”

The actor revealed last year that he had been diagnosed with Stage 3 esophageal and stomach cancer in 2024.

“This evening my father lost his long-fought battle with cancer. What began as stage three esophageal cancer eventually spread and became brain tumors that took his life away from him,” Bryce’s son, Jackson, wrote in a tribute posted Sunday to Instagram. He said his father approached his treatments with “pride and courage, and an unshakable belief that somehow, everything would work out.”

“May his strength and relentless belief forever live within me,” he added. “He fought the hardest and most honorable fight I have ever witnessed.”

Born Jan. 6, 1958, in New York, Bryce followed in the footsteps of his actor parents. His father, Ed, portrayed Bill Bauer on the daytime drama “Guiding Light” for years, while his mother, Dorothy, was known for her role on the hospital soap “The Doctors.”

Bryce made his television debut as Craig Montgomery on CBS’ long-running soap “As the World Turns” in 1982. He received two Daytime Emmy nominations for his portrayal of the charming but ruthless businessman, whom he portrayed off and on from 1982 to 2008. The character was known for his ambition and mysterious business dealings but also had a reputation for being unlucky in love. One early romantic interest was Betsy Stewart, who was portrayed by Meg Ryan from 1982 to 1984.

Finn Carter, who played Montgomery’s wife, Sierra Esteban, on the show, shared a tribute to Bryce on Instagram Monday.

“My sadness knows no bounds. My gratitude for Scott knows even fewer,” Carter wrote. “Scott was the best husband a woman could ask for. As an actor he was fearless, kind, generous and forever looking for ways to grow. And what a sense of humor!”

Over the course of his decades-long career, Bryce appeared on shows such as “The Facts of Life,” “The Golden Girls,” “Murphy Brown,” “L.A. Law,” “The Good Fight,” “Law & Order” and “Law & Order: Special Victims Unit.”

He also portrayed Mike McQueen, the father of a cheerleader (Leslie Bibb) on the millennial teen drama “Popular.” McQueen marries the mother of his daughter’s high school rival (Carly Pope) in the series, which ended on a cliffhanger in 2001 after its cancellation.

“When asked what he wanted people to remember about him, he said, ‘I was a one-take actor. Two takes, max,’” Jackson Bryce wrote in his tribute. “In working with Dick Wolf on NBC, directors would schedule him at the end of the day because they knew it wouldn’t take long.”

In addition to his onscreen work, Scott Bryce was a theater actor as well as a director and a producer, with credits including the 2010 television movie “Frederick Douglass, From Slavery to Freedom” and the satirical web series “Steamboat.”

“My dad also made sure I knew his greatest accomplishment that came at 50 years old, becoming a Dad,” son Jackson said in his tribute. “He is a part of everything I’ve done and everything I will do.”

A top spokesperson for Los Angeles Mayor Karen Bass left her administration Monday after a brief tenure, joining a growing list of communications aides who have departed over the past nine months.

Kolby Lee, who started as Bass’ director of communications in February, said he was resigning to spend time with family and loved ones.

“I’m very grateful to Mayor Bass for giving me the opportunity to be part of her team and serve the people of Los Angeles,” Lee said in a statement.

Bass’ communications office said in a statement to The Times, “We thank Kolby for his contribution to the office and wish him and his family well.” Bass is running for reelection against City Councilmember Nithya Raman.

The departures began in October, when Zach Seidl, Bass’ longtime deputy mayor of communications, left for the private sector.

Press secretary Clara Karger left in January after working for the mayor for nearly three years.

Bass then brought on Amanda Crumley to replace Seidl. But Crumley lasted little more than a month, leaving in March.

Lee started as communications director shortly before Crumley’s departure, serving for about five months.

During Lee’s time in the administration, Bass was also receiving pro bono communications help from Yusef Robb, an outside consultant who worked on her 2022 campaign.

Robb was not paid by the city for his work and served in an unofficial role providing comments on important issues, including Bass’ involvement in damage control surrounding the 2025 Palisades fire.

Lee provided comment to The Times in a story published Saturday about Robb’s work for the Bass administration at the same time that he is a crisis communications consultant for Lineage Logistics, the company whose Boyle Heights warehouse erupted in flames last month, inundating the area with toxic smoke and rotting food odors.

July 1 (UPI) — John Brennan, former director of the CIA and a longtime foe of the Trump administration, filed a lawsuit Wednesday asking a federal court to preserve all records related to the administration’s investigation of him.

The Justice Department has been eyeing Brennan for months, with lawyers interviewing former intelligence officials and issuing subpoenas as part of a conspiracy investigation, The Washington Post reported.

Justice Department officials have alleged that Brennan and others violated President Donald Trump‘s civil rights in a conspiracy back to the Obama administration that included efforts to prosecute Trump and investigate his ties to Russia, The Post said. Rep. Jim Jordan, R-Ohio, also referred Brennan to the Justice Department, alleging that he lied during testimony to Congress.

Brennan’s attorneys requested that a judge order the administration to preserve any internal records and communications from the investigation.

The records could be used as part of defense arguments that the investigation and any prosecution are part of Trump’s attempt to vindictively punish Brennan, the attorneys said, citing an administration policy “of using criminal process and prosecution to punish the president’s perceived adversaries,” The Post said.

“Administration officials from the acting attorney general to the FBI director and the counselor overseeing the Brennan investigations have been publicly declaring Director Brennan a criminal, not only before securing a conviction in court but even before a full investigation and indictment,” the lawyers wrote, CNN reported.

“And, certain officials in the Department of Justice are engaging in demonstrably irregular prosecutorial activity in order to gin up a case that will satisfy the president’s direction,” they wrote.

Brennan has also said the court should preserve any records that could be used in any broader “grand conspiracy” investigation by the Justice Department. He has denied any wrongdoing. The lawsuit names Trump, acting Attorney General Todd Blanche, FBI Director Kash Patel and prosecutors in Florida overseeing the investigation.

Carl Erik Rinsch, the director of the 2013 Keanu Reeves action film “47 Ronin,” will serve more than two years in federal prison for defrauding Netflix of $11 million.

U.S. District Judge Jed S. Rakoff on Monday sentenced 48-year-old Rinsch to 30 months in prison, the U.S. Attorney’s Office, Southern District of New York, announced. Federal prosecutors convicted Rinsch in December of wire fraud, money laundering and other counts. A legal representative for Rinsch did not immediately respond to a request for comment on Tuesday.

Federal prosecutors indicted Rinsch in March 2025, alleging the $11 million went into Rinsch’s personal accounts. The filmmaker “quickly transferred” the money from the Rinsch Co. account, where it had been deposited March 6, 2020, by Netflix, through additional accounts until about $10.5 million wound up weeks later in a personal brokerage account. He lost more than half of that money in less than two months via risky investments in the stock market, the indictment said.

Though Rinsch told the streamer that his sci-fi show “White Horse” was progressing nicely, the filmmaker allegedly moved the remaining money into cryptocurrency and profited from crypto speculation over the next couple of years. The streamer had invested around $44 million in the show. Rinsch was accused of spending around $10 million on five Rolls-Royces, a Ferrari, watches, clothing, luxury bedding and linens, credit card bills, attorneys to sue Netflix for more money, and lawyers to work on his divorce.

He was arrested in West Hollywood and released the same day after agreeing to post a $100,000 bond to guarantee his appearance in a New York federal court.

Rinsch never finished the Netflix show.

During his sentencing, Rinsch and his legal team told the court his behavior was a result of mental health struggles and medication problems and they are working to address those issues with a new care provider, the Associated Press reported.

“I failed to recognize the danger of the state I was in,” Rinsch said, though his mental issues were not described in court, and his attorneys declined to provide further detail.

Ahead of the sentencing, Reeves — the star of Rinsch’s most notable project to date — penned a letter in May requesting “leniency and mercy as well as justice” in the filmmaker’s sentencing.

In addition to prison time, Rinsch must serve three years of supervised release, forfeit the $11 million and pay $700 in mandatory special assessments, according to Monday’s announcement. U.S. Attorney Jay Clayton said in the announcement: “Today’s sentence sends a deterrent message: fraud will not be tolerated.”

The Associated Press and former Times assistant editor Christie D’Zurilla contributed to this report.

NEW YORK — President Trump said he is nominating Lance Schroyer, a former Oklahoma state trooper, as the next director of Immigration and Customs and Enforcement.

On his social media platform Saturday, Trump described Schroyer, a former Marine, as “a proven leader” with “real operational experience.”

Schroyer hails from the same state as the new Department of Homeland Security Secretary Markwayne Mullin, a former congressman. Earlier this month, Mullin brought Schroyer on stage at a National Sheriffs’ Assn. event, calling him a “good friend of mine” and noting the department had recently hired him.

Mullin quickly praised Schroyer in a statement highlighting the former trooper’s 29-year career and his work with federal and state partners on a U.S. immigration enforcement program.

“President Trump made a great pick, and I’m confident Lance’s strong leadership and firsthand experience will empower the men and women of ICE to deport criminal illegal aliens, secure the homeland, and protect the American people,” Mullin said Saturday.

If confirmed, Schroyer will lead ICE at a time when the public mood has soured on Trump’s immigration crackdown, which sent surges of federal immigration officers into many U.S. cities. Those raids sent tensions soaring and prompted clashes between protesters and federal agents, including the fatal shootings of two U.S. citizens in Minneapolis this year.

Trump returned to the White House on a promise of mass deportations, and ICE has been a central executor of that vision. The agency is undergoing massive growth from a onetime injection of $75 billion last year, which has allowed for the hiring of 12,000 officers and increased detention capacity.

Mullin, who started in his role in March, has promised to keep his department out of the headlines and has indicated a softer tone on immigration, although he aligns with the president’s priorities on mass deportations.

Claire Trickler-McNulty, a former senior ICE official, said prior confirmed ICE directors have often been attorneys, though some state and local law enforcement officials have also been nominated. She said his background in Oklahoma suggests Mullin probably influenced the pick.

“I think probably given the attention on ICE, he wants to feel like he has somebody he can trust in there,” she said in an interview.

John Torres, another senior ICE official, said Schroyer faces an uphill climb toward Senate confirmation, but his experience being at the state and local level instead of the federal level might help.

“He won’t have any of that baggage, where they’re going to turn around and say, ‘Oh, well, he worked for this administration or that,’” Torres said.

Schroyer’s nomination comes after former ICE Director Todd Lyons resigned at the end of May. David Venturella, a former executive at a private prison operator, has been serving as the acting head of the agency. Venturella is expected to stay on as the acting director until Schroyer is confirmed, according to a Homeland Security official speaking on condition of anonymity.

ICE has not had a Senate-confirmed director since the Obama administration, a result of polarizing politics around the agency and immigration policy.

Swenson writes for the Associated Press. AP writers Elliot Spagat and Rebecca Santana contributed to this report.

June 27 (UPI) — President Donald Trump on Saturday announced that he nominated former Oklahoma state trooper Lance Schroyer to be director of Immigration and Customs Enforcement.

Schroyer, a senior advisor at the Department of Homeland Security and retired U.S. Marine, will replace former acting ICE Director Todd Lyons, who announced in April that he would leave the agency on May 31.

Trump announced that he is nominating Schroyer for the position in a post on Truth Social, touting his 29 years in law enforcement, including in previous partnership roles with ICE.

“He is a PATRIOT with real operational experience, and proven leader with DECADES of experience locking up the worst of the worst,” Trump said in the post.

“Lance has firsthand experience getting Illegal Aliens OFF our streets and, just like ME and our Secretary of Homeland Security Markwayne Mullin, he LOVES the men and women of ICE!” Trump said.

DHS said in a press release endorsing the nomination that Schroyer’s role as senior advisor to Mullin has included overseeing coordination of immigration enforcement and serving as a liaison between involved law enforcement agencies.

Before his position at DHS, Schroyer was a major in the Oklahoma Department of Public Safety with responsibility for its Emergency Services Unit and a longtime Oklahoma state trooper.

In a statement, Mullin noted that ICE has not had a Senate confirmed director in more than a decade and, echoing Trump’s post, said the Senate needs to quickly confirm Schroyer.

“Lance will play a vital role in helping deliver on the President’s mandate from the American people to target, arrest and deport illegal aliens,” Mullin said.

“Lance is coming straight from the operational field where he ran large scale operations and worked alongside state and federal partners to remove illegal aliens from Oklahoma under the 287g program,” he said.

Lyons was appointed by Trump in March 2025 after his predecessor, Caleb Vitello, did not start removing people from the United States who allegedly were illegally in the country.

In his roughly one year in the job, Lyons oversaw more than 475,000 removals of people from the country and nearly 379,000 arrests.

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.