Ellis

CHICAGO — An appeals court intervened Wednesday and suddenly blocked an order that required a senior Border Patrol official to give unprecedented daily briefings to a judge about immigration sweeps in Chicago.

The one-page suspension by the U.S. 7th Circuit Court of Appeals came before Greg Bovino’s first scheduled, late afternoon meeting with U.S. District Judge Sara Ellis at the courthouse in downtown Chicago.

Ellis had ordered the meetings Tuesday after weeks of tense encounters and increasingly aggressive tactics by government agents working Operation Midway Blitz. It has produced more than 1,800 arrests and complaints of excessive force.

Bovino told Fox News that he was eager to talk to Ellis. But government lawyers, at the same time, were appealing her decision. Lawyers for news outlets and activists who say agents have used too much force, including tear gas, have until 5 p.m. Thursday to respond in the appeals court.

Ellis’ order followed enforcement actions in which tear gas was used, including in a neighborhood where children had gathered for a Halloween parade last weekend on the city’s Northwest Side. Neighbors had joined in the street as someone was arrested.

“Halloween is on Friday,” she said. “I do not want to get violation reports from the plaintiffs that show that agents are out and about on Halloween, where kids are present and tear gas is being deployed.”

Bovino defended agents’ actions.

“If she wants to meet with me every day, then she’s going to see, she’s going to have a very good firsthand look at just how bad things really are on the streets of Chicago,” Bovino told Fox News. “I look forward to meeting with that judge to show her exactly what’s happening and the extreme amount of violence perpetrated against law enforcement here.”

Meanwhile, prosecutors filed charges against Kat Abughazaleh, a Democratic congressional candidate, and five other people over protests at an immigration enforcement building in Broadview, outside Chicago. The indictment, unsealed Wednesday, alleges they illegally blocked an agent’s car on Sept. 26.

Abughazaleh said the prosecution was an “attempt to silence dissent.”

The Chicago court actions came as groups and officials across the country have filed lawsuits aimed at restricting federal deployments of National Guard troops.

President Trump’s administration will remain blocked from deploying troops in the Chicago area until at least the latter half of November, following a U.S. Supreme Court order Wednesday calling on the parties to file additional legal briefs.

The justices indicated they would not act before Nov. 17 on the administration’s emergency appeal to overturn a lower-court ruling that has blocked the troop deployments.

In Portland, Ore., a federal trial seeking to block a troop deployment got underway Wednesday morning with a police commander describing on the witness stand how federal agents at a U.S. Immigration and Customs Enforcement building repeatedly fired tear gas at nonviolent protesters.

In Chicago, Bovino, who is chief of the Border Patrol sector in El Centro, Calif., was to sit for a daily 5:45 p.m. briefing to report how his agents are enforcing the law and whether they are staying within constitutional bounds, Ellis said. The check-ins were to take place until a Nov. 5 hearing.

Ellis also demanded that Bovino produce all use-of-force reports since Sept. 2 from agents involved in Operation Midway Blitz.

The judge expressed confidence Tuesday that the check-ins would prevent excessive use of force in Chicago neighborhoods.

Ellis previously ordered agents to wear badges, and she has banned them from using certain riot control techniques against peaceful protesters and journalists. She subsequently required body cameras after the use of tear gas raised concerns that agents were not following her initial order.

Ellis set a Friday deadline for Bovino to get a camera and to complete training.

Lawyers for the government have repeatedly defended the actions of agents, including those from U.S. Immigration and Customs Enforcement, and told the judge that videos and other portrayals of enforcement actions have been one-sided.

Besides his court appearance, Bovino still must sit for a videotaped Thursday deposition, an interview in private, with lawyers from both sides.

Fernando writes for the Associated Press.

CHICAGO — A judge on Tuesday ordered a senior U.S. Border Patrol official to meet her each evening to discuss the government’s immigration crackdown in the Chicago area, an extraordinary step following weeks of street confrontations, tear gas volleys and complaints of excessive force.

“Yes, ma’am,” responded Greg Bovino, who has become the face of the Trump administration’s immigration sweeps in America’s big cities.

Bovino got an earful from U.S. District Judge Sara Ellis as soon as he settled into the witness chair in his green uniform.

Ellis quickly expressed concerns about video and other images from an illegal immigration drive that has produced more than 1,800 arrests since September. The hearing is the latest in a lawsuit by news outlets and protesters who say agents have used too much force, including tear gas, during demonstrations.

“My role is not to tell you that you can or cannot enforce validly passed laws by Congress. … My role is simply to see that in the enforcement of those laws, the agents are acting in a manner that is consistent with the Constitution,” the judge said.

Bovino is chief of the Border Patrol sector in El Centro, Calif., one of nine sectors on the Mexican border.

The judge wants him to meet her in person daily at 6 p.m. “to hear about how the day went.”

“I suspect, that now knowing where we are and that he understands what I expect, I don’t know that we’re going to see a whole lot of tear gas deployed in the next week,” Ellis said.

Ellis zeroed in on reports that Border Patrol agents disrupted a children’s Halloween parade with tear gas on the city’s Northwest Side over the weekend. Neighbors had gathered in the street as someone was arrested.

“Those kids were tear-gassed on their way to celebrate Halloween in their local school parking lot,” Ellis said. “And I can only imagine how terrified they were. These kids, you can imagine, their sense of safety was shattered on Saturday. And it’s going to take a long time for that to come back, if ever.”

Ellis ordered Bovino to produce all use-of-force reports since Sept. 2 from agents involved in Operation Midway Blitz. She first demanded them by the end of Tuesday, but Bovino said it would be “physically impossible” because of the “sheer amount.”

Lawyers for the government have repeatedly defended the actions of agents, including those from U.S. Immigration and Customs Enforcement, and told the judge that videos and other portrayals have been one-sided.

Besides his court appearance, Bovino still must sit for a deposition, an interview in private, with lawyers from both sides.

The judge has already ordered agents to wear badges, and she’s banned them from using certain riot control techniques against peaceful protesters and journalists. She subsequently required body cameras after the use of tear gas raised concerns that agents were not following her initial order.

Ellis set a Friday deadline for Bovino to get a camera and to complete training.

Attorneys representing a coalition of news outlets and protesters claim he violated the judge’s use-of-force order in Little Village, a Mexican enclave in Chicago, and they filed an image of him allegedly “throwing tear gas into a crowd without justification.”

Over the weekend, masked agents and unmarked SUVs were seen on Chicago’s wealthier, predominantly white North Side, where video showed chemical agents deployed in a street. Agents have been recorded using tear gas several times over the past few weeks.

Bovino also led the immigration operation in Los Angeles in recent months, leading to thousands of arrests. Agents smashed car windows, blew open a door to a house and patrolled MacArthur Park on horseback.

Fernando writes for the Associated Press.

After 15 years, four records and a buzz-making barrage of shows, tours and festivals, the moody, multifaceted music of north London’s Wolf Alice is huge in the U.K., thanks to uniquely seductive soundscapes, visceral live shows and a relentless hunger for experimentation that melds rock, shoegaze and alternative pop.

With their latest studio album, “The Clearing,” the members are primed for the next level of success in the U.S., and it comes via songs that reflect their growth as individuals and as a collective.

Consisting of lead singer Ellie Rowsell, guitarist Joff Oddie, bassist Theo Ellis and drummer Joel Amey, Wolf Alice provides both feminine and masculine perspectives on life that feel resonant and real, with sonic approaches that can go from raging one moment to restrained the next. They’ve honed their sound even as they’ve continued to experiment with it. The result is exciting for them and for fans, now more than ever.

“This tour has been incredible. It’s definitely been the busiest and had the biggest shows we’ve ever played in America,” Ellis tells The Times via Zoom, noting that the band’s upcoming Wiltern date in Los Angeles on Oct. 13 is almost sold out.

Wolf Alice’s connection to Los Angeles is especially significant at this phase of its career. “The Clearing” was recorded here with famed producer Greg Kurstin (Adele, Miley Cyrus), who brought his pop sensibilities to the project, even as he encouraged the band to follow its own eclectic instincts, dipping into synthy, dancy elements and balladry with bite.

“We’ve had a different producer every album, so every experience has been quite different,” says drummer Amey, who joins our Zoom later. “He was just a very calm and positive force in the studio that made all of us feel very comfortable, to be able to be the best versions of ourselves … And it did come at a time where maybe even the four of us were second-guessing ourselves. We’d been in this headspace for a while about how we wanted to treat the sonics of the record. You can get stuck in that cycle … But he was so positive that he could help us get there, and he did.”

As Taylor Swift’s latest record brings scrutiny to the construction and thematics of pop music and its presentation, Wolf Alice’s seductive sway and wistful grit feels comparatively effortless, even if it’s just as accessible.

Buzz in the U.S. started after a killer set at Coachella 2016, but we caught Wolf Alice the following year at Dave Grohl’s Cal Jam in 2017. Its emotive alt-rock melodies and charisma more than held its own next to headliners including fellow-Brit Liam Gallagher and the Foo Fighters themselves (who the band has also toured with). The material, largely off its first and second albums, “My Love Is Cool” and “Visions of a Life,” respectively, offered a compelling blend of sharp riffage and dreamy textures, which reminded us of everyone from Smashing Pumpkins to Cocteau Twins at the time. Standout tracks we noted included the dissonant “Yuk Foo” and the sassy hit “Don’t Delete the Kisses.”

After another shimmering genre-blending release, 2021’s “Blue Weekend,” and now “The Clearing,” it’s almost a decade later, and the band is even harder to codify. The members are also bonafide touring and festival vets.

“In the U.K., festival culture is, like, a whole thing. The U.S. is kind of getting more like that too,” Amey says. “But European and U.K. festival culture is a rite of passage for a teenager … it’s ingrained. If you’re starting a band, you’re thinking about festivals at some point. So we love playing them. We played Glastonbury this year, and it just felt like a really wonderful way to say, ‘We’re back, here’s some new stuff,’ and also a celebration of the old stuff.”

Old or new, creative imagery has been a consistent component of Wolf Alice’s expression. Building upon the cinematic qualities of its music, its videos elevate not only its narratives but also its rock-star personas as well.

“This album explores themes of performance which I think is prevalent in the music videos and musically, in rock ’n’ roll which we also explore,” frontwoman Rowsell shares by email. “In the past Wolf Alice have shied away from performance videos so this marks a new vibe for us.”

“Bloom Baby Bloom,” which features an “All That Jazz”-style dance sequence (with choreography by L.A.’s Ryan Heffington, known for his magical movements on the Netflix cult fave “The OA” and in Sia’s “Chandelier”) brings out the drama and audacious expression of the song, especially Rowsell’s soaring vocals. It also highlights the band’s maturation and liberation as established artists at the height of their performing powers.

Similarly, “Just Two Girls,” a sweet ode to female friendship that’s a cool, ’70s soft-rock filler track on record, becomes more of a defiant anthem for feminine freedom on video.

“It’s a wonderful license of expression in which you can kind of do whatever you want,” reflects Ellis on the videos. “It’s absurdist in its nature and there are really interesting formats to explore. We’ve had some great experiences in America making them.”

The band has also had memorable moments on Amercian late-night TV, including “Jimmy Kimmel Live!” and “The Tonight Show Starring Jimmy Fallon,” turning in wild appearances that reflect its name (inspired by a book about feral children raised by wolves).

And while good old-fashioned live performance has helped its popularity grow, the band acknowledges that the music industry is different — even from when it started 15 years ago, with streaming’s domination and platforms like TikTok exposing music to new audiences. For a band driven by its own interpersonal chemistry, interactions and influences, it’s not top of mind.

“We’re not concerned with how it’s going to be distributed to people fundamentally, as we’re creatively trying to satisfy ourselves,” Ellis says. “I don’t think the mechanics of [music discovery] are affecting what we’re making in the studio or the creative process. There’s so much for a band to create nowadays, and to worry about … from our perspective, the music is what comes first and then everything else is hopefully just kind of a fun way of presenting it to the world.”

Cardi B testified Tuesday that she never touched, scratched or spat at a security guard who is suing her over an alleged assault by the pop star outside a Beverly Hills obstetrician’s office.

The rapper, whose real name is Belcalis Marlenis Almánzar, took the witness stand in the second day of the civil trial in an Alhambra court and vigorously denied assaulting Emani Ellis on Feb. 24, 2018. Cardi B was visiting the 5th-floor office of the obstetrician at the time and was four months pregnant with her first child.

“It was a verbal incident,” insisted Cardi B. “She didn’t hit me. I didn’t hit her. There was no touching. So, to me, it wasn’t no incident.”

The rapper did say that they went chest to chest in the hallway outside the doctor’s office, and that she called the guard a “b—” because she believed Ellis was recording her with a cellphone.

“Was there spitting?” the security guard’s lawyer, Ron Rosen, asked.

“Absolutely not,” Cardi B replied.

“Did you call her the N-word?”

“No,” the performer replied, noting that she considers herself “Afro-Caribbean.”

“Did you take a swing at her?” Rosen followed up.

“No,” replied Cardi B, who insisted it was a “verbal fight. … It did not get physical at all.”

Rosen delved into the difference between a fight and a verbal altercation, asking whether he and the pop star were then having a verbal altercation. Cardi B replied that they were debating, a statement that was greeted with laughter in the courtroom.

The lawyer countered, “We’re debating about whether you assaulted and battered Ms. Emani Ellis?”

“I guess so,” replied Cardi B. “But I didn’t touch her. She didn’t touch me.” The recording artist said there were no videos of the incident.

Ellis filed suit in 2020, alleging assault, battery and intentional infliction of emotional distress as well as negligence and false imprisonment.

Ellis, who worked as a security guard at the building where Cardi B had her medical appointment, said during testimony on Monday that she was doing her rounds when she saw the celebrity get off the elevator. She testified that she was overcome with excitement and declared, “Wow, it’s Cardi B.”

Ellis said the performer then turned to her and said, “Why the f— are you telling people you’ve seen me?” Cardi B then accused her of trying to spread news about her being at the doctor’s office, she testified.

Cardi B cursed at her, used the N-word and other slurs, called her names, threatened her job, body-shamed her and mocked her career, Ellis said. She alleged Cardi B spat on her, took a swing at her and scratched her left cheek with a 2- to 3-inch fingernail.

Cardi B said when she turned around after getting off the elevator, she heard Ellis say her name and then saw Ellis with her cellphone and said, “Why are you recording me?” The performer said the guard said, “My bad,” but continued to follow her and said she had the right to follow her.

Cardi B said that they went chest to chest and that she did curse at Ellis but that she never touched the guard, who was physically larger. When the obstetrician’s receptionist finally came out, the guard alleged the singer had hit her — something that Cardi B said never happened.

The rapper conceded she never saw proof that Ellis was recording her. She said her appointment was both sensitive and confidential; she was seeing a doctor because of concerns about her pregnancy, which wasn’t yet public.

For the second day of the trial, the rapper — who is known for her daring style choices — donned a blond showgirl hairstyle that contrasted with the black short hair she wore during the first day of testimony. Under questioning, she said they were both wigs and that she had 1-inch nail extensions.

She refused to concede that she usually wore 2- to 3-inch nails, replying that sometimes she does and sometimes she doesn’t.

TAMZIN Outhwaite appeared to extend an olive branch to ex-husband Tom Ellis a decade after their split.

The former couple’s seven-year marriage ended in 2014 after Tom allegedly confessed to cheating with American actress Emilie de Ravin in 2013.

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Over the years, actress Tamzin, 54, has taken aim at her actor ex, who is best known for roles in Miranda and Lucifer, for “walking out” on her and their two children.

However, she appears at peace with their difficult history now, re-sharing pictures Tom, 46, uploaded to Instagram from the premiere of Netflix‘s The Thursday Night Murder Club.

They featured a suited Tom linking arms with daughter Marnie, 12, who stood beside brother Flo, 17.

Tamzin added: “My heart is bursting #suchaproudmama [love heart emoji].”

The positive post was very different in tone from a tweet she posted in 2023.

It read: “Ten years since the father of my kids walked out on us for the final time. I still meet new people on jobs who reveal more infidelities and lies he committed. 

“But thankfully my heart and soul are clear and clean and I could not be happier right now.”

After removing the post, the former EastEnders star explained: “Thank you all for your messages re my now deleted tweet.I was marking the 10 year anniversary with pride,a feeling of triumph & genuine gratitude.

“I understand it has triggered some people. For anyone struggling, the most important relationship you will ever have is with yourself.”

Last year Tamzin split from boyfriend of six years Tom Child. That relationship ended on much more civil terms, and she still refers to him as her “best friend”.

She credited him with being supportive throughout her eldest child’s transition to identifying as a boy.

Tamzin said: “[He] has been around for the whole of like Flo’s transitioning period, for the whole of Marnie becoming a girl that was discovering all sorts of stuff and boys, and so he is still a member of the family. We’ve been not together for over a year. 

“The kids often say to him ‘When you meet someone, or even if you have, how are you going to explain this situation to your girlfriends?'”

She’s in no rush to find a new man and hasn’t found dating apps to be fruitful.

Tamzin told The Sun last month: “I’m single, I’ve tried the dating apps. I’m on one now but I keep forgetting to check it.

“I just can’t imagine actually going on the date and going back to the small talk. It will happen one day but I’m certainly not waiting for it.

“I’ve been single for over a year now and I’m loving it too much.

“I owe it to myself to be single, because I haven’t been single for this long, ever. I have always been in relationships. I actually like being on my own, it’s really nice.”

Tamzin became a household name in 1998 when she joined the cast of the BBC’s EastEnders as Mel Owen, and went on to win several Sexiest Female awards as well as Best Actress.

She has also starred in army series Red Cap, crime drama New Tricks and played Rebecca Mitchell in drama Hotel Babylon.

Recently she played a recovering drug addict in ITV’s police series The Tower, and last year played sex-loving Sylvie in Channel 5’s six-part drama The Wives.

Tamzin says that after reading the script for The Wives, she overhauled her health and figure ready for the camera.

She said: “I lost weight before we started filming The Wives last February.

“I read that I was in a bikini a lot and a swimsuit. So, between Christmas and the New Year, I didn’t drink any alcohol and I exercised every day. I didn’t ever weigh myself, but I just knew I could fit into things that I didn’t used to.

“I went down a dress size. It took me six weeks. Now it’s just keeping it off.”

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MIAMI — For decades, its powerful lighthouse illuminated Miami’s Biscayne Bay, and during the height of the Cold War, what was known as the Freedom Tower stood as a beacon of hope for hundreds of thousands of Cubans fleeing communist rule.

The 14-story Spanish Revival skyscraper was where, from 1962 to 1974, the U.S. State Department welcomed Cuban refugees with medical services, English classes, and comfort kits containing essentials and something wholly exotic to the new arrivals: peanut butter.

After decades of neglect, what was once Miami’s tallest building is getting a well-deserved facelift. Next month, it will reopen as a museum honoring the history of Cuban exiles with immersive, state-of-the-art exhibits that explore the meaning of migration, freedom and homeland.

Ellis Island of the South

The reopening of what’s dubbed the Ellis Island of the South comes at a sensitive moment. Cuban Americans — who dominate politics in Miami — voted overwhelmingly for Donald Trump in the last presidential election. But the president’s crackdown on migrants — including Cubans — is increasingly viewed as a betrayal and has left many second-guessing that support. Not surprisingly, recent protests against Trump have gathered outside the tower.

The organizers of the museum, while tiptoeing around the present-day politics, are nonetheless unapologetic in their embrace of the American dream. In Miami, a thriving crossroads where 70% of residents speak Spanish as their first language and more than half are foreign-born, compassion for migrants runs deep.

“It’s cyclical,” said Rene Ramos, who as head archivist of Miami Dade College participated in the $65 million renovation led by the school. “This country has had moments where it clearly saw the value of immigrants and other moments when it did not. What we’re doing here is reminding people what immigrants can accomplish when they’re given the opportunity.”

The iconic building opened in 1925 as the headquarters of the once-acclaimed Miami Daily News, which shuttered decades ago. It was designed in the style of a Moorish bell tower from Seville, Spain, by the New York architectural firm Schultze & Weaver, which was behind some of the most glamorous hotels, theaters and office towers of the era.

It was renamed the Freedom Tower when President John F. Kennedy launched the Cuban Refugee Assistance Program to resettle the streams of middle-class individuals and families fleeing Fidel Castro’s revolution. It’s estimated that nearly 400,000 Cubans relied on services provided at the tower by the U.S. government in coordination with the then-fledgling Roman Catholic Archdiocese of Miami. The total cost of the refugee assistance ran over $730 million by 1971 — almost $6 billion in today’s dollars — a U.S. government report from that year found.

A safe place for refugees

Known to the Spanish-speaking migrants as “El Refugio,” or “The Refuge,” it was a safe place to get vaccines, fill out paperwork and receive financial assistance of around $120 per month. In the Grand Hall, with its giant windows and Corinthian columns, the Pizarra de la Suerte — the Bulletin Board of Good Luck — carried job notices to help the Cubans adjust to their new life, according to a replica of the hall in the museum.

At the time, metropolitan Miami was a tropical tourist town, with fewer than 1 million inhabitants. Most émigrés fanned out across the United States.

“They weren’t staying in Miami because they didn’t want warmth and sunshine. There were no jobs,” said Madeline Pumariega, the president of Miami Dade College, whose own Cuban parents relocated to Amarillo, Texas, after arriving here.

But over time, the exiles would trudge back from the cold and snow to put their unmistakable Cuban stamp on what would become one of America’s most vibrant cultural and economic hubs.

Jorge Malagón, who teaches history at Miami Dade College, was just 5 when he arrived. But he still wells up recalling the hardship of his departure — when Cuban customs officials ripped open his teddy bear looking for contraband jewelry — and arriving in Miami on a “Freedom Flight” paid for by the U.S. government and being immediately shuttled in a school bus from the tarmac to the Freedom Tower.

“The memories never go away,” said Malagón, who recalls being welcomed with a bar of unfamiliar peanut butter and a block of government cheese. “To this day, a grilled cheese sandwich with cheap, Velveeta processed cheese is still comfort food to me.”

The Freedom Tower, a national historic landmark, was long ago overtaken by Miami’s fast-growing steel and glass skyline. Abandoned for years, it was rescued in 1997 by Cuban American businessman Jorge Mas Canosa, a top exile opponent of Castro. He later sold it to a prominent Cuban American family and it was then donated to Miami Dade College.

Even in a dilapidated state, the tower remained a mecca of the Cuban diaspora. In 2003, tens of thousands of salsa fans gathered here to show their respects to Cuban-born singer Celia Cruz. And Secretary of State Marco Rubio, whose parents migrated from Cuba, used it as the backdrop to announce his bid for the U.S. presidency in 2015.

The current restoration was funded by $25 million investment from the state of Florida, with additional funding from Miami Dade College, private donors and federal government grants.

Galleries designed by the same firm behind New York City’s National September 11 Memorial & Museum provide a gripping account of the Cuban American journey to freedom. They include exhibits dedicated to Victims of Communism, the 1961 Bay of Pigs invasion that the CIA organized against Castro, and the 14,000 unaccompanied minors sent by their parents as part of the U.S.-led Operation Peter Pan.

Giant media screens project scenes of protest and acts of courage by newer residents of the Magic City fleeing persecution in Venezuela, Haiti and Nicaragua. There’s also a makeshift recording studio for those who passed through the Freedom Tower to add their testimony to an archive of over 300 oral history interviews with exiles, including prominent voices like singer Gloria Estefan.

Emerging from the dark galleries of often traumatic stories of dislocation and exile, the museum’s final stop is a gallery flooded with all the sun, salsa music and pastel hues that make modern-day Miami so beloved.

“Miami and the world would not be what it is today without them,” said Pumariega. “That’s important and so is the contributions that immigrants play in our country, and I think will continue to play beyond this moment.”

Goodman writes for the Associated Press.