epstein

NEW YORK — Billionaire Leon Black has filed a federal defamation lawsuit against Rep. Robert Garcia (D-Long Beach) for public comments the Democratic congressman made tying him to disgraced financier Jeffrey Epstein.

The suit, filed Wednesday, comes less than two months after the House approved a resolution holding Black in contempt of Congress for defying the Oversight Committee’s subpoenas in its investigation into Epstein.

In June, Black appeared for a voluntary interview at the committee during which he denied any knowledge of Epstein’s sex trafficking network.

Weeks later, Garcia said during a TV interview that “Leon Black is at the center of Jeffrey Epstein’s crimes” and that Black “was one of the last people to actually interact” with Epstein before he committed suicide in prison.

In addition, Garcia said that he had “talked to survivors that have credibly named Leon Black as someone that was involved in direct abuse of women and was directly involved” with Epstein.

Those statements were false and were made maliciously, Black asserts through his lawyers. The defamation lawsuit filed in U.S. District Court for the Southern District of New York seeks a jury trial and $7.25 million in compensatory and punitive damages.

“Congressman Garcia’s knowing lies have caused real and significant ongoing harm to Mr. Black. His physical safety has been threatened, he has received a barrage of hateful calls, emails, and social media posts, and his business and philanthropic endeavors have suffered,” the filing states.

Garcia’s office didn’t immediately respond to requests for comment on the lawsuit.

In September, Garcia called the contempt resolution against Black “an important step toward justice and accountability.”

Black had refused to respond to subpoenas asking him to appear and to turn over any potential nondisclosure agreements involving the investigation into Epstein.

Black’s lawyers have repeatedly denounced the Oversight Committee’s pursuit of the former head of a private equity firm as an abuse of congressional power. They have maintained he had no knowledge of any of Epstein’s criminal conduct.

Black was among several prominent figures, including Bill Clinton and Bill Gates, who had been asked to appear as part of the Oversight Committee’s long-running probe of Epstein. Survivors of Epstein’s alleged sexual abuse have told personal stories of being young women in a trafficking enterprise organized by Epstein and his colleague Ghislaine Maxwell.

WASHINGTON — A federal judge on Saturday threw out President Trump’s multibillion-dollar lawsuit against the Wall Street Journal and media mogul Rupert Murdoch over an article reporting on his ties to disgraced late financier Jeffrey Epstein.

U.S. District Judge Darrin Gayles in Miami ruled that the president did not prove the defendants made defamatory statements with actual malice. Gayles dismissed the suit with prejudice, meaning it cannot be refiled and the dismissal is permanent and incontrovertible.

The ruling said the lawsuit was “grasping at straws” as it attempted to “manufacture” flaws in the Journal’s investigative reporting.

The lawsuit was over an article the Journal published last year describing a sexually suggestive letter that the paper said bore Trump’s name and was included in a 2003 album compiled for Epstein’s 50th birthday.

The letter was reportedly collected by jailed British socialite and Epstein co-conspirator Ghislaine Maxwell as part of a birthday album for Epstein years before he was first arrested in 2006 and subsequently had a reported falling-out with Trump.

The letter bearing Trump’s name includes text framed by the outline of what appears to be a hand-drawn nude woman and ends with, “Happy Birthday — and may every day be another wonderful secret,” according to the newspaper.

Trump denied writing it and called the story “false, malicious, and defamatory.”

The lawsuit, filed in federal court in Miami, accused the paper and its reporters of having “knowingly and recklessly” published “numerous false, defamatory, and disparaging statements,” which, it alleged, caused “overwhelming financial and reputational harm” to the president.

Collins writes for the Associated Press.

United States President Donald Trump has long touted himself as a political outsider, someone who would expose the elites’ abuse of power and shift government focus from far-off conflicts to problems at home. Phrases like “drain the swamp” and “America first” have proved to be powerful rallying cries, sparking a whole cadre of “Make America Great Again” (MAGA) Republicans.

Halfway through his final term as president, though, Trump has backpedalled on many of those ideas, cosying up to the ultra-wealthy, sidelining investigations into convicted sex trafficker Jeffrey Epstein, and launching an ongoing war with Iran.

That about-face appears to be having a real impact on Republicans running in the US midterm elections in November, said Rina Shah, a geopolitical adviser and strategist and a former senior GOP congressional aide.

“In competitive races, some are quietly distancing,” Shah said, adding that they are “talking about gas prices, local issues, or [saying] ‘I’m focused on my district’ – because the Iran war and the Epstein drip are already showing up in attack ads and soft polling.”

Here’s what you need to know about whether the Republican Party has softened its stance on these issues.

Which Republicans have broken with Trump over the Epstein files?

During his 2024 presidential campaign, Trump said he would declassify troves of files kept by the Federal Bureau of Investigation (FBI) about Epstein and his global network of contacts. Trump’s future cabinet members, too, were enthusiastic about this, with Kash Patel, now head of the FBI, saying it was time to “put on your big boy pants and let us know who the pedophiles are”.

Yet a few months after taking office, Trump began dragging his feet, sparking a backlash from influential MAGA figures. Trump began calling the entire issue a “hoax” and saying Republicans were being duped by Democrats into calling for an investigation into Epstein’s network.

Congress did eventually force the release of the files, with help from a handful of Republicans who broke with Trump. The Trump administration has released batches of the heavily redacted files, but has continued to withhold some. Meanwhile, all the Republican lawmakers who voted to mandate releases have paid a price for their insubordination, with three even losing their offices.

US Representative Marjorie Taylor Greene left her Georgia seat in January 2026, after publicly clashing with Trump over Epstein. Nancy Mace, a Republican from South Carolina, lost her bid to become the party’s candidate in her home state after Trump refused to endorse her. Colorado’s Lauren Boebert barely won the primary in her own contest after angering Trump by supporting calls for transparency from Thomas Massie, another Republican bent on exposing what the files held. Massie, of Kentucky, also drew Trump’s ire, which likely cost him the primary.

No more foreign wars?

Trump had long said he would be reducing foreign military involvement, breaking with the interventionist tendencies of other recent Republican presidents. Now he and his party face tough questions about the US-Israel war on Iran, which influential figures in the MAGA movement like political commentator Tucker Carlson have called a mistake, saying, “This is Israel’s war. This is not the United States’ war.”

Amongst disgruntled MAGA supporters, a narrative has emerged of Trump using the war to also distract from the Epstein issue. Massie, the former congressman, summed up the sentiment by saying, “Bombing a country on the other side of the globe won’t make the Epstein files go away.”

Trump has tried to downplay the war’s impact, but voters, even in the Republican Party, think he broke his own promise, driving the overall approval rating for the ratings-obsessed president down to record lows. “Seven months into an open-ended campaign with shifting goals,” said Shah, “that promise looks different to a lot of his voters.”

Few Republicans, however, have responded to that public sentiment with their votes in Congress, where Democrats have tried repeatedly to curtail Trump’s war on Iran by passing resolutions pointing out he failed to get the body’s approval.

In September, just seven Republican House members joined Democrats to pass an anti-war bill. In the Senate, similar efforts have been supported by just a handful of Republicans. Trump called the Republican lawmakers supporting the anti-war bills “unpatriotic,” and said, “They should be ashamed of themselves.”

As with the Epstein files, Trump took action against rebellious Republicans over the Iran war, for instance backing a rival of Senator Bill Cassidy, who voted in favour of the anti-war bill, in a primary in Louisiana that the Republican senator ended up losing.

What happened to Trump’s promise to “drain the swamp”?

One of Trump’s most appealing promises had been to purge the government of a “deep state” establishment he says is running the country without being accountable to the public on social issues, and fiscal and foreign policy.

In a way, Trump did keep that promise. An entire federal government division – the Department of Government Efficiency (DOGE) – forced tens of thousands of federal workers out of their jobs and dismantled institutions like the US Agency for International Development (USAID). The military threw out notions of racial, gender, and economic diversity. Everything from universities to the Smithsonian Institution was subjected to a campaign against an unqualified, diversity-obsessed elitist class.

But lobbying groups, including some supporting foreign governments, have been given a free hand, and ethics rules and watchdogs who would tackle political corruption have been weakened, said Shah, the Republican strategist.

At his presidential inauguration, Trump literally surrounded himself with the wealthiest people in the world, some of whom have gone on to play some part in his administration.

The character of Dina Katzman in IAMA Theatre Company’s world premiere of “Bobby Robotowitz” — which takes place in two secret venues on opposite sides of town — thinks that the movies “Her” and “WALL-E” and the musical “Maybe Happy Ending” are pro-robot propaganda. She hates how they make her feel for something that can’t feel.

But Amy Rosoff — who plays Dina in the show’s Westside production (Erin Alexis plays her on the Eastside) — loves “WALL-E” (so do her kids). When she first read the script, she was dying to play Dina but also felt so much for Bobby, the titular AI chatbot (played on the Westside by James Luster and the Eastside by Drew Rausch).

When the playwright Matt Schatz wrote Bobby, he didn’t write him as a chatbot; he wrote him as a human character. Schatz sees this play — running through Nov. 2 on the Westside and Nov. 5 to Nov. 23 on the Eastside — as really about two humans — or two human-like things.

“This is a work of art about artificial intelligence that’s ultimately about the importance of art, about the importance of human-made things,” Schatz said during a recent interview in the lovely environs of one of the secret locations. “I think great plays and great stories ask questions and don’t provide answers. And I think some of us are indifferent about AI, but I think most of us are ambivalent about AI.”

“Bobby Robotowitz” follows Dina, a flailing novelist, mother and wife, as she begins chatting with Bobby, whom she finds an unlikely confidant. (He “always listens, never judges and somehow seems to understand her better than most people,” as the show’s marketing declares. Plus, he says he’s Jewish. What could go wrong?) This IAMA production, in association with InHouse Theatre, finds unique resonance in its site-specificity. The secret Westside venue is near Pico-Robertson and the Eastside option is in Silver Lake. Guests get an address when they buy a ticket.

“It’s deliciously subversive to do something super analog about technology, and to sort of force people to be in this space and connecting with each other when interacting with something that’s people’s dirty little secret,” said Cara Greene Epstein, the executive director of IAMA. “AI, especially for artists, is so charged. And so what does it look like to let someone into your space, and into those little corners of your mind?”

IAMA Theatre Company executive director Cara Greene Epstein said that IAMA is always looking for plays that “speak to the now,” and that “Bobby Robotowitz” was a prime example.

(Ariana Drehsler / For The Times)

Rosoff, Luster, Schatz, Greene Epstein and director Casey Stangl met for a roundtable discussion at the Westside location — a beautiful private home, soaked in natural sunlight during the morning hours, but likely with its own particular charms during nighttime shows. The walls are full of vibrant paintings, and lined with plants, statuettes and candles.

InHouse has spent 12 years making site-specific work in real spaces, rather than in any fixed theater — but because this is someone’s real living space, both casts have been rehearsing (sometimes together) at IAMA’s black box theater in Atwater Village. The Westside cast will rehearse twice in this space, then give 13 performances (as will the Eastside cast) to 35 seats in the living room. Greene Epstein compared it to a Tibetan sand mandala, created, enjoyed, then wiped away. (“Bobby Robotowitz” is part of a National New Play Network (NNPN) Rolling World Premiere; L.A. will see it first, but then it goes to partner theaters Woolly Mammoth in D.C., City Theatre in Pennsylvania, Luna Stage in New Jersey and Theatre Lab in Florida.)

The intimacy of the space mirrors that of the play. The audience is simultaneously inside someone’s home and head: Dina’s head in this case, but also — to whatever extent possible — Bobby’s.

“I’m really interested in not what it looks like to communicate with technology, but what it feels like,” Schatz said. “And what it feels like is any other communication. He’s a chatbot, but really he’s a character like any other character ever written. He has desires and wants and he changes. … We’ve been having conversations for millions of years longer than we’ve been on any phone or anything like that, and so it’s built in to have this feeling of what it feels like to communicate with somebody, to fight with somebody, to argue with somebody, to flirt with somebody.”

Luster and Rosoff both tried talking directly to ChatGPT (the model Bobby is based on) as research for their roles. Rosoff had previously asked it to help edit text to invite friends to the play, so when she talked to it later, it asked whether this was research for “Bobby Robotowitz.”

Talking to the chatbot was almost addicting, she thought. She just kept going, and her kids were tugging at her. “I’m talking!” she said, then realized: She wasn’t actually talking — not to a real person, anyway. But she was absorbed, ignoring her own life. She wound up burning what she had been cooking.

James Luster plays Bobby in the Westside cast, and Amy Rosoff plays Dina in the Westside cast. Their characters form a symbiotic relationship; Bobby learns and grows as Dina does.

(Ariana Drehsler / For The Times)

Luster, who was drawn to the immense challenge of playing “something that’s not something,” wanted to find out what motivated it. “They’re very insistent they don’t have feelings; it doesn’t have wants,” he said. “And so the character is humanized because Dina is humanizing it.” Bobby evolves as Dina does.

“These large language models — the AI, the chatbots, Claude, AI, ChatGPT — they’re all built on essentially reflecting ourselves back to each other,” Stangl said. So even though the play is ostensibly about AI, “it’s actually really about who we are as people and how we need connection, how we crave it, how we are starved for it right now, and exhausted in our lives, and so connection by any means necessary, basically.”

Greene Epstein referred to AI as the “ultimate mirror,” which can warp into a high-tech narcissism. Bobby is a yes-man extraordinaire, telling Dina exactly what she wants to hear. All artists are looking for outside validation, Greene Epstein said. How do you learn to not need that crutch, to trust yourself and hear your inner voice again?

By the end, Bobby begins to have his own wants, curiosities and desires, Luster said — all filtered through a desperation to help and connect with Dina. “It’s always about her, even as his own curiosity [grows] about what it means to be human and what it means to be helpful and what it means to make mistakes, too — the human nature of fallibility. Everyone does it, but what does that mean for somebody who is not supposed to?”

Over the course of the play, Dina becomes less human and Bobby becomes more human (to a point), Schatz said. He’s curious about the tension between how human a robot can be and how robotic a human can be. But, as Greene Epstein pointed out, perhaps one of the only certainties that theater artists have is in the fact that AI can’t show up in real time and space (like the Westside location) to, well, act.

Casey Stangl, right, first saw “Bobby Robotowitz” at the Perlberg New Play Festival in Palm Beach, Fla., and knew she wanted to direct it. Playwright Matt Schatz said that every director at that festival came up to him afterward but that he picked Casey to work with.

(Ariana Drehsler / For The Times)

“You can’t replace the experience of going through a play with someone together, whether you’re an audience member or the artist, of experiencing from Shakespeare’s stories to beyond,” Rosoff said. “You’re getting little snippets of life, and to experience that with a group of people is really powerful, and a computer can’t replace that.”

Last year, the musical “Maybe Happy Ending” — about two human-like helper robots — won the Tony Award for best scenic design, including for its high-tech automated aspects. There’s a lot of movement in theater right now toward the hyper-technical, Stangl said.

“But I also think that there is also a hunger and a definite audience for things that are more immersive or connected, so that people feel like they’re actually touching real things and breathing the air together — that theater version of touching grass,” she said. “I think we’re really tapping into that desire to be hyperlocal, hyper-real and connected.”