executive

Tens of thousands of people walk in and out of Dodger Stadium on any given night, paying scant attention to the trees, plants, and other foliage surrounding it on all sides. Chaz Perea made his peace with that a long time ago.

“Getting to Dodger Stadium is not a small thing,” said Perea, 41, the stadium’s landscape manager. “You’ve got to park in this monster,” he said, motioning to the acres of asphalt around him, “and then go find your seat in that monster.”

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1. The agave garden sits outside Lot B at Dodger Stadium on Friday. (Gina Ferazzi/Los Angeles Times) 2. Dodgers fans walk past vibrant plants behind photos of former Dodgerss outside center field at Dodger Stadium on Friday. (Gina Ferazzi/Los Angeles Times) 3. A group visits agave island during a tour of Dodger Stadium’s botanic garden on Tuesday. (Christina House/Los Angeles Times)

For the past 17 years, Perea and his four-person crew have been responsible for every bit of stadium landscaping that isn’t the field itself. That’s roughly 300 acres, encompassing the parking lots, the hillsides meeting the 110 Freeway, and 149 concrete planters nicknamed “martinis” for their glass-like shape. The planters are original to the stadium’s 1962 construction, and many had crumbled badly enough over the decades to need painstaking repair.

The landscaping isn’t just about plants and planters. Behind a fence beyond the iconic orange 76 ball in the parking lot once sat a hidden garden. Its centerpiece was an eight-foot-tall stone lantern given to then-Dodgers owner Walter O’Malley by Japanese sports columnist Sotaro Suzuki and his wife, Toku, who had attended the stadium’s grand opening in 1962. Suzuki commissioned the 3,921-pound Kasuga-style lantern, which arrived in five pieces in late 1965 and became the centerpiece of a garden that also featured a small wooden bridge and a collection of rocks.

“For years, it was maintained by our gardener with great pride,” said former Dodgers owner Peter O’Malley, Walter’s son. “But it was remote, and fans couldn’t really get up there easily to see it or sit in the garden. And it got neglected for a few years. Some years later, I forget how many, we had to fence in the whole property.”

In 2024, shortly after the Dodgers signed two-way sensation Shohei Ohtani, the club moved the lantern to a place of prominence outside the top-deck gates, overlooking the downtown skyline. The move was an elaborate, delicate production. Bundled and boarded up, the lantern inched across the parking lot on the back of a flatbed truck that climbed a ring road steep enough to cause concern.

“It was like they were moving the Ark of the Covenant,” Perea said.

No one exhaled until the cargo was unloaded, unswaddled, and confirmed to be in one piece.

An 8-foot-tall stone Kasuga-style lantern is displayed at Dodger Stadium on Tuesday.

(Christina House/Los Angeles Times)

Perea’s crew works out of a large metal shed at the far end of a parking lot, a shop they affectionately call “the Oasis.” Much of what’s inside was retrieved from a dumpster, or scavenged before it landed in one. Perea, who describes himself as a bargain shopper, is passionate about repurposing whatever he can; many of the succulents at the stadium came from his own clippings.

“My general philosophy is I don’t treat the Dodgers like I’m salaried management,” he said. “I treat them like I’m a contractor that they don’t want to get rid of. So I manage the expenses and the labor as such.”

He doesn’t have much interaction with players and executives, though he’s occasionally been called to their homes to help with landscaping problems. One visit stands out.

“Vin Scully is the coolest one I’d stake a claim to,” he said of the legendary play-by-play man. “He was an unbelievable class act. He had a tree issue. He had us out, and was so attentive and appreciative, it was just stunning to me.”

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1. Landscape manager Chaz Perea gives a tour of Dodger Stadium’s botanic garden. (Christina House/Los Angeles Times) 2. A ceramic dog and monkey sit on a golf cart inside the Dodger Stadium landscape team’s shed on Tuesday. (Christina House/Los Angeles Times) 3. A photo of Jim Lefebvre, Dodger player from 1965-1972, is surrounded by plants at Dodger Stadium on Tuesday. (Christina House/Los Angeles Times) 4. Adolfo Hinojosa checks on the planters near center field at Dodger Stadium on Tuesday. (Christina House/Los Angeles Times)

On the hillside above the shop is an open-air lunch area, its seating made from wooden bleachers salvaged from the old right-field pavilion. Peek through the bushes and the stadium is visible in the distance. Inside the shop, the walls are lined with neatly organized shovels, pickaxes, and ladders. Above them hang paintings, art being another of Perea’s passions, most of them made by his friends.

Perea freely admits he’s an odd fit for the job. He’s not a baseball fan; he prefers beach volleyball and mixed martial arts. He had a rough upbringing in Arizona, dropped out of high school, and got by on $6.75 an hour doing golf-course maintenance, supplementing it with landscaping gigs he ran out of his pickup truck before eventually returning to school.

He came back to the classroom with a purpose, not only finishing high school but going on to earn multiple advanced degrees and, ultimately, a Ph.D. He’s now a professor of horticultural science and co-chair of agricultural science at Mt. San Antonio College.

But it’s his day job that draws clusters of Dodger fans willing to pay $52.25 each for his 90-minute botanic garden tour of the grounds. They explore “Agave Island” near the main entrance, a wedge of land planted with nine palm trees to match the number of players on a baseball field, and the planters outside the club-level entrance, where the crew grows chilies (jalapeños, serranos, habaneros), along with basil, mint, tomatoes, onions, and garlic. That garden spawned an annual salsa competition, in which club employees harvest their own ingredients from the planters, make salsa at home, and bring it back to be judged. Perea and his crew make handmade tortillas and quesadillas for the event.

Landscape manager Chaz Perea gives a tour of Dodger Stadium’s botanic gardens on Tuesday.

(Christina House/Los Angeles Times)

Two more planted islands are devoted entirely to tequila agave. It takes nearly a decade for the plant to mature, and about 110 pounds of its core to yield a single liter of tequila through processing. Perea and his crew hope to eventually try making some themselves, as an in-house project rather than a commercial one.

The landscape looked very different before Perea arrived. He describes the old look as Disneyland-esque: heavy on lawns and flowers, constantly in need of replacement, and thirsty for water. About two years into the job, he began swapping annual flower beds for drought-tolerant succulents. When one executive noticed and ordered the flowers put back in a particular spot, Perea complied there, then made the same swap a little farther down the hillside, out of view.

Turnover among executives and ownership gave him repeated openings to make wholesale changes, a shift that coincided with California’s drought crisis. Within a few years, he had planted 10,000 cuttings and stripped every flower bed from the property.

“A lot of people look at this as the last unpainted canvas in Los Angeles,” Perea said.

Chaz of Chavez Ravine, perpetually painting the corners.

After Brian Koppelman and David Levien wrapped their hit Showtime series “Billions,” the co-creators were undecided about where they would go next. A more than hourlong visit from a Netflix executive settled it.

Netflix had been developing a Las Vegas drama with Martin Scorsese, who is executive producing through his Sikelia Productions. The streamer brought in Koppelman and Levien, and the pair pitched a present-day casino story. Jinny Howe, Netflix’s head of U.S. and Canada scripted series, went to their office to make the case.

“When she left our office, we looked at each other and said, ‘Well, whatever we do, we want to do it with her,’” said Koppelman, recalling their meeting from two years ago. Their new Las Vegas series, “The Roman” starring Oscar Issac as a casino president, is expected to be released year. Netflix ordered it in December.

Howe has one of the hardest jobs in Hollywood — finding must-see scripted programs that keep Netflix’s subscribers watching. The company said it had over 325 million paid subscribers worldwide at the end of 2025. Her instincts for creators, combined with years as an entertainment executive and a lifelong viewer have given her a track record of championing hits, including thriller “The Night Agent,” drama “The Diplomat” and Regency-era romance “Bridgerton.”

That led to her promotion last year as head of U.S. and Canada scripted series — her fourth advancement in four years. She succeeded Peter Friedlander, who left after nearly 14 years, and reports to Chief Content Officer Bela Bajaria.

“In my role, I feel I am really ear to the ground, really listening to what audiences are asking for, and really trying to understand where the culture is, where the conversation is, to really make sure we’re giving these audiences what it is that they want and they crave,” said Howe, 48.

The pressure is on. Key franchises are in their final seasons. “Stranger Things” ended in December, “Outer Banks” concluded with its fifth season last month and “Emily in Paris” finishes with its sixth season in December. Netflix has confirmed that the fifth season of legal drama “The Lincoln Lawyer” will be its last.

Wall Street has soured. Netflix shares, which closed Thursday $76.01, are down 39% over the past 12 months, a slide that began with its $83-billion bid for Warner Bros. Discovery in December — a deal it later walked away from — and continued through 2026 when the company lowered its growth projections.

Analysts have also flagged sluggish engagement growth. View hours rose about 2% in the first half of 2026 compared with a year earlier, even as content spending climbed.

After graduating from UCLA, Jinny Howe worked at Brillstein Entertainment Partners and John Wells Productions before joining Netflix in 2018.

(Jason Armond/Los Angeles Times)

Nonetheless, Howe is confident that Netflix continues to outshine its competitors, noting that the streamer is still in a “growth mindset” that bets on original ideas. The streamer also has franchises that continue to pull in large audiences, such as the fourth season of “Bridgerton,” she said.

“We’re not slowing down at all,” Howe said.

This year her department has a slate of 44 new and returning scripted series from the U.S. and Canada, excluding stand-up, comedy formats and adult animation. They span genres and mix seasoned showrunners and bets on emerging talent. Six are run by first-time female showrunners, a notable number at a time when the industry has cut back and women have historically had fewer chances to lead series. Those programs include “East of Eden,” a series based on the popular John Steinbeck novel; YA drama “The Body” and “A Different World,” a sequel series based on the NBC sitcom about Black students at a fictional college.

Howe leads a team of people spanning the U.S. and Canada, with hubs in Los Angeles and Toronto. While she is accountable for the U.S. and Canada scripted slate, the decisions are made in partnership with her team.

Scripted series out of the U.S. and Canada remain central to the business. Many of Netflix’s most-watched shows of all time come from the region, which accounts for about 40% of global revenue — the streamer’s largest market. Netflix reported 89.6 million memberships in the U.S. and Canada at the end of 2024, the last time it broke out regional numbers.

“There’s so many amazing creators and stories to be told from the U.S. and Canada and historically, English language scripted television for many, many years has traveled to lots of different countries around the world,” Bajaria said.

The region also drives Netflix’s awards profile. The streamer collected 111 Emmy nominations in July, second to HBO Max’s 122. Netflix says 83 of them came from scripted series and variety specials under Howe’s slate. “Beef” season 2 led Netflix’s titles receiving Emmy recognition with 16 nominations.

Competition for attention is fierce. Rival streamers are investing in live sports, and YouTube continues to take a significant share of TV viewing time in the U.S. Netflix has responded by adding video podcasts, sports and games to its lineup. It also lacks the deep historic library some competitors hold — the gap its failed Warner Bros. bid would have closed.

So finding new gems matters. In 2015 the streamer bet on Matt and Ross Duffer, then first-time showrunners, for “Stranger Things.” It became one of the biggest hits in the company’s history.

Then the Duffers agreed to produce a show created by Haley Z. Boston, the horror series “Something Very Bad Is Going to Happen,” about a woman who is cursed and could die if she doesn’t marry her soulmate. Other studios didn’t see Boston as the showrunner, but Howe and Netflix did.

“We need people to take chances on us,” 31-year-old Boston said. “There is still a glass ceiling … I’m excited about new future where you don’t have to have done the job already to do it. All you need is the right support.”

The series debuted at No. 2 on the streamer’s global top 10 English language shows and reached 20.3 million views on Netflix in the first half of this year, according to the streamer.

“Netflix had the confidence that we can find the right audience for this,” she said.

Connecting with a range of storytellers early is part of the strategy. Howe’s relationship with creator Molly Smith Metzler goes back about a decade, to when Metzler submitted her play “Elemeno Pea” while Howe was working at John Wells Productions. Howe was impressed and recommended her for the “Shameless” writers room. Metzler went on to lead the critically acclaimed 2021 limited series “Maid” for Netflix, her first job as a showrunner, and signed an overall deal with the streamer in early 2022.

One of Howe’s ideas was to build a series out of “Elemeno Pea.” That became the drama “Sirens,” starring Meghann Fahy, Milly Alcock and Julianne Moore. Released in 2025, it debuted at No. 1 on Netflix’s global top 10 and earned four Emmy nominations, including a surprise lead actress nod for Fahy.

“We spent so many cups of coffee and walks talking about what that could be and what it could look like, and we really built it from the ground up,” Metzler said. “She is very hardworking, and she’s extremely committed to the projects she does. That commitment and that rigor is contagious.”

Jinny Howe, who grew up in the San Gabriel Valley, is one of the few prominent Asian American content leaders in Hollywood.

(Jason Armond/Los Angeles Times)

In her soul, Howe said, she’s a producer first. Koppelman and Levien said she was instrumental in the casting “The Roman,” including speaking with some of the leading actors. Alongside Isaac, the series stars Betty Gilpin, Alec Baldwin, Jimmy O. Yang and Jason Schwartzman.

“This would not have come together had Ginny not rolled up her sleeves,” Koppelman said. “When we look at this cast, sometimes we can’t really believe what got put together.”

Howe and Netflix also supported showrunner Rebecca Sonnenshine’s push to make a version of “Little House on the Prairie” that includes more of the Osage perspective.

“She was very open to a vision that explored all the things that we wanted to explore in this show,” Sonnenshine said.

Howe grew up in Walnut, in the San Gabriel Valley, a self-described latchkey kid and the daughter of a residential real estate agent and a women’s clothing store owner. She was born in Seoul and immigrated to California when she was 15 months old.

“So I really am a California girl, I grew up just adjacent to the glittering lights of Hollywood, but close enough to know that there was a real business there,” Howe said.

While her parents worked, she and her brother watched a lot of TV, sitcoms like “Diff’rent Strokes” and “Small Wonder” and soaps like “Dynasty” and “Dallas.” That turned into a career. She graduated from UCLA with a bachelor of arts degree in theater, film and television, worked in the talent division at Brillstein Entertainment Partners and rose to executive vice president of television at John Wells Productions before joining Netflix in 2018.

She is one of the few prominent Asian American content leaders in Hollywood, in a position that helps shape what the world watches.

“I definitely do feel it’s not something I take for granted to be in these rooms and to know that my voice matters,” Howe said. “I get to be a decision-maker in a lot of these conversations. It’s really gratifying, and it’s something that I think is not lost on me at all.”

Sept. 10, 2026 12:04 PM PT

WASHINGTON — An appeals court on Thursday upheld a block on President Trump’s executive order limiting mail voting, a decision that comes as the Supreme Court considers the same case and states have already started sending out ballots for the high-stakes midterm elections.

The three-judge panel refused to lift a preliminary injunction against the order issued last week by U.S. District Judge Indira Talwani. It prohibits the U.S. Postal Service from implementing Trump’s directive. The Postal Service has said it would not deliver ballots from states that did not pre-clear their envelope design with the federal government and submit a list of voters to an online portal, which has yet to be activated.

Election officials warn that it’s impossible to comply with those terms, especially with the first mail ballots already being sent out in Alabama, North Carolina and Wisconsin.

The panel of three judges nominated by former President Biden agreed with the plaintiffs that the president does not have the power to regulate states’ election policy.

“Appellants have not made a strong showing that the district court erred in determining that the Final Rule is likely unlawful,” they wrote, a reference to a rule published by the Postal Service to implement Trump’s order.

The panel wrote that the Trump administration had done little to dispel arguments by many election officials that the changes would bring “chaos and widespread disenfranchisement.”

“Indeed, appellants have not even seriously challenged this aspect of the district court’s ruling, much less demonstrated why it is clearly erroneous,” the order states.

The government also hasn’t shown evidence of past fraud to justify the restrictions, the judges said.

A request for comment from the White House was not immediately returned.

The panel’s decision comes even as the Supreme Court is already considering the same case, which is part of a frenzied legal rush as states are beginning to send out mail ballots for this fall’s midterm elections. Democrats and civil rights groups in a separate lawsuit in Washington, D.C., also are trying to halt the executive order.

The 1st Circuit also had upheld a previous hold Talwani placed on the executive order. But that ruling was lifted by the Supreme Court in a procedural decision that did not determine whether the plan was constitutional.

The plaintiffs swiftly filed new lawsuits after the Postal Service finalized its rule governing mail ballots.

Riccardi and Whitehurst write for the Associated Press.

RIYADH: After more than 20 years in the legal and investment sectors, Khadija Grabinski transitioned into executive coaching, where she helps leaders navigate change through meaningful conversations.

Having lived in Saudi Arabia for the past year, she also shares her experience of the Kingdom on social media, offering an authentic perspective on its culture, people, and transformation.

Grabinski and her husband moved to the Kingdom from the US and she felt this new period of her life was an opportunity to make some changes.

 The daily routine she and her husband experienced during their time in the US during the COVID-19 pandemic inspired them to explore opportunities and make changes.

 “I spent 20 years in my field (as a litigator), so I guess it was enough … it was the right moment for me to change and to be more connected to people. This is why I chose to transition,” she said.

 Grabinski added that her new work life allows her to have meaningful conversations with people, providing them the space to talk about how they want to grow in professionally.

“I mean, for me, meaningful conversation gives more clarity. You think better. I mean, when you talk to people, even friends, and when you are in the deep conversation, it becomes like something more clear. You know where you are going. So this is why.”

 When Saudi Arabia launched Vision 2030 in 2016, much of the world’s attention focused on its bold plans for economic diversification and landmark development projects.

 Yet, nearly a decade later, the social transformation unfolding across Saudi Arabia has proven every bit as significant. Anchored in Vision 2030’s vibrant society pillar, this transformation is reshaping daily life in the Kingdom.

“As a coach, what I see is the other side of the transformation. It’s like people are excited for the future, but at the same time, they feel the pressure. So, they are wondering if their job will be the same in five or 10 years.”

 Grabinski added that leaders in today’s environment leaders have to acquire more skills, reinvent themselves, or simply adapt because there is both excitement and uncertainty.

 “For a country that grew that fast, which is totally normal to be honest, there is what I call growing pains. You know, like (when a) teenager (grows) too fast, it’s the same for a company. For people and for countries. So, there were some growing pains,” she said.

She added that today’s successful leaders need to possess interpersonal communication skills, which machines and artificial intelligence cannot easily replicate.

 “Leaders will need to communicate better. Listen more. And help their teams to navigate uncertainty and lead by example. Always and where do you see emotional intelligence being basically a huge factor of that, like, how is that going to turn into a valuable skill set for a leader?

 “I mean, by learning, the need to learn, it’s like a muscle, leadership,” she said.

 Grabinski shares her experiences and opinions about living in Saudi Arabia through her accounts titled Simone Executive Coach|Common Ground on TikTok and Instagram.

Bruce Davis spent more than two decades as the motion picture academy’s chief executive. Even when he retired in 2011, it was not because he didn’t still love the work. In fact, he kept at it in retirement, retaining an office at the Pickford Center for Motion Picture Study where he focused on writing a definitive history of the early days of the Oscars.

“I don’t think I’ve been bored for a minute in 30 years here,” Davis told the Associated Press upon leaving the academy. “I feel like such a rube sometimes. To this day, when I get out of the car on Oscar night and step up there onto that carpet, you get that rush of energy. The lights are popping — not that anybody’s aiming at me — but still I think it’s one of the great rushes, emotionally speaking, that a person can have.”

Following a battle with leukemia, Davis died Saturday. He was 83.

Davis’ career at the academy was, according to wife Joann, partly a matter of being in the right place at the right time.

“Not that he wasn’t really good at what he did,” she says by phone. “But he was also a lucky man.”

Davis was working as chair of the theater department at Juniata College in Pennsylvania when he and Joann loaded all of their belongings atop their Mazda GLC and headed to Los Angles in pursuit of Hollywood dreams. Davis had been working on a few screenplays while teaching, and his agent told him needed to move closer to the action to network and take meetings.

“Neither of us had jobs when we left Pennsylvania,” Joann says. “We just bit the bullet and drove out. It was a leap of faith.”

Shortly after arriving, Davis met someone at a party whose wife worked at the motion picture academy. That soon led to Davis taking a job arranging lectures and seminars and, later, overseeing the organization’s public programming.

Davis became the academy’s seventh executive director in 1989, leading it through a sizable expansion of staff, relocating the academy’s Margaret Herrick Library to the Beverly Hills Waterworks building in 1991 and setting up its film archive at the Pickford Center for Motion Picture Study in 2002.

“Bruce would drive back and forth to work and see that Waterworks building at the time that they were looking for places for the library to expand,” Joann says. “And one day, it just occurred to him that maybe that would be a building, and so initiated conversation with Beverly Hills. It was kismet.”

Davis had hoped to build an academy museum next to the Pickford, convincing the group’s board of governors to purchase a nearby 3.5-acre site in 2006 for a reported $50 million, but the 2008 recession derailed those plans. His successor, Dawn Hudson, led the push to partner with the Los Angeles County Museum of Art, eventually building the museum at the former May Co. building at Wilshire and Fairfax. It opened in 2021.

Davis was also instrumental in doubling the Oscars’ best picture category from five nominees to 10 in 2009, establishing the preferential ballot system that determines the academy’s top prize.

“That way, best picture reflects the choice of the greatest number of people,” Davis told The Times.

Davis’ Oscar book, “The Academy and the Award,” was first published in 2022, long after he originally anticipated it would hit stores.

“He thought a couple months of research, a couple more months to write it, and voila, in two years, he’d have it done,” Joann says. “But he kept finding new things he wanted to explore.”

Shortly before it published, Davis told The Times that he hoped the book would dispel myths surrounding the Oscars, including Susan Orlean’s assertion in her Rin Tin Tin biography that the dog received more votes than any male actor at the first Academy Awards and that Bette Davis gave the golden statue its nickname because its backside mirrored that of her then-husband Harmon Oscar Nelson.

“There’s a lot of nonsense out there,” Davis said, “and the real story is almost always more interesting.”

“He was deeply committed to preserving the academy’s history, establishing dedicated homes for our library and film archive, and relaunching the concept of creating a museum,” current academy CEO Bill Kramer and President Lynette Howell Taylor said in a statement. “He had a profound love for the academy.”

Davis loved to read and collect books, devouring anything from John Updike and Margaret Atwood, among other authors, a passion that necessitated having bookshelves in every room of his home. Language itself was an obsession, with many family dinners ending with Davis pulling out his unabridged Oxford English Dictionary to share the derivation of a word.

“He was a really fascinating guy,” Joann says.

Perhaps the only thing Davis didn’t like about the Oscars was the ceremony’s annual in memoriam segment, which pays tribute to those who died in the previous year.

“It is the single most troubling element of the Oscar show every year,” Davis told the Associated Press, “because more people die each year than can possibly be included in that segment.”

Next year’s ceremony now has one certain addition.

In addition to Joann, Davis is survived by four daughters: Brangien Davis, Alexandra Davis, Archer Davis and Roxanne Davis.

“Obsession,” the indie horror movie written and directed by Curry Barker, has proved to be one of this year’s most successful films. Made for a reported budget of about $750,000, it has earned more than $500 million at the global box office since Focus Features released it in May — the biggest hit in the distributor’s history, according to a new lawsuit.

But one of its producers, Leonora Ann Darby, is claiming she hasn’t received her share of the profit.

Darby, who rose to become one of three producers at Tea Shop Productions, the U.K. company behind the movie, sued Tea Shop, its Delaware affiliate The Tea Shop & Film Company, and co-founders James Harris and Mark Lane in Los Angeles County Superior Court. The 135-page complaint lays out 10 causes of action — among them, breach of contract, retaliation for wage complaints, whistleblower retaliation and unfair competition — and describes a seven-year pattern of “unequal treatment and broken compensation promises.” Darby has demanded a jury trial.

Harris and Lane allegedly treated Darby “as their subordinate, including in a highly demeaning and gendered manner,” and continually refused to compensate her properly, “culminating in ruthlessly cutting Darby out of the overall net profits” for “Obsession,” the lawsuit says.

“Ms. Darby has brought serious and substantial claims, supported by a detailed factual record,” Darby’s lawyer Thomas K. Richards of the Beverly Hills firm Singh, Singh & Trauben, said in a statement. “She is confident in her case and intends to pursue it fully.”

Tea Shop has already rejected the core of her claim. In an Aug. 13 letter attached to the complaint as an exhibit, the company’s lawyer wrote that Darby “was an employee and, subsequently, a consultant” who has never been a member, shareholder or owner of Tea Shop, and therefore has no right to inspect the company’s financial records. The parties’ written agreement, the letter says, does not entitle her to profit participation or collection-account status on “Obsession” or on any other film not previously identified in writing, and she “has been compensated in accordance with the parties’ agreement.” Tea Shop Productions did not respond to a request for comment.

Darby is credited on screen as an executive producer of “Obsession,” rather than as a producer — a decision she says the company made despite Lane’s absence from the production in 2025 and limited involvement with the film. She claims she functioned as a lead producer under Tea Shop’s own internal definition, a distinction at the center of the case, because the profit deal she is suing over applies only to films she lead-produced.

The complaint alleges that she stepped in at a point when the edit had been taken away from Barker and handed to a new editor, leaving the movie “mired in an edit that was not working.” She “provided fundamental and critical creative and structural notes that changed the course of the film,” “advocated heavily” for the edit to be returned to Barker, and recommended the reshoots that followed, according to the suit. She then took on the post-production, credits, clearance and delivery work that got the film finished in time for its Toronto International Film Festival premiere, where Focus bought it for about $16.2 million — well above the $14 million to $15 million that trades were reporting during negotiations.

Once the value of the movie became apparent, the lawsuit alleges, she was iced out. She wasn’t invited to the Los Angeles premiere and was “deliberately” cut out of major trade articles and interviews, the suit says, including a May profile of Harris and Lane that didn’t name her. Her name was added to that piece in August, after she complained.

Darby first started working at the company in 2019, as a development and production executive. In this role, the lawsuit said, she was responsible for originating and developing projects, attaching filmmakers, assembling financing and producing films from preproduction through delivery. She originated and produced movies including “A Banquet,” “Tornado” and “The Surfer,” which stars Nicolas Cage.

In 2024, she and Tea Shop allegedly reached an agreement raising her salary to 100,000 pounds and entitling her to a third of the net profits Tea Shop itself receives on films she lead-produced, “together with direct participation in the applicable collection account management agreements” — the deals that govern how money from a film is divided among its participants.

Tea Shop has allegedly honored that arrangement on other films. On “Obsession,” the complaint says, Darby was paid $300,000 out of the film’s initial minimum guarantee after Tea Shop directed her company, Runt Productions, to invoice for “Services: Obsession.” That payment, the suit argues, was fixed compensation for her producing services — not a settlement, release or buyout, with no writing calling it full and final.

In addition to her share of Tea Shop’s profits on “Obsession,” Darby is seeking a full accounting for several projects as well as unpaid wages, expenses and relief for retaliation.

A new three-part documentary series on Netflix will explore the life and struggles of Matthew Perry and feature an interview with his sister Mia Perry Bowick, along with unreleased photos and videos from the private archive of the Perry family.

“The One About Matthew Perry” will premiere on the streaming platform Oct. 27, according to an announcement by Netflix on Tuesday. The docuseries, directed and executive produced by award-winning director Mary Robertson (“Quiet on Set”), will tell the story of Perry and his journey from rising comedic star to the man behind the Emmy-nominated role of Chandler Bing on “Friends.”

“Through his many films, TV and stage performances, and his unforgettable portrayal of Chandler Bing, he made millions of us laugh, connect, and feel a little less alone,” Robertson said in a statement. “He also gave us so much more by bravely speaking about addiction. Yet the public only knew part of his story. That’s why we set out to make this series: to let the people who knew and loved Matthew reveal the person behind the public figure.”

The documentary will explore new details about Perry’s private struggles with prescription painkillers and alcohol through firsthand memories from his family and collaborators. The actor died in 2023 from acute effects of ketamine, according to the Los Angeles County medical examiner. Five people were sentenced to prison for supplying Perry with the drug, including his assistant, two doctors, a former drug counselor and a drug dealer known as the “Ketamine queen.”

Perry Bowick hopes the series gives everyone who loved him an appreciation of who he truly was and the legacy he leaves behind.

“It’s taken time for me to feel ready to share these memories and what it was like to love Matthew through all the complexity of his life — to see him as a whole person, not just as Chandler, and not just as someone who struggled with addiction,” she said in a statement.

“The One About Matthew Perry” is the latest documentary about the late actor; “Matthew Perry: An American Tragedy” was released on Peacock last year. The Netflix docuseries is produced by Maxine Productions, a part of Sony Pictures Television. Lisa Kalikow, Eli Holzman and Aaron Saidman are executive producers along with Robertson, Lora Moftah is co-executive producer and Jessica Call is producer.

The U.S. Postal Service is poised to launch a hastily built, error-riddled computer system that could jeopardize the process of mail voting relied upon by one-third of all voters, according to a whistleblower statement released Tuesday by Democratic Sen. Richard Blumenthal.

The effort is part of the implementation of President Trump’s executive order limiting mail voting and has been temporarily halted by a federal judge. The ruling is being appealed by the administration and the directive may ultimately end up back before the U.S. Supreme Court.

The disclosure from the unidentified whistleblower contends that the Postal Service has been scrambling to try to build a complex system that would normally take a year or more in only three months, sometimes in defiance of the judge’s orders halting work. The goal is to have it ready for use in the midterm elections.

The disclosure contends that, due to the new procedures, a single scanning error in a batch of tens of thousands of ballot envelopes could prevent any from reaching voters. It details a system that election officials have already warned could not be implemented before the first mail ballots begin going out Friday in North Carolina.

“The Postal Service has designed a system to disenfranchise millions of Americans,” Blumenthal told reporters in advance of releasing the whistleblower information. “This administration seems hell-bent on changing the framework on casting ballots in this country clearly for political reasons.”

Executive order is subject to furious court action with midterms nearing

Trump’s executive order, signed in March, directed U.S. Citizenship and Immigration Services and the commissioner of the Social Security Administration to develop state citizenship lists and then required the Postal Service to send mail ballots only to voters who are on such a list. Ballot envelopes would have to comply with new Postal Service rules and include bar codes.

The online portal that is the subject of the whistleblower complaint is intended for states to deliver their lists of verified voters to the Postal Service.

The Postal Service did not comment on Monday night. The White House did not immediately respond to a request for comment Tuesday. The White House has called the mail voting provisions “commonsense measures” necessary to combat fraud.

Trump has long opposed voting by mail, even though he has repeatedly used the method to cast his own ballot. He falsely blamed mail voting for his 2020 election loss and has spent years spreading conspiracy theories about it. A report by the Brookings Institution published in 2025 found that mail voting fraud occurred in only about four cases out of every 10 million mail ballots cast.

Since returning to office, Trump has said Republicans should be “taking over” vote counting in Democratic areas and launched a sweeping attempt to reinvestigate the 2020 election, despite a mountain of evidence that he lost fairly to Democrat Joe Biden.

Until Trump came out against mail voting in 2020, the system was used equally by both parties. Since then, it has become more common among Democratic voters. More than 29% of all voters in 2024 cast their ballots through the mail.

After Trump issued his executive order, Democrats and civil rights groups sued and eventually won a ruling from U.S. District Court Judge Indira Talwani in Boston barring implementation of the system before the November midterms. But without ruling on the legality of Trump’s order, the Supreme Court’s conservative majority last week found that was premature and overruled Talwani, momentarily clearing the way for its implementation.

On the night of Aug. 21, the Postal Service released a final rule outlining how it would implement the order.

It said it would only send mail ballots for states that got approval for the design of their envelopes and submitted a list of voters receiving them through the still-not-active online portal. That rule gave plaintiffs a chance to sue again, and Talwani on Thursday night issued a 14-day restraining order against implementation of the measure.

Whistleblower complaint says portal development is rushed and sloppy

The letter from Blumenthal and an accompanying summary of the whistleblower’s statements says the Postal Service began work on the portal on June 15 and stopped on June 25 after Talwani’s initial order. Then on July 29, the Postal Service restarted the work. That was when the administration appealed the judge’s order to the Supreme Court. The high court did not strike Talwani’s injunction down until Aug. 24.

Talwani last week found the Postal Service violated her order by continuing to work on the final rule, but she imposed no sanctions on the government. On Monday, she issued a ruling refusing to lift the restraining order that also said the Postal Service could continue work on its portal, as long as it wasn’t forcing states to use it.

In its summary of the whistleblower’s statement, the group Whistleblower Aid says the hurried construction of the portal, with a goal of being active on Tuesday, meant it did not undergo full testing.

“The apparently sloppy and rushed manner in which the Federal Ballot Mail Portal and supporting IT systems are being built poses significant risk,” the group wrote. “Potentially millions of American voters may not receive their mail-in ballot this election cycle in a timely manner, or at all.”

The statement also says the Postal Service is implementing a “zero percent” rule in which any errors in any mail ballots sent out by an election office could lead to all of them being discarded — even if it’s simply one problem amid tens of thousands of legitimate ballots.

The rule requires ballots to be handled in a physical post office by an election official. Those will then be scanned to ensure they match the voter database. During three layers of checks, a single apparent error could cause the whole batch to be rejected, the statement says.

Blumenthal said he has “a very strong hope and some faith that our system of justice will strike down this unconstitutional and unconscionable rule.” But, he added, if it somehow goes into effect for the midterms, he would not advise voting by mail.

Riccardi writes for the Associated Press. AP writer Lindsay Whitehurst contributed to this story.

Aug. 27 (UPI) — President Donald Trump signed an executive order Thursday to rename Lake Ontario as “Lake America” after his dispute with Canada over tariffs last week.

Trump threatened to rename the lake Tuesday on Truth Social, saying, “The United States is giving serious consideration to changing the name of Lake Ontario to Lake America in that we don’t expect to be doing much business with Ontario any longer.”

“We’re going to be changing the name of Lake Ontario, effective immediately, to Lake America,” the president said just before signing the order.

In the Oval Office, a reporter asked what message he was trying to send with the renaming.

“No message,” he said. “As you know, Canada has been ripping us off for a long time on trade, very, very sadly. Even the military. You know, we defend Canada for nothing.”

Canada is a founding member of NATO.

The order says that within 30 days, Secretary of the Interior Doug Burgum will update the Geographic Names Information System. The GNIS works with the U.S. Board on Geographic Names to standardize geographic names for federal use.

Trump renamed the Gulf of Mexico to the Gulf of America and Mount Denali to Mount McKinley on his first day in office in 2025. He can’t force other countries or private entities to use the new names, but he can force the federal government to.

Because it’s an international boundary water, Canada and the U.S. jointly manage Lake Ontario through the International Joint Commission under the Boundary Waters Treaty of 1909.

Order declares a national emergency over an ‘unusual and extraordinary foreign threat’ to the grid.

United States President Donald Trump has declared a national emergency over what his administration describes as security risks linked to foreign-made equipment used in the US electricity grid.

Trump signed an executive order on Wednesday that restricts the purchase and installation of certain foreign-produced equipment used in the bulk-power system.

The order cited an “unusual and extraordinary foreign threat” from foreign-made systems, saying they could create vulnerabilities for US national security.

The directive targets certain bulk-power system equipment as well as related software and digital capabilities that the Trump administration said could create cybersecurity or operational risks.

The Department of Energy has 120 days to publish formal rules implementing the policy. In the meantime, experts are watching utility companies, which face the enormous task of compiling an inventory list of equipment flagged by the Trump administration.

“Blocking new purchases is the easy part. Knowing what’s already running is where the real work starts,” John Bruggeman, virtual chief information security officer of the telecommunications company CBTS, told Al Jazeera. “Utilities running foreign-sourced grid equipment … have a live compliance clock starting today.”

The move is the latest effort by the White House to address potential foreign security threats against the grid. Last year, US experts reported finding undisclosed communication devices in some Chinese solar power inverters. In July, the Federal Communications Commission banned all new foreign-made power inverters designed with remote communication capabilities and operating within the electric utility grid.

Still, the order does not prohibit all foreign-made equipment used in the US electricity system. US Energy Secretary Chris Wright has been directed to establish conditions for the continued use and operation of affected equipment.

“The executive order establishes the authority to act,” Michael Centrella at the cybersecurity company SecurityScorecard, told Al Jazeera. “The difficult next step will be giving operators scalable, independent visibility into which assets and vendor relationships present the greatest risk without disrupting the reliability of the power system.”