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Gov. Gavin Newsom appointed Nathan “Nate” Ballard, a former aide sentenced in connection with a domestic violence case, to the State Historical Resources Commission.

Ballard, 57, of Mill Valley, will serve alongside eight other commissioners tasked with designating state historical landmarks and preserving the state’s cultural heritage, following the appointment made Friday evening.

In 2020, Ballard was arrested after an incident at an upscale resort where the Napa County district attorney’s office said he pushed his then-wife into a glass door and held a pillow over his four-year-old daughter’s head. The following year, he pleaded no contest to misdemeanor corporal injury against his spouse and child endangerment, according to court records.

He was sentenced to four years’ probation and initially ordered to stay away from his ex-wife and two children for six years, which was later reduced to two years, the San Francisco Chronicle reported.

Ballard was Newsom’s communications director from 2007 to 2010, when the outgoing governor was mayor of San Francisco. He previously worked in similar roles for the Democratic National Committee and the California Democratic Party, and as John Kerry’s California press secretary during his 2004 presidential run. He now works as an attorney in private practice and runs a public relations firm.

In a statement, a spokesperson for Newsom said the governor “considers the experience, qualifications and suitability for each post in making appointments.”

“He believes that abuse of any individual is unacceptable, and that those who commit such conduct should face accountability,” the statement continued. “He also believes in second chances.”

Ballard, who grew up in Davis, told The Times he applied for the position and looks forward to returning to public service. He described the need “to preserve the things that we love so much about California, and also to alleviate some of the pressures that we’re feeling on housing costs.”

Ballard added that he and the governor have known each other for decades and worked together through “tough times.”

“It’s no surprise that my appointment is a little controversial and I’m grateful to have his support,” he said.

Some have criticized the governor’s move.

Ivy Lee, the head of the San Francisco Mayor’s Office for Victims’ Rights, told Mission Local, which broke the story, “Why elevate perpetrators of abuse?”

“When people in power do that, it shows us what they really think about survivors. And it’s not much,” she said. “Survivors deserve better.”

Nadia Rahman, former president of the San Francisco Women’s Political Committee, told the outlet that the appointment was “egregious.”

“He should not be appointed to a body,” she said. “This sets him off on a road of normalizing his behavior and reintroducing him to powerful political circles in California.”

During a long career in politics, “I didn’t think twice about exploiting my opponent’s biggest weakness when I was in the middle of a policy battle,” Ballard said when asked about the pushback. “So when I hear somebody speaking up with conviction about an issue like this, I understand where they’re coming from.”

Unless you’re writing for a major national magazine or shooting video for Architectural Digest, it’s rare for a reporter to be invited into a celebrity subject’s home. More likely, it’ll be some neutral space like a publicist’s office, or coffee shop, or hotel room; even more likely, over the phone or Zoom. But Patrick Stewart, when I interviewed him in 2023 at the end of “Star Trek: Picard,” the “The Next Generation” sequel series in which he starred, asked to meet at his house.

Stewart, who died Wednesday at 86, was 82 then, friendly and dapper and emanating a youthful sense of wonder and readiness. He spoke of wanting to learn to play the piano and speak French — ironic for an actor perhaps best known as Jean-Luc Picard. He had written a memoir, “Make It So,” titled for a Picard catchphrase. And he was excited about the house, located on a leafy, McMansion-free, comparatively modest street in what real estate agents would call Hancock Park, where he’d been living with his wife, Sunny Ozell, since just before the COVID-19 pandemic shutdown.

“We were safe,” Stewart said of the COVID days. “We felt protected here. It was just a walk that way or a walk that way to some shops. I walk to a little post office and my pharmacy is on 3rd Street, and I always take the backstreets. It’s a fabulous neighborhood, it really is. No two houses are the same. I mean, I never thought I’d live in a house that had just got archways everywhere — no doors! Sitting here, you see one, two, three, four, five, six archways.”

From sheer weight of screen time and franchise muscle, “Star Trek: TNG” — which ran for seven seasons (on first-run syndication, a dynamic format that no longer exists), plus four films — and the “X-Men” movies have dominated coverage of Stewart’s death. (Confession: I have possibly seen one “X-Men” movie, though long before there were “X-Men” movies, I read the comics — so I am familiar with Professor Charles Xavier, a part for which Stewart did not need to shave his head, as well as his nemesis Magneto, played by Stewart’s good pal Ian McKellen.) But there’s more to the story.

Patrick Stewart’s Picard comes face-to-face with Alice Krige’s Borg Queen in the 1996 film “Star Trek: First Contact.”

(Elliott Marks / Paramount Pictures)

Stewart’s 70-year career does neatly divide into BST and AST — before and after “Star Trek,” which arrived in 1987 at its chronological midpoint. The first half is dominated by theater. He joined the Royal Shakespeare Company in 1968, after a decade on regional stages, and was a core member until 1982. “So that was my daily experience,” he told me. “Shakespeare and his contemporaries and other great 19th century, 20th century playwrights. It was home to me.” In 1982, he took part alongside fellow RSC members, including David Suchet, Ben Kingsley, Judi Dench and McKellen, in director John Barton’s illuminating series “Playing Shakespeare,” demonstrating the relation of text and performance. You can find it all on YouTube from the Shakespeare Network and really should.

American audiences might have gotten a look at him in David Lynch’s “Dune” or PBS-imported British TV productions like “I, Claudius” and “Tinker Tailor Soldier Spy,” or as Claudius opposite Derek Jacobi in BBC’s “Hamlet” — but for many Stewart appeared new and fully formed in September 1987 on the bridge of the USS Enterprise. (This paper, reporting on his casting, apparently called him “an unknown British Shakespearean actor,” a fact you will see printed many times over in the wake of his death, and which Stewart liked to repeat.) With a handsome, sculpted head unencumbered by hair and a rich musical baritone, he exuded compassionate authority. You felt you could trust him, not just because it was in the script. With his classical training, he could make the most mundane line sing as if it were written in iambic pentameter, and do it without sounding hammy. He was a fit 47 when the show premiered. And he rocked his body-hugging Starfleet uniform.

After “Star Trek” made him Hollywood-famous, making way for his “X-Men” role — which he reprised for his final film, “Avengers: Doomsday,” coming in December — other projects followed. As an established personality there were opportunities for self-mockery and oddball choices. In Ricky Gervais’ “Extras,” playing himself, he describes a screenplay he’s writing in which his character has the power to make women’s clothes fall off (“and I’ve seen everything”). In Riz Ahmed’s “Bait,” which premiered earlier this year, he was the hallucinated voice of “Pigtrick,” a decapitated pig’s head that is somehow also Patrick Stewart. He donned a bad wig to portray John Oliver on “The Daily Show” and was a regular voice on “American Dad!” More traditionally, he played Captain Ahab, Ebenezer Scrooge and Captain Nemo.

Patrick Stewart as Macbeth and Kate Fleetwood as Lady Macbeth in “Macbeth,” the film version of Rupert Goold’s production.

(Manuel Harlan / Illuminations TV)

Did success on the screen boost his stage career? Or was it just a different route to the same place? With McKellen he starred in Samuel Beckett’s “Waiting for Godot” and Harold Pinter’s “No Man’s Land” in repertory. He adapted Charles Dickens’ “A Christmas Carol” into a one-man show and played George in “Who’s Afraid of Virginia Woolf?” But it always came back to Shakespeare. Returning to the RSC, he played the Ghost and Claudius to David Tennant’s “Hamlet” and the lead in “Macbeth” (both were filmed and broadcast) as well as Prospero in “The Tempest.” He stayed busy as he aged, if not always as busy as he would have liked — the actor’s lot — and when the pandemic killed regular work, he went onto social media and spoke directly to the people in the language he loved so well, reading and commenting on all of Shakespeare’s 154 sonnets — “A Sonnet a Day” — from March to October 2020 (they’re available on CD).

“We play this game often,” he told me. “I played it when I was a kid: If you could go back in time, where would you go? And I’ve worked on my answer to that question — I want to be in the audience at the very first performance of ‘Hamlet, Prince of Denmark,’ that’s all, because I know Shakespeare would be there.”

Dwyane Wade is looking much more like himself these days.

That is, the statue of Wade outside of Kaseya Center in Miami now looks much more like the retired Heat legend than it did when it was unveiled two years ago. The sculpture’s new look, featuring a redesigned head by original sculptors Omri Amrany and Oscar Léon, was unveiled Friday.

The statue was meant to capture the iconic moment in 2009 when Wade jumped on a scorers’ table and declared, “This is my house!” Much of the public reaction, however, centered around how the piece looked less like the three-time NBA champion and more like Laurence Fishburne, Kelsey Grammer, Ken Norton Jr. and others.

“I heard the jokes. I saw the memes. I read the reactions. Everybody had an opinion about whether it actually looked like me,” Wade wrote in an essay published Friday on Substack. “At first, it was hard not to feel protective of it because I had spent so much time involved in the process. … But eventually, I had to take a step back and understand that the statue doesn’t belong only to me. It also belongs to Miami.”

He added: “I had to ask myself a pretty simple question: If people don’t feel that connection when they look at the face, why wouldn’t we try to make it better? So we listened and had honest conversations with everyone involved, and we all agreed to make adjustments to the head.”

When the statue was originally unveiled in October 2024, Wade had nothing but great things to say about it. He said it was his idea to immortalize that pose and that he had a lot of input on how the final product would look.

The original face on Dwyane Wade’s statue at Kaseya Center didn’t quite seem to capture the Miami Heat legend’s likeness.

(Lynne Sladky / Associated Press)

“I was just like, ‘Dude, that’s beautiful,’” Wade told reporters after the original unveiling. “Personally biased, I think it’s one of the best statues that’s been created because of what it represents for us and for me.”

Amrany also defended the statue at the time.

“We emphasized a two-second moment of his life when he jumped on the table and was in screaming mode,” Amrany told The Times in October 2024. “And that’s what it is, that’s what happens to the face when people are doing this activity, this facial activity.

“We are very dedicated to a very high detailed quality to deliver exactly what the exact photo is giving us. For somebody to say that this does not look like Dwyane Wade in action, they don’t know Dwayne Wade in action. Or they don’t remember that. And it’s OK for them to say whatever they want.”

Both artists explained the decision to revisit the project in a statement released to media outlets this week.

“After seeing the work at full scale and in its permanent environment, we identified opportunities to strengthen the portrait,” Amrany and Léon said. “We decided that the importance of Dwyane warranted making those refinements rather than accepting something we believed could be improved.”

According to Wade, “this isn’t about erasing the work that was already done or disrespecting the artists who put their time and talent into creating it. It’s about being willing to listen. It’s about recognizing when something carries meaning for more people than just yourself and being open enough to revisit it.”

He added: “I hope when people see it now, they see a better likeness of me. But more than that, I hope they see themselves. Because it may be my likeness, but it will always be our house.”

Based on the comments on an X post by the Heat showing off the changes, Heat fans seem to approve. As one person wrote, it’s the “first statue to have a redemption arc.”