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The $1 coin designed to celebrate America’s 250th birthday and seemingly President Trump, whose face gazes from one side of the gold finish, will go on sale Wednesday, according the U.S. Mint.

The coin’s design — Trump’s visage as “heads” and the Great Seal of the United States as “tails” — was given the stamp of approval this year by the U.S. Commission of Fine Arts, whose members Trump appointed. In past comments, the president said that the idea to stamp his face on a coin was “very unusual” but that he was “honored by it.”

The president’s second term has come with several such brandings, or attempts at them that have become tangled up in lawsuits. That includes moves to put Trump’s name on the Kennedy Center, as well as the U.S. Institute for Peace, as Trump works to leave his stamp on history and Washington, D.C.

The coins, which can be used as legal tender, stirred some criticism particularly because of federal law that bars the depiction of a living president on U.S. currency. But in some circumstances, the treasury secretary does have authority to authorize the minting and issuance of special coins.

The coins were struck to “honor 250 years of great American heritage,” the U.S. Mint wrote on its website. In an arc above Trump’s face is written “LIBERTY,” and below is “1776 — 2026.” On the flip side is the Great Seal of the United States, with the bald eagle gripping arrows in one claw and an olive branch in the other. In a banner clutched in its beak is written “E PLURIBUS UNUM,” Latin for “out of many, one”

A roll of 25 coins will cost $61, and a bag of 100 will cost $154.50, and the U.S. Mint said they randomly hid some special-issue coins among the rolls and bags. Those will be marked “July 4th,” because they were stuck on that day, the anniversary of the Declaration of Independence.

Households are limited to only two orders, the U.S. Mint wrote, but that cap will lift at 2 p.m. Eastern time on Thursday.

Bedayn writes for the Associated Press.

Three months after Josh Jacobs was arrested on five charges relating to domestic abuse, the Green Bay Packers star running back on Thursday was formally charged with misdemeanor battery and misdemeanor criminal damage to property.

The Brown County (Wis.) District Attorney’s Office released an incident report that asserts that video footage taken inside Jacobs’ garage corroborates the altercation the alleged victim described. However, a felony and four misdemeanor charges pertaining to domestic violence were dropped.

Jacobs’ legal team led by David Z. Chesnoff issued a statement: “The Brown County District Attorney has reviewed evidence and elected to file misdemeanor charges against Josh that do not include domestic violence. The allegations will be addressed in court, and not in the media. Mr. Jacobs respects the District Attorney’s office and the process it followed.”

The report states that on the morning of May 23, police were dispatched to Jacobs’ home near Green Bay because of a disturbance between Jacobs and a woman described as his girlfriend.

The woman told officers she had a lump on her head as a result of a physical struggle with Jacobs. She said she became upset after looking through Jacobs’ phone and seeing he had been talking to other women. Jacobs had her phone, and she told Jacobs he could look through it, but when she tried to take back her phone, he grabbed her arm and she ended up on the floor.

According to the report, the video shows that Jacobs followed her to the garage. When she attempted to exit, Jacobs grabbed her, threw her to the ground and she struck her head. The woman lay on the ground before standing and walking into the house.

The report stated that a responding officer observed redness on the woman’s face and neck and felt the bump on the back of her head.

Retrieving relevant video from the surveillance system in the garage “was complex and took several weeks,” according to the report. Surveillance footage “corroborates the relevant portions of [the alleged victim’s] statements” that occurred in the garage but “does not depict any portion of the incident that is alleged to have occurred inside the residence.”

The day of the incident, Jacobs was charged with felony strangulation and suffocation, and four misdemeanors pertaining to domestic abuse. However, he was released from jail the next day because the District Attorney’s office said it found insufficient evidence to pursue criminal charges.

Three months later, that changed, although neither of the Class A misdemeanors filed Thursday mentioned domestic abuse. Jacobs would be subject to a fine of not more than $10,000 and not more than nine months in jail if he is convicted.

“Our office sought to ensure a fair and complete review of available evidence, some of which only recently became available to our office due to significant, ongoing forensic efforts by law enforcement,” Brown County District Attorney David L. Lasee said in a statement. “A criminal complaint is nothing more than a written, formal accusation against a defendant alleging the commission of criminal offenses and does not raise any inference of guilt. Mr. Jacobs is presumed innocent of these charges.”

The Packers and the NFL both issued statements saying only that they are monitoring the developments and will cooperate with law enforcement.

Jacobs has been one of the top running backs in the NFL since he was drafted out of Alabama in the first round by the Raiders in 2019. He signed a four-year, $48 million contract with the Packers as a free agent after the 2023 season.

Jacobs, 28, has rushed for more than 1,000 yards in four of his seven NFL seasons and last year rushed for 929 yards despite missing two games with a knee injury.

Singer-songwriter Anaïs Mitchell first wrote the numbers for “Hadestown,” a folk musical based on Greek mythology, in 2006. Twenty years later, the Tony-winning smash musical comes to the big screen in a version filmed on the West End in 2025, directed by Brett Sullivan. The production reunites the original Broadway cast — André De Shields, Patrick Page, Reeve Carney, Eva Noblezada and Amber Gray — six years after the show debuted and swept the Tonys in 2019.

There is a timelessness to Mitchell’s work, thanks in large part to the ancient source material, the myths of Orpheus, Eurydice, Hades and Persephone. Developed in partnership with Rachel Chavkin, who directed the Broadway show, the action is set around the 1930s in the American Deep South. The story expresses evergreen themes of love, sacrifice, oppression, addiction and devotion, juxtaposing the tragedy of the way things are against a hope of the way they could be.

There are moments when Mitchell’s songs feel eerily prescient: The show’s villain, Hades (Page), rules the underworld of Hadestown as a fascistic industrialist; his Act I closing number is titled “Why We Build the Wall.” Factory workers sing back to him, “We build the wall to keep us free,” a chorus that foretells the Trumpian rhetoric of 2016 and a reminder that these patterns of division and otherization are the eternal tools of the oppressor.

“Hadestown” is a love story first and foremost, set in a joyous juke joint, the band ringing the stage. The camera follows our narrator, Hermes, played by American theater legend De Shields, as he takes the stage, kissing the heads of his company.

But the show doesn’t start until the 79-year-old De Shields nattily flips his jacket open, to the approving roar of the audience. He introduces doomed Orpheus (Carney), “touched by the Gods themselves,” a born yearner with a gift for song. When Eurydice (Noblezada), a scrappy, skeptical slip of a girl, rolls into town, Orpheus instantly falls head over heels. They have nothing except each other, their love symbolized by a red flower that Orpheus offers.

Party girl Persephone (Gray) brings the summer fun, but her jealous lover Hades wants to keep her all to himself in his domain, trapping the world in a long winter. Orpheus promises to write a song to summon spring again, but a struggling Eurydice is seduced by Hades’ promises of security in Hadestown, and she descends with him, signing her life away to work in his factory. Orpheus tries to rescue his love, but his faith in her is tested on their return to the top — if he turns back to see if she’s there, she’ll be banished to Hadestown forever.

Real-life couple Carney and Noblezada married several months after this production; they met at Noblezada’s audition. Their chemistry makes the emotional devastation of this tragedy that much more real: Every main actor sheds a real tear over the course of the show. Carney’s unique tenor ranges from Jeff Buckley to Freddie Mercury; his rock background and skill with the guitar is required for Orpheus’ lyre-playing and lends to the folk roots of Mitchell’s songs.

Cinematographer Clayton Jacobsen captures unexpected camera angles that a theatergoer wouldn’t get (even one with decent seats), both from down below in the circular pit and above it. He sends the camera soaring over the heads of the audience into intimate medium shots. Sullivan makes the animated and often rowdy crowd an integral part of the cinematic experience, including an extended curtain call with De Shields toasting the audience, sending them out with the warmth with which he brought them in.

There is such a temporal quality to theater, a shared moment in time and space. This production feels like a fleeting moment — a reunion of friends and collaborators retelling a myth that is recounted over and over again. “It’s a sad song, but we sing it anyway,” Hermes reminds us, and it’s a sentiment worth repeating. There may be tragedy, but the summer will inevitably return.

Former NFL running back Chris Johnson has issued a challenge to his family, friends and fans — one that could quite literally send a chill down the spine of those who remember a certain viral trend from more than a decade ago.

A quick refresher: A social media sensation went viral in 2014, involving people posting videos of themselves having a bucket of ice water poured over their heads and challenging others, by name, to do the same.

The trend was often referred to as the ALS Ice Bucket Challenge because many folks used the videos to raise awareness for and funding to help fight the degenerative neurological disorder amyotrophic lateral sclerosis, commonly known as ALS or Lou Gehrig’s disease.

Johnson, a three-time Pro Bowl selection who holds the NFL record for most yards from scrimmage in a single season, on Tuesday revealed on “Good Morning America” that he has been diagnosed with ALS. Soon after, former Utah basketball player and sports content creator Hunter Mecum posted a video on Instagram in which he dumped a large bowl of ice water on himself in Johnson’s honor.

That video inspired Johnson to bring the movement back.

“Man… the love y’all have shown me these last few days really [means] more than you know. Me and my family appreciate every prayer, message and every bit of support,” Johnson wrote on Wednesday on Instagram.

“After seeing @huntermecum video, I’m asking y’all to help me with something. Let’s bring back the ALS Ice Bucket Challenge. Grab a bucket, challenge 3 people and if you can, donate to help fund ALS research.”

Johnson included a link in his bio to a fundraiser for ALS research set up in his honor. As of Thursday morning, it had raised more than $32,000.

The retired player known as CJ2K also called on three people to accept the ice bucket challenge — ex-Tennessee Titans teammate LenDale White and fellow former NFL greats Marshawn Lynch and Adam “Pacman” Jones.

So far, White and Lynch have accepted Johnson’s challenge. Lynch, the former star running back for the Seattle Seahawks and Oakland Raiders, obliged by getting hailed on by a bucket of ice.

White, who was Johnson’s “Smash and Dash” counterpart in the Titans backfield, took the traditional ice water route and nominated former NFL players Deion Sanders, Vince Young and Michael Sims-Walker, who was on hand at the time and accepted the challenge in a separate video.

Johnson also posted a video of his daughter Honey Love taking the challenge, with White handling the ice-bucket duty. She nominated her brothers and former Lakers superstar LeBron James.

James hasn’t yet responded, but he was one of the many celebrities who took part in the original challenge 12 years ago. Others included Kobe Bryant (who submerged himself in an ice tub), Shaquille O’Neal (who humorously poured one drop of water on his head) and Donald Trump (who joked he was nominated because “they want to see whether or not it’s my real hair, which it is”).

“Toy Story 5,” the latest installment to one of Disney Pixar’s longest-running franchises, topped the box office this weekend.

The tech-fueled tale, led by fan favorite characters Woody, Buzz Lightyear and Jessie, earned $160 million for its opening weekend at the domestic box office and a global total of $312 million, according to Rentrak Data. The animated feature now holds the biggest box office opening of the year, further signaling what could be a massive summer for theaters.

Steven Spielberg’s “Disclosure Day” came in second at the box office with a domestic haul of $17 million. “Obession,” “Backrooms” and “Scary Movie” rounded out the top five.

“Toy Story 5” features the original cast, including Tom Hanks as Woody, Tim Allen as Buzz Lightyear and Joan Cusack as Jessie. The story follows the beloved band of toys as they grapple with the introduction of technology into their home, with a tablet named Lilypad. The production budget for “Toy Story 5” is about $150 million to $200 million, and a crew of about 300 people worked on the film at Pixar’s Emeryville, Calif., headquarters.

“Tech versus toys is a very easy concept for families and parents to grasp. Every family goes through that to some degree,” said Andrew Cripps, head of theatrical distribution for Walt Disney Studios.

With the successes of “Inside Out 2” and “Zootopia 2,” sequels have proved to be dependable releases for Disney and Pixar in recent years. But “Toy Story” has been a steadfast juggernaut for the entertainment giant. This new release marks a new debut weekend record for the 31-year-long franchise, beating the nearly $121-million opening of 2019’s “Toy Story 4.” The original opened with $29 million in 1995, 1999’s “Toy Story 2” hit $57 million, and the third installment from 2010 received $110 million.

“The franchise is just so big,” Cripps added. “It’s in the theme parks. The consumer products keep it alive. It’s been 31 years with five movies, so it’s not like it’s overstayed its welcome. They’re very good at Pixar. They tell a story when they have a story worthwhile telling, and it feels like this one was worthwhile.”

Across the franchise’s lifetime, “Toy Story” has grossed more than $3 billion worldwide. The new movie also landed the second-highest animated opening weekend of all-time, behind only “Incredibles 2,” which earned $182 million.

Building off the surprise successes of budget horror films like “Obsession” and “Backrooms,” “Toy Story 5” brings yet another major boost to this year’s box office. Domestic ticket sales are up over last year, and Roth Capital Partners forecasts the second quarter will climb 6.5% to $2.8 billion.

With this uptick, there’s a chance the box office could climb back to pre-pandemic numbers. The 2026 box office is tracking 1.1% behind the summer of 2019 and 16% ahead of last year, according to Paul Dergarabedian, head of marketplace trends at Rentrak data.

“The industry’s on a roll,” Dergarabedian said. “There’s some unpredictable things that have happened so far this year, with the holdover strength of ‘Project Hail Mary,’ ‘Michael’ and ‘The Devil Wears Prada 2.’ Their worldwide grosses are incredibly impressive. It’s a phenomenon.”

“Toy Story 5” is just the first of several theatrical tentpoles hitting the big screen later this summer. Rentrak predicts this could be another $4-billion summer season domestically, following in the steps of the 2023 “Barbenheimer” summer.

Warner Bros.’ DC Studios has “Supergirl” landing later this month. Universal Pictures and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day” are all lined up for releases in July.

Times staff writer Samantha Masunaga contributed to this report.

Woody, Buzz Lightyear and Jessie will be back at the box office this weekend, delivering what could be the biggest film debut of the year.

Analysts expect the fifth installment of Disney/Pixar’s “Toy Story” franchise will pull in at least $150 million in the U.S. and Canada, with some predicting as much as $175 million — either of which would set a franchise record, topping the nearly $121-million opening of 2019’s “Toy Story 4.”

A strong showing for “Toy Story 5” will further fuel a recovery of the box office this year from the post-pandemic doldrums.

Domestic ticket sales are up over last year, and Roth Capital Partners forecasts the second quarter will climb 6.5% to $2.8 billion — a post-pandemic high.

“Toy Story 5” is the first of several family tentpoles this summer, ahead of Universal and Illumination’s “Minions & Monsters” and Disney’s live-action “Moana.”

“Right now we’re on pace for the best opening of the year,” said Daniel Loria, editorial director at Box Office Co. “This is a performer.”

The timing also is fortuitous for Walt Disney Co. at a moment when its other once-reliable franchises such as “Star Wars” and Marvel have faltered. The recent “Star Wars: The Mandalorian and Grogu” dropped sharply at the domestic box office after its late-May opening, bested by low-budget horror films “Backrooms” and “Obsession.”

“People love these characters from ‘Toy Story,’ ” said Paul Dergarabedian, head of marketplace trends at Comscore. “It’s just as appealing as ever.”

Indeed, across four films and 30 years, “Toy Story” has grossed more than $3 billion worldwide. It is the most-watched franchise on Disney+, with more than 2 billion hours streamed. Woody, Buzz Lightyear and Jessie have spawned 19 theme park rides, four themed lands, two hotels and roughly $1 billion a year in global retail sales.

The production budget for “Toy Story 5” is about $150 million to $200 million. A crew of about 300 people worked on the film at Pixar’s Emeryville, Calif., headquarters.

For Pixar, the reliance on “Toy Story” reflects a shift away from originals that used to be its lifeblood.

February’s “Hoppers” managed a respectable $372 million worldwide, but the surer money now comes from sequels.

“Inside Out 2” grossed nearly $1.7 billion in 2024, and both “Toy Story 4” and “Toy Story 3” crossed $1 billion globally.

Still, the franchise label is no guarantee: The 2022 spin-off “Lightyear” stalled at $226 million worldwide after straying from the formula, recasting Buzz as an actual sci-fi hero — voiced by Chris Evans rather than Tim Allen — and sidelining Woody and the rest of the gang.

“Toy Story 5” stays closer to home but wades into new territory: the explosion of tech in everyday life. The toys must contend with Lilypad, a tablet that captures the attention of their owner, Bonnie — a premise that grew out of a tech-toy character originally written for “Toy Story 4” and scrapped for time. Disney is betting the underlying tension is universal.

“What parent hasn’t had anxiety over tech versus toys with their kids?” said Andrew Cripps, head of theatrical distribution for Walt Disney Studios.

Disney is betting that this universal concern will drive audiences to the film.

The fifth installment also arrives with an unusually high-wattage assist: Taylor Swift wrote and performed an original song, “I Knew It, I Knew You,” and made a surprise appearance at last week’s premiere, performing it after the credits before joining longtime franchise composer Randy Newman for “You’ve Got a Friend in Me.”

“It means the world to me to be a small part of the universe of these films,” Swift told the crowd.

The expected blockbuster opening for “Toy Story 5” would be a full-circle moment for the long-standing franchise; Pixar animators in 1995 hadn’t even considered the possibility of a sequel while working on the first “Toy Story.”

“There was so much learned on that first film, specifically our iterative process,” Pixar Chief Creative Officer Pete Docter said in a phone call last week from Madrid, shortly before the film’s Spain premiere. “A lot of things that we discovered having worked on that film have just continued to inform every movie that we make.”

“Toy Story” revolutionized the movie business as the first computer-animated feature film. But its enduring appeal was in the bonds between the characters, Docter said.

Docter, who supervised animators and helped with character design and writing on the original “Toy Story,” added: “It certainly had some new technology, but it was really up to the story and characters to carry the audience.”

The franchise’s longevity is also due to its ability to capture generations of fans.

“Having parents now that say, ‘I grew up with “Toy Story,” and now I’m showing my kids,’ has been really gratifying,” Docter said.

Ariel Atkins’ head whipped back. After taking an elbow from Indiana’s Monique Billings on May 13, the Sparks’ team doctors spotted the potential for a head injury and sent her to the locker room.

It was the second concussion of her career, but she didn’t know that at the time. All she knew was that her head hurt.

“You just don’t feel like yourself,” Atkins said. “It’s hard to even be a part of society. Luckily, this wasn’t a serious one.”

There have been eight diagnosed concussions in the WNBA already this year after just a quarter of the season. There were eight total in 2025, four in 2024 and six in 2023.

The “why” could be bad luck, better awareness in diagnosing concussions or something else. Atkins thought the lack of game flow because of new officiating standards might be making things harder.

“You would think it should be down,” Atkins said. “Maybe there is no rhythm when there are stoppages.”

Atkins got hit in the nose against the Wings three weeks after returning from her concussion. She stayed in the game after a quick check on the bench.

She didn’t have a concussion that time, but players do seem to be getting hit in the head at a higher rate. Minnesota-based sports scientist Lucas Seehafer thinks it’s too early to make a definitive declaration of why that is happening.

“Some players and coaches in the past have talked about the physicality of the play,” he said. “I know some people have talked about how the rules are kind of lax, or you’re maybe not as rigorous as what they could be in terms of like punishing blows above the shoulders and that kind of stuff. But it’s tough to say with any certainty until we get more data.”

On opening night in Seattle, Golden State forward Cecilia Zandalasini suffered her first concussion when elbowed by the Storm’s Zia Cooke.

She called the process to return a “nightmare.”

“It was so weird with the feeling of always having a headache,” she said. “I had to wait until it was gone, I couldn’t move.”

Valkyries forward Cecilia Zandalasini called working through concussion protocal a “nightmare” earlier this season.

(Ellen Schmidt / Getty Images)

Seehafer said that when it comes to women’s sports, hockey and soccer have a reputation for having higher concussion rates, but basketball can be just as physical.

“Compared to the rest of the [pro sports] leagues, the WNBA is pretty much doing exactly what the other leagues are doing, but again, is that enough?” he said. “It’s tough to say. I would say they’re not, but I don’t think they’re egregiously leaving athletes open to even more severe injuries, necessarily. My bias is just that everything can be safer.”

The WNBA follows the same concussion protocol as the NBA, by which a player must undergo a locker room evaluation after getting hit in the head. If the player is cleared by medical staff, they can return to the game.

Any player showing concussion-related symptoms, such as a headache or dizziness, must be monitored for 24 hours by the team’s medical staff. Once they are symptom-free, they go through a range of activities from light physical activity to full-contact practice. They must stay symptom-free throughout that entire process to be allowed back into games.

“Back when I played, I didn’t know what concussion meant,” said Sparks coach Lynne Roberts. “I think now we understand the science of how serious it is, and we don’t rush them back. Once they’re back, there’s really nothing you can do. It’s a contact sport, and the players just kind of play through that, but obviously we’re very cautious with not letting a player play until the doctor’s fully certain that she’s symptom-free and at no risk.”

The hardest part with concussions can be the initial diagnosis. Oftentimes, symptoms show up hours or even days later. For Zandalasini, she was originally diagnosed with a jaw injury before dealing with a headache the next day.

Atkins knew a little bit about what concussions felt like, and even this time was different. Why concussions are up this year is still a mystery, and perhaps it will even out as the season goes on.

But for now, players and medical staff are on alert.

“It’s the thing with athletes, right?” Atkins said. “We’re trying to figure out pain versus injury, like, is it something serious? Is it not? I don’t want to hurt myself further. So, yeah, it can be hard to decipher that with a head injury.”