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As the U.S. wades even deeper into the conflict with Iran, some Democratic and progressive political figures are trying to figure out how to connect the public’s wariness about war with concerns about affordability and the widespread reaction against President Trump’s xenophobic immigration policies.

If you’re looking for a template to do it well, one can be found in the words and actions of a political figure who recently passed away: the Rev. Jesse Jackson.

For while attention after his death has rightfully focused on Jackson’s long involvement with the civil rights movement, the more telling lesson for this moment is how his presidential campaigns connected a concern for addressing domestic disenfranchisement with a resolute stance against U.S. military adventures — a message that built on and echoed the Rev. Martin Luther King Jr.’s landmark 1967 speech against the Vietnam War, economic exploitation and racial injustice.

Jackson’s candidacies in 1984 and 1988 emerged at a moment when the social compacts forged by the labor, civil rights and women’s movements of the 20th century were being systematically undone. Deindustrialization was hollowing out working-class communities. Reaganism was consolidating power around tax cuts for the wealthy, deregulation and attacks on unions. A new corporate consensus was hardening — one that increasingly shaped both major parties — prioritizing financial elites while disciplining labor and shrinking the public sphere.

Sound familiar?

Jackson refused to accept that such a right-wing and corporate realignment was inevitable. His Rainbow Coalition was far more ambitious than a candidate-centered campaign. It was an attempt to build an organized, multiracial, cross-class political front capable of contesting the direction of the country itself.

The Rainbow brought together constituencies that conventional political wisdom said could not unite — Black voters in the South, industrial workers in the Midwest, family farmers in crisis, Latino and Native organizers, Arab American activists, peace advocates, labor insurgents and progressive whites.

Jackson’s platform did not treat these groups as symbolic additions to a coalition; it linked their material interests. Farmers facing foreclosure were not an afterthought — the farm crisis was up front. Deindustrialized workers were not rhetorical props — trade, jobs and industrial policy were central. Civil rights were braided together with economic justice.

And crucially, Jackson insisted, as King had, that economic populism could not be separated from anti-militarism.

At the height of the Cold War, amid Reagan’s military buildup and interventionist doctrine, Jackson argued that bloated Pentagon budgets were not abstract line items. They were resources diverted from schools, healthcare, housing and jobs. He connected the violence of abandonment at home to the violence of intervention abroad — and his campaign called for redirecting military spending toward human needs and for diplomacy over escalation.

When Jackson thundered that we should “choose the human race over the nuclear race,” this was not a simple turn of phrase. It was integral to the Rainbow’s moral and economic logic. A government that prioritizes war over welfare, weapons over workers, cannot sustain democratic life.

That clarity feels especially salient today, as the United States continues to pursue military interventions and proxy conflicts whose legality and human cost are deeply contested. Once again, defense budgets swell while public goods strain. Once again, dissent against war is treated as disloyalty. Jackson rejected that false choice decades ago. He understood that militarism abroad reinforces inequality and immorality at home.

Jackson’s 1988 campaign captured millions of votes, won primaries and caucuses across the country and forced issues into the Democratic Party that party elites preferred to sideline. He demonstrated that a progressive program grounded in the lived experiences of ordinary people — rural collapse, urban disinvestment, plant closures, racial injustice and war — could assemble a national constituency.

Unfortunately, after Jackson’s last campaign, the Rainbow’s experiment in independent organizational life was folded too tightly into the mainstream Democratic Party. While that seemed a strategy to achieve a broader front, it meant that the progressive anchor was unmoored — and the effort dissolved before it could truly mature.

But the lessons of that era may be more relevant than ever.

Today, we again confront an ever-ascendant rightward turn buttressed by concentrated corporate power and normalized militarism. As in Jackson’s day, some leaders seek to deflect our attention, blaming economic challenges on the proximate “other” — in his era, Black women taking welfare, in our era, immigrants taking jobs — rather than those with power.

Jackson understood that defeating reactionary politics required isolating it — not only morally, but structurally — by assembling a coalition larger than the right’s base and rooted in shared material demands. He understood that hope had to be organized and that peace had to be part of prosperity. His campaigns showed that racial justice, labor rights, rural survival, gender equality and anti-war politics were not competing claims but interlocking ones.

Protest has surged in the United States, particularly after the excesses in Minnesota. But protest alone does not prevent consolidation. Nor do narrow electoral bargains that leave the underlying corporate and military consensus intact.

At a time when both parties remain deeply entangled with corporate and defense interests, remembering the promise of the Rainbow is not nostalgia. It is instruction.

Rishi Awatramani is a postdoctoral scholar in sociology at USC, where Manuel Pastor is a professor of sociology and the director of the Equity Research Institute.

SACRAMENTO — Gov. Gavin Newsom’s former chief of staff, Dana Williamson, left state service with two things: a federal corruption investigation and more than $50,000 in pay for vacation time she accrued but never took.

State payroll records reviewed by The Times show Williamson used approximately $30,000 in unused vacation time to remain on California’s payroll through Jan. 31 — seven weeks after Newsom’s office indicated she had departed — before collecting an additional $22,000 lump-sum payout for the hours she had left.

Large cash-outs for departing state workers with hundreds of hours of time off on the books have been a recurring issue in California. The state’s unfunded liability for vacation and other leave owed to employees has ballooned in recent years to $5.6 billion, fueled by generous time-off provisions and a long-standing failure to enforce policies that cap most employees’ vacation balances at 640 hours.

Many state workers accumulate large balances of unused vacation after decades of being on the government payroll. The typical public employee retires with more than two decades in public service, according the California Public Employees’ Retirement System. Their unused time off is paid when they leave state employment at their final rate of pay.

Williamson, however, amassed 462 hours of unused leave in less than two years on the job. She earned $19,612 a month as the governor’s chief of staff.

John Moorlach, director at the conservative think tank the Center for Public Accountability at the California Policy Center, said that a job like Williamson had probably involved incredibly long workdays but that the pace in which employees accumulate days off is a major financial burden.

“A normal blue-collar worker would say, ‘Really? Really?“” said Moorlach, a former Republican state senator from Orange County. “You don’t find this perk in the private sector.”

Williamson notified Newsom in November 2024 that she was under federal investigation and was put on paid administrative leave through Dec. 16, the governor’s office said.

Federal charges against Williamson, which were filed in November 2025, allege she siphoned $225,000 out of a dormant state campaign account belonging to gubernatorial hopeful Xavier Becerra and illegally claimed $1 million in luxury handbags and travel as business expenses on her tax returns. She pleaded not guilty to the charges.

A status conference in Williamson’s case was moved to April 16 after she recently underwent a successful liver transplant and due to the large volume of discovery — more than 280,000 pages so far — according to court records filed last month.

Williamson’s attorney, McGregor Scott, did not respond to a request for comment.

State payroll records show Williamson earned $40,000 in regular pay in 2025, which the state controller’s office said included her December 2024 and January 2025 paychecks. The governor’s office said Williamson’s December 2024 paycheck included 11 days of paid administrative leave, and the remainder of both paychecks was covered by her unused leave.

With her final cash-out of $22,000 in remaining time off, she made a total of $62,000 last year — all tied to administrative leave and unused vacation time rather than time worked.

“That’s shocking, honestly,” said Assemblyman Josh Hoover (R-Folsom), adding that stockpiled vacation time overall is something the state Legislature should look into.

The state paid $453 million in unused leave benefits to state workers in 2025. That was an average of more than $20,000 to the 21,000 employees who received a lump-sum check. The amount paid to departing or retiring state workers has steadily increased each year. In 2024, the state paid $413 million for unused time off.

“Obviously, employees are an important part of our state and they accrue vacation time,” Hoover said. “But, if this is something being used to pad people’s salaries … we need to look into that and possibly reform that.”

Last year, 80 state employees took home at least $250,000 in unused time off, and 1,081 employees were paid more than $100,000. Those numbers have been increasing each year. For example, the state paid 16 state workers more than $250,000 for unused time off in 2010, and 309 employees were paid more than $100,000.

In 2024, the state paid out a record $1.2 million to a prison supervising dentist for unused time off. Last year, the top amount paid for unused leave was about $650,000 to an assistant fire chief with the California Department of Forestry and Fire Protection.

The state owed nearly $5.6 billion to state workers for unused vacation and other leave benefits in 2024, according to the most recent financial accounting report issued by the state controller’s office. Although that unfunded liability held steady when compared with 2023, it has risen sharply from pre-pandemic amounts.

In 2019, the state owed $3.9 billion for employees’ unused time off before COVID-19 curtailed travel and work-from-home policies resulted in fewer workers taking time off. State employees have argued that under-staffing at state agencies can make it difficult to take vacations.

Nick Schroeder, a policy analyst at the nonpartisan California Legislative Analyst’s Office, said the state has plans to reduce unfunded liabilities for pensions and retiree healthcare, but that isn’t the case with unused time off.

“There isn’t a plan to address it,” Schroeder said.

When an employee retires with a large leave balance, the department where that person worked last is on the hook for the amount.

“It can be a big effect on that individual department’s budget,” Schroeder said.

During budget deficits — including in the current fiscal year — the state has cut employee pay or deferred annual raises in exchange for additional days off, a strategy that helps balance budgets but also adds to workers’ growing vacation balances.

In Newsom’s January budget proposal, which estimated a $3-billion deficit, the governor recommended providing $91 million in ongoing funding to the California Department of Corrections and Rehabilitation to help the prison system pay departing employees for their unused time off. The department said that from 2020 to 2025, it paid about $130 million annually on average to employees leaving state service, according to a Legislative Analyst’s Office report.

When employees cash out banked leave, the state pays them not only for the hours they have accumulated, but also for the additional vacation and holidays they would have earned had they taken that time off.

That means a person with 640 hours of vacation would also be paid for all of the vacation and holidays they would have earned had they taken those 80 days off. Each hour of leave is paid based on an employee’s final salary — not what they were earning when the time was accrued.

Most private-sector employers cap vacation accrual between 40 and 400 hours and stop employees from earning additional time once they reach those limits. Some companies have moved in the opposite direction, adopting “unlimited paid time off” policies. Under those systems, employees do not accumulate vacation days that can be banked or cashed out, but critics say the policies can lead to workers taking less time off because there is no guaranteed number of days and employees may feel pressure not to appear absent.

Jon Coupal, president of the Howard Jarvis Taxpayers Assn., said there appears to be little appetite in the state Capitol to address California’s burgeoning vacation liability.

“This problem is systemic within California government and no one seems willing to take it on,” Coupal said. “At the same time, they are clamoring that there is a budget crisis. I suspect they will continue to kick the can down the road.”

SHE is an Oscar-winner married to a former James Bond, but Rachel Weisz says Hollywood made her feel so ugly she considered having plastic surgery.

When the British beauty first went there in the Nineties, she contemplated a nose job, boob job or liposuction to get noticed and boost her career.

Rachel, now 56 and one of the world’s most sought-after stars, said: “I went into quite a major depression.

“I was watching so many daytime TV shows. And then I would get in my car and drive to these auditions while listening to the radio.

“I feel sick now when I listen to the radio, all these commercials for different car dealers.

“I just felt like the world was so desperate and lonely and sad and people were trying to sell cars and no one wanted to buy them.

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“People are very focused on their own thing. In LA unless you’ve just won an Oscar or you’re ‘Mr Studio Head’, no one talks to you. Even at parties. I was at this big Hollywood party, and no one looked.

“Everyone is blinkered and they just kind of scan the room for ­anyone important. LA makes you feel ugly. Because if you’re an actress, no one pays you any attention.

“And you immediately start thinking, ‘God, I must have a nose job. Or, I must get that boob job, or I must get that lipo’, whatever it is.”

For Rachel, who started her career with bit-parts on Inspector Morse and whose new thriller Vladimir was released on Netflix on March 5, real success and happiness came when she turned her back on the glitz and glamour of Los Angeles.

She decided to split her time between London, where she grew up, and New York with her then-partner, director Darren Aronofsky, and their son Henry, now 19.

Rachel, who has been married to 007 actor Daniel Craig since 2011, told Index mag: “There’s not much room for eccentricity in Hollywood, and eccentricity is what’s sexy in people.

“I think London’s sexy because it’s so full of eccentrics.”

The actress’s breakthrough came in 1999 when she landed the role of feisty librarian Evelyn Carnahan in blockbuster The Mummy.

By 2006 her A-list status was cemented when she won the Best Supporting Actress Oscar for The Constant Gardener.

She went on to star in 2009’s The Lovely Bones and 2015’s Youth, as well as 2021 Marvel film Black Widow.

Now Vladimir sees her as ­married college professor M, whose life spirals into a steamy, all-consuming obsession with her younger colleague, played by One Day and White Lotus star Leo Woodall.

The series is based on the book of the same name by Julia May Jonas, which Rachel describes as a ­brilliant piece of writing.

She added of the character she plays: “I deeply empathise with her and understand her. But I left her when I got home.

“She’s like a projection of what a viewer might want to live out.”

Rachel and Daniel, who ­officially ended his 15-year stint as James Bond with No Time To Die in 2021, were friends for years before falling for each other in 2010 while filming thriller Dream House.

Within months they secretly wed in New York and went on to have daughter Grace, now seven. They split their time between Brooklyn in New York and ­Primrose Hill in North London.

But the couple deliberately choose not to do films together.

Rachel said: “I think we really love our private life as a life, as a family, and then we go to work separately.

“It means we can alternate, so I can stay home with the family while he works. We can swap out. If we’re both doing ­something at the same time, it’s probably less ideal.”

Rachel grew up in ­Hampstead, North London, with dad George, a Hungarian-Jewish mechanical engineer, and mum Edith, who originated from ­Austria and was a teacher-turned-psychotherapist.

The star started modelling at 14 and studied English at ­Cambridge University, with her parents hoping she would choose a more traditional career.

Rachel told the Sunday Sitdown With Willie Geist podcast: “They were just the kind of ­parents who were like, ‘You’ve got to get a degree, like you have to go to ­college’, which in the end I did.

“They wanted me to have a fall-back, so I could be a teacher . . . that would be a really good job.

“My parents would be really happy if I was a teacher. My dad was very sceptical about my career choice. I think he wasn’t very impressed by what I was doing.

“He was my harshest critic for a very long time. I think he only, after a good 15 years, was like, ‘OK, yeah’.

“He was tough — yeah, he was tough, in a good way. He was always honest, he didn’t make it nice. He’d take things apart and say, ‘I didn’t understand what you were doing,’ or, ‘That was a bit wooden’.”

But winning her Oscar changed everything.

Rachel said: “That definitely changed my life. Maybe my dad was like, ‘OK, all right, you were OK’.

“He would never be more over the top than that.”

And that Oscar meant she had the freedom to choose the roles she truly wanted, just like the one in Vladimir.

She said: “In the beginning of my career, I just did whatever job I got so I could pay the rent. I wasn’t picky.

“Now I’m in this luxurious position where I can choose things. It’s really about the character and writing, if it appeals to me or if it seems it would be interesting to ­pretend that story.

“I was never the kind of kid that got on the table and did a tap dance and a song. I wasn’t the star of the school plays or ­anything. I was ­actually really shy.

“I think a lot of actors, when I meet them as grown-ups, they go, ‘I was really shy too’.

“I think I’m just a daydreamer. I think storytelling is, in a way, daydreaming, but ­putting your daydreams into ­writing and getting people to embody them.

“I think my daydreaming skills have just come into it, I get paid for it.”

Despite now being praised for her stylish looks, ranging from velvet trouser suits to Valentino haute ­couture, walking the red carpet still makes Rachel nervous even today.

She said: “I don’t think any actress would say doing the red ­carpet is not terrifying. The way to get through it is to pretend.

“It’s a fantasy, like walking into a fantasy world. These people, they transform you, and that is fun.

“What you see on the red ­carpet is not a character that has anything to say.

“I used to be very shy, and in a way that was what was so great about the idea of ­acting. You can hide the real you behind that character.”

But after years of ­struggling with fame, Rachel says she has finally learned to be ­content with exactly where she is in life.

She said: “Someone once said to me when I was younger, ‘Never think the best party is somewhere else’. You know that feeling of being somewhere and thinking you should go somewhere better?

“You can’t do that. ­Wherever you are is the right place to be.”

JUNIOR Andre has made his acting debut alongside his father Peter and an EastEnders star, just days after revealing his secret job.

The young lad, 20, played the role of Johnny in a new coming-of-age drama called Finding My Voice.

Finding My Voice is about a girl called Mel who feels like she has nowhere to go after facing a series of tragedies.

Her family breaks up due to alcoholism following the death of her baby brother, plunging her into deep struggles.

Johnny is a friend who is always there for her when she needs someone to believe in her, which is truly heartwarming.

At the end of the month Finding My Voice will host its first screening as a part of Manchester‘s Film Festival.

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The announcement was made via the film’s Instagram page.

Another Instagram post announced who Junior would be playing, which received a roaring reception from his friends and family.

The post shows a carousel of snaps of Junior featuring in the film, the first of which includes the name “Johnny” over his head in block lettering.

The caption says: “Junior Andre. Johnny is Mel’s school friend and one of the few people who’s always there when she needs someone to believe in her.

“Finding My Voice movie is out on 28th March at Manchester Film Festival. See you there!”

Right at the top of the post’s comments section is Peter, gushing: “Yea my son,” followed by three flame emojis.

Junior’s girlfriend Jasmine Orr added: “Can’t wait for this,” along with three hand emojis forming hearts.

Fans felt the same level of enthusiasm, saying “Wow” and that they “can’t wait to watch” the film.

Peter plays the role of Costas, who more details are yet to be released about.

Meanwhile EastEnders‘ Michelle Ryan stars as Lisa Kendall, a mother.

The news comes just days after Junior revealed he’s been secretly working for the London underground at night.

He said he’s been “grafting, lifting heavy metals, cutting, filing [and] painting.”

Junior revealed the job during an episode of his sister Princess‘ show, The Princess Diaries.

He noted: “You actually have to pay to do music. People don’t really know that.

“I live off myself, I don’t live off Mum and Dad – that’s what people think, that we do.”

Junior’s mother is Katie Price, who got married to Lee Andrews earlier this year in a whirlwind romance.

The Island Bakery in Tobermory on the Isle of Mull is hiring two production staff members, with the job offering a two-bed flat and a salary of £22,000-£24,000

Anyone seeking a remote relocation with some baking know-how might find their dream opportunity on a stunning Scottish island. The Island Bakery in Tobermory, situated on the wild Isle of Mull, is recruiting two production staff members – and the position includes a two-bedroom property.

The bakery has built quite a reputation, stocking its renowned biscuits through several upmarket stores, including Selfridges and Harvey Nichols. According to the job advert, the salary ranges from £22,000-£24,000, with minimal experience necessary, making it ideal for anyone wanting to swap hectic urban living for a more peaceful existence – so it could be time to refresh that CV.

Two shift patterns are available: 2pm to midnight, Monday to Thursday, or 6am to 2pm, Monday to Friday.

The posting has gained traction online because it includes a two-person flat, as job vacancies offering accommodation on the Isle of Mull are relatively uncommon.

The bakery has made clear it will favour candidates prepared to share the flat, given the accommodation is suited for two occupants. Those with a partner or mate also keen to move may stand a stronger chance of securing the role.

Both the bakery and accommodation are based in Tobermory, which has been recognised as one of the ‘most colourful places in the world. ‘

With a population of merely 900 residents, Tobermory is genuinely isolated, with the journey from Glasgow typically requiring a two-and-a-half-hour drive to Oban, followed by a 45-minute ferry crossing to Craignure and then an additional 35-minute drive to reach the village.

Lonely Planet highlighted its “cinematic scenery” and “distinct wildlife,” acknowledging that whilst it may lack Mediterranean sunshine, the village still boasts stunning landscapes and exceptional seafood.

The island’s remarkable wildlife includes golden and white-tailed eagles, minke whales, and basking sharks, all of which you might spot frequently if you choose to relocate to this beautiful village.

To apply for this job, visit the listing at hijobs.net.

OAKLAND — Betty Yee knows what people are thinking. She’s heard what they’ve said and read the many emails she’s gotten.

The former state controller has been running for California governor longer than just about anybody in the cheek-by-jowl field. And yet the Democrat is bumping along near the bottom, a blip in polls and a laggard in the money chase.

But no, Yee said, she has no intention of quitting the race, as she’s been urged, and no fear that, by staying in, she’ll help two Republicans advance to November’s runoff, locking Democrats out of the governor’s office for the first time since George W. Bush was president.

“I just don’t see it,” Yee said, given the way Chad Bianco and Steve Hilton, the top GOP contenders, are smacking each other around, hoping to emerge as the undisputed Republican standard-bearer.

Beyond that, she said, it’s not as if anyone’s running away with the contest; most polls have shown the leading candidate — which depends on the survey — standing atop the pile with around 20% support.

That isn’t exactly landslide territory.

“The public is still shopping,” Yee said. “In the next month or so, we’re going to try to get [a TV ad] on the air, basically make our case and hope that can spread as voters are getting more focused on the race.”

Which is not to say Yee is delusional.

“As a candidate, I make that assessment every day about whether we’re going to be viable or not,” she said last week, just before stopping by the Alameda County voter registrar‘s office to file paperwork for the June 2 primary.

“Right now, it’s less than a 50-50 chance,” Yee said, suggesting it’s her job to boost those odds by getting voters to appreciate what she offers, which amounts to unvarnished talk about the challenges facing the next governor and the ways Sacramento — which has been run for years by fellow Democrats — isn’t working.

“ ‘Accountability’ has kind of become a dirty word … where it’s about who we’re going to throw under the bus, rather than stepping back and saying, ‘What have we gotten for the dollars that we spend and, if we’re not getting those outcomes, how do we do better?’ ”

Yee served two terms as controller, in effect the state’s chief financial officer, and 10 years before that on the Board of Equalization, which oversees property tax assessments. She’s isn’t trying to buy the governorship, like billionaire Tom Steyer, or leverage her political celebrity, like cable-TV fixtures Katie Porter and Eric Swalwell. Instead, Yee is running a grassroots campaign, visiting nearly all 58 California counties and holding as many face-to-face meetings as humanly possible.

“I’m in the trenches,” she said. “I knock on doors every election cycle because to me, that’s the reality check of where people really are in terms of their lives.”

Which is certainly an admirable approach, albeit a rather idealistic strategy in a state of nearly 23 million voters, spread over roughly 800 miles from north to south. It would take more than two years of round-the-clock campaigning just to give each and every one a quick handshake.

The most notable feature of Yee’s candidacy is her message. She’s not selling barn-burning populism or viral take-downs of President Trump — “I don’t have any gimmicks, I don’t swear, I don’t have a reality-TV show personality” — but rather practical know-how and a deep understanding of state government.

It’s almost quaint in today’s theatrical political environment.

Seated at a sidewalk table outside a coffee stand in downtown Oakland, Yee focused on California’s stretched-thin budget, which happens to be her area of expertise.

“People ask what would you do in your first days as governor, if you have the privilege of serving,” Yee said, as her butterscotch latte sat cooling. “I’d come clean with the voters about where we are fiscally.”

After years of surpluses, she said, the state is spending more than it can afford. Facing a structural deficit, the next governor will have to cut programs and raise taxes, not just one or the other, with corporations and California’s richest residents being forced to cough up more. (She’s dubious, however, of a proposed November ballot measure imposing a one-time 5% tax on billionaires, questioning whether it would stand up in court.)

Sacramento’s credibility, Yee suggested, is on the line.

Before any expansive new programs can be implemented — and she has some notions for how to make life more affordable, increase access to healthcare and create jobs — Californians have to be convinced their tax dollars are being well spent and delivering proven results. “I would really insist on and invite stricter accountability of what we do with our money,” Yee said.

She’s not beyond criticizing the current administration.

“I mean, I’ve been termed out as controller since January 2023. I still get calls from companies in the [European Union], Canada, even Mexico about how we want to do business with California. Who do we talk to?” Yee said. “So I’ll send them over to the governor’s Office of Business Development and they tell me, ‘Well, we try to call people, but nobody’s answering our call.’ ”

(In response, a spokesman for the Office of Business and Economic Development touted California as “a premier hub for international business” and described foreign trade and investment as major drivers of the state economy.)

As for Gov. Gavin Newsom, while she supports his teenaged trolling of Trump, she said it shouldn’t be done through official channels, , or on the taxpayers’ dime.

“We have to focus on making the state work,” Yee said, “and that’s where I’m more focused on because people … want service delivery. They want government to be responsive to their needs. Somebody just pick up the damn phone on the other line to help them.”

Tough medicine, as she described it, and “stabilization” — which is “kind of my theme” — won’t make a great many hearts go pit-a-pat. But Yee hopes that straight talk and her distinct lack of ornamentation will count for something with California voters.

“The climate now is that people are very drawn by the performative approaches,” she said. “However, I think that will change. I want to give [voters] credit, because I do think they are very discerning when they’re ready to mark their ballot.”

The coming weeks will test that premise. And Yee is staying put.

One year ago, Rebecca Kutler was promoted to president of the cable news network then known as MSNBC.

Taking the helm at a major news organization is the pinnacle of a journalist’s career. But a lot changed after Kutler landed the job.

In August, MSNBC announced it was dropping its name of nearly 30 years to become MS NOW — as its now-former owner NBCUniversal wanted a clean break from the channel, which was spun off to be part of a new media company called Versant.

The spin-off, which NBCU parent Comcast initiated because its cable networks are considered slow-dying properties that weighed down its stock price, was hardly a vote of confidence in the business. Losing the moniker that had decades of brand equity among its politically progressive viewers was not going to help.

At a recent lunch near her Washington office, Kutler, acknowledged the circumstances were less than ideal. But with more than 20 years in the TV news business where she began as a production assistant at CNN, she understood the audience’s connection to her channel begins with the people on-screen, and not the logo.

“I was pretty confident the audience wouldn’t really blink because when they turn on the their television, they see Rachel Maddow, they see Jen Psaki, they see Joe Scarborough,” Kutler, 46, said. “The fact that two letters change does not change any of those audience habits.”

Still there was work to be done. Kutler no longer had the resources of NBC News at her disposal. Instead of paying $60 million annually for its newsgathering services, she chose to have MS NOW build its own newsrooms in Washington and New York. The operation was tested Tuesday as President Trump’s State of the Union address was the first major event MS NOW covered as a freestanding entity.

Kutler has some big professional challenges, but none as daunting as the one that emerged in October when she was diagnosed with breast cancer. Kutler found herself watching the newly rechristened MS NOW on a TV in a hospital room as she received chemotherapy treatments every few weeks.

“If anything it just made me appreciate and love what I do even more,” Kutler said.

As she works through her recovery, Kutler’s spirits have been buoyed by data that prove her point about MS NOW’s audience loyalty. From Nov. 15 — the date of the rebrand — through Feb. 14, MS NOW’s average daily audience has grown to 613,000, up 25% compared to the same period a year ago, according to Nielsen. Weeknight prime time is up 27% to 1.2 million viewers, still a distant second to conservative-leaning Fox News but well ahead of CNN.

There was an audience exodus from MSNBC in the months following President Trump’s election in 2024 as viewers unhappy with the results typically tune out after a presidential campaign. But anxiety over the activities of the second-term Trump White House sent them back into the familiar tent to hear Maddow, Lawrence O’Donnell, Ari Melber and others weigh in.

Lawrence O’Donnell and Rachel Maddow at an MSNBC fan festival in New York City in October 2025.

(MSNBC)

When the name change to MS NOW was announced in October, the network’s internal research showed 31% of viewers found the idea somewhat unappealing or very unappealing, a warning light for what might be ahead. Two months later, that figure dropped to 17%, while the percentage of viewers who found it very appealing or somewhat appealing jumped from 30% to 44%.

A $20-million promotional campaign that focused on the network’s personalities helped. “We made sure the audience knew that it was just a name change, not a strategy change,” Versant Chief Executive Mark Lazarus said.

Programming moves Kutler implemented ahead of the switch helped. Longtime evening host Joy Reid was replaced with an ensemble program “The Weeknight,” with Symone Sanders-Townsend, Michael Steele and Alicia Menendez, and the audience level rose by 30% in February compared to a year ago.

Kutler moved Psaki, the former press secretary to President Biden, to the 9 p.m. Eastern slot Tuesday through Friday, where viewership is up 41%.

At CNN, Kutler had a strong reputation as a producer and in talent development. She was being groomed for a top job at the network before jumping to MSNBC as an executive vice president in 2022. Agents have been impressed with her swift decision-making.

“They have exceeded expectations in an especially challenged environment,” said Bradley Singer, a partner at William Morris Endeavor whose clients include Sanders-Townsend and “The Weekend” co-host Eugene Daniels. “And I would argue that Rebecca is the right leader for this moment because she’s willing to move quickly to try new things. And the business doesn’t really have time to spare.”

Jen Psaki is the host of MS NOW’s “The Briefing.”

(MS NOW)

Psaki credits Kutler for guiding her transition into TV news. “I wasn’t hired because I spent 20 years as a local news anchor, right?” Psaki said in a recent telephone interview. “I could learn those skills, but Rebecca helped me really start the task of figuring out how to ask the questions that needed to be asked, while also sharing my unique perspective as somebody who’s worked in government and politics.”

MS NOW did have to fill a major hole when political data guru Steve Kornacki chose to stick with NBC after the spin-off. Kutler tapped Ali Velshi, the network’s versatile chief correspondent, to take over the number-crunching during election nights and other big events.

While Kutler can point to ratings increases, she is aware of the long-term doomsday scenario that faces the cable TV industry as more viewers turn to streaming. The people who still have cable like MS NOW a lot — the network has three times as many viewers today as it did 20 years ago when there were far more pay-TV subscribers. But Versant needs to become less dependent on traditional TV as subscriber numbers are sliding every year.

Wall Street will get its first look at Versant’s financial performance when the new company delivers an earnings report next week, expecting to show $6.6 billion in revenue last year. While there have been declines in revenues because of cord-cutting, the company, which includes USA Network, SYFY, CNBC, Golf Channel, E! and Oxygen, says it still delivers double-digit profit margins.

MS NOW President Rebecca Kutler at Vesant’s investor day in New York on Dec. 4.

(MS NOW)

By early fall, MS NOW will launch a direct-to-consumer subscription product aimed at people who don’t have a pay-TV package. CNN launched such a service last year, while Fox News, the perennial ratings leader in cable, is available as part of Fox One, which also offers Fox Corporation’s broadcast network and sports channels.

Kutler said MS NOW‘s direct-to-consumer service will be part of a broader digital offering that can serve as a community for progressives. She describes subscriptions as “memberships.”

“We’re trying to build a product that meets the needs of people who love news, care about democracy and want to come together in a shared space,” she said.

MS NOW already has a strong presence on YouTube. In January, the network had 339 million views of its content, second only to Fox News (466 million) among cable and broadcast TV news outlets.

Mika Brzezinski and Joe Scarborough on the set of MS NOW’s “Morning Joe.”

(MS NOW)

MS NOW also stepped up its podcast business, scoring 140 million downloads last year. The long-form interview program “The Best People with Nicolle Wallace” has been a top download onApple Podcasts, and a new entry, “Clock It” with Sanders-Townsend and Daniels, launched this month.

Kutler also is looking at outside podcast companies to supply programming. Last week, MS NOW announced a deal with Crooked Media to produce a weekly compilation of its podcasts, including “Pod Save America,” which will air Saturdays at 9 p.m. Eastern.

“If there’s content our audience is interested in, we should find a way to bring it to them,” she said.

Overall, the moves at MS NOW show a willingness to invest in growing the business, a situation that did not exist under NBCU, which has been focused on building its Peacock streaming platform. “Liberating us from that was part of the strategy of the entire spin because we now need to do all of those things in order to create a growth company,” Lazarus said.

Kutler even had the green light to enter talks with Anderson Cooper — one of the highest-paid on-air talents in TV news — about joining MS NOW before he decided to re-sign with CNN.

Kutler had her final chemo session last Friday, and doctors say her health prognosis is good. She draws inspiration from her mother, a Philadelphia-area lawyer who raised Kutler as a single parent and successfully battled the disease in her 60s.

“My hardest day would have been my mom’s easiest day,” said Kutler, who is married with three teenaged children. “I was born watching somebody power through stuff. The idea of doing a job that’s busy and demanding and loving your kids and making them a priority is the only thing I ever knew.”

It wasn’t easy to go into Lazarus’ office to break the news about her condition after just six months on the job and a massive task ahead. But Kutler said he didn’t flinch, and the new company has been “1,000%” supportive.

“She’s a tremendous leader and an example of resilience and strength,” Lazarus said.

Nicholas Cochrane played Andy McDonald in Coronation Street from 1989, but where is the actor now as the ITV soap kills off his on-screen dad Jim McDonald?

Coronation Street is poised to kill off Jim McDonald this week – but what became of the actor who portrayed his son Andy?

Andy (Nicholas Cochrane) first appeared on the ITV soap back in 1989, arriving in Weatherfield alongside mum Liz (Beverley Callard), dad Jim (Charlie Lawson) and brother Steve (Simon Gregson).

The McDonald family wasted little time in stirring up trouble on the cobbles. Andy himself became embroiled in numerous major storylines throughout his tenure.

His romantic endeavours proved catastrophic, with failed relationships involving several Coronation Street characters including Amy Nelson (Louise Duprey) and Paula Maxwell (Judy Brook). He also held a position at the Rovers and found himself caught up in Gerry Turner’s (Keith Woodason) armed siege.

Nevertheless, actor Nicholas was compelled to depart the soap alongside other prominent characters when a new producer took the helm in 1997. Andy’s exit storyline saw him relocating to Spain to take up a teaching position, reports the Daily Star.

The performer has made several return visits over the years, with guest appearances as Andy in 2000 and 2004. His most recent appearance came in 2009, when Andy came back for Steve’s wedding to Becky Granger (Katherine Kelly).

Regarding Andy’s father Jim, his last appearance was in 2018. In Monday’s episode (February 23), however, Steve learns his estranged father has been hospitalised.

Later in the week, he receives the devastating news that Jim has passed away. Following his departure from Coronation Street, Nicholas maintained a presence on television.

He featured in the ITV police drama Heartbeat, portraying golfer Barry Scripps, and in 2019 appeared in Doctors as Dean Telford, a father indebted to a local businessman.

Nicholas also ventured into theatre, joining the nationwide tour of Spring and Port Wine with The Middle Ground Theatre Company. He subsequently moved into TV presenting, appearing on Granada TV and MUTV, where he interviewed A-list footballers including Roy Keane and David Beckham.

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Beyond television, Nicholas has presented radio programmes for Talksport and BBC5 Live. Outside of his professional life, Nicholas resides in Manchester with his wife Denise and their two children. In his leisure time, he now enjoys watching and participating in various sports.

Meanwhile, in 2020, Nicholas discussed the possibility of returning to Coronation Street. He told the Distinct Nostalgia podcast: “It would be good if the boys got back in touch and Andy ends up back in Weatherfield.

“It would be good if Steve needed an organ [transplant] or there were some reason why one of us stays and one goes. That would be best for me … it would be a good storyline.”

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Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX

The nominated Oscar shorts come in three categories — and a lot of subjects, styles and temperaments. It’s further proof that an award dictated by length needn’t be bound by anything else.

In the live-action category, a mixed bag of approaches — some inspired by classic literature — are burnished by inspired performances. Lee Knight’s “A Friend of Dorothy” may be a tad on the nose about the cultural and emotional impact of a lonely London widow on a closeted teenaged boy. But leads Miriam Margolyes and Alistair Nwachukwu practically shimmer with humor and warmth. “Jane Austen’s Period Drama,” a loving tweak of the writer’s oeuvre from Steve Pinder and Julia Aks (who also stars), is essentially a one-joke calling card to make feature comedies and it should do the job. Its cast is exactly the sprightly ensemble needed to land its what-if laughs.

Two others just miss the mark in terms of bringing their tensions to powerful resolutions yet benefit from who the camera adores. Meyer Levinson-Blount’s “Butcher’s Stain,” centered on a flimsy accusation against a friendly Palestinian butcher in an Israeli market, undercuts its gripping story with lackadaisical filmmaking and an unnecessary subplot, but lead Omar Sameer is commanding. The black-and-white future shock “Two People Exchanging Saliva,” directed by Natalie Musteata and Alexandre Singh, is an uneven Euro-art bath of unrealized intimacy and casual violence — kissing is punishable by death, slapping is currency — but is given exquisite tautness by the elegant, unrequited swooniness of stars Zar Amir and Luana Bajrami.

A scene from “Jane Austen’s Period Drama,” nominated in the live-action short category.

(Roadside Attractions)

Then there’s my favorite, Sam A. Davis’ likely winner “The Singers,” from Ivan Turgenev’s short story, which pays off handsomely in bites of soulful warbling that briefly turn a barroom’s den of anesthesia into a temple of feeling.

Most of this year’s documentary nominees deal with the grimmest of tragedies, as in “All the Empty Rooms” and “Children No More: Were and Are Gone,” which address the remembrance of children brutally killed. The former film, from Joshua Seftel, follows CBS correspondent Steve Hartman and photographer Lou Bopp on an essay project into the bedrooms of kids gunned down in school shootings, their private worlds heartbreakingly preserved by their families. The latter short, directed by Hilla Medalia, witnesses Tel Aviv’s silent vigils for Gaza’s children, protests marked by posters with beaming faces, and sometimes met with open scorn. These are dutiful, sobering acts of mourning — Seftel’s is the probable awardee. You may wish they were more than that, however, considering the issues (guns, war, political intransigence) that created the devastation.

Combat is what drove award-winning photojournalist Brent Renaud, killed in Ukraine in 2022. But his brother Craig’s memorializing of him, “Armed Only With a Camera,” is oddly uninvolving, more an excerpted flipbook of Brent’s far-flung assignments than a meaningful portrait of excelling at a dangerous job. A more affecting real-world dispatch (and my pick, if I could vote) is “The Devil Is Busy,” directed by Christalyn Hampton and dual nominee Geeta Gandbhir, also up for the feature “The Perfect Neighbor.” It observes a day in the operation of a carefully guarded, female-run Georgia abortion clinic as if it were a newly medieval world’s last chance healthcare outpost, getting by on grit, compassion and prayer. You certainly won’t forget security head Tracii, the clinic’s heavyhearted knight and guide.

A scene from “Perfectly a Strangeness,” nominated in the documentary short category.

(Roadside Attractions)

Your chaser is Alison McAlpine’s appealing, aptly titled “Perfectly a Strangeness,” sans humans, but starring three donkeys in an unnamed desert happening upon a cluster of hilltop observatories. The whir of science meets the wonder of nature and this charming, gorgeously shot ode to discovery (both on Earth and out there) makes one hope the motion picture academy sees fit to recognize more imaginative nonfiction works going forward.

Animation, of course, thrives on the thrill of conjured worlds, like the one in Konstantin Bronzit’s wordless (but not soundless) desert island farce “The Three Sisters.” It owes nothing to Chekhov — though there are seagulls — but much to a classically Russian sense of humor and a Chaplinesque ingenuity. Elsewhere, you can watch the overly cute Christian homily “Forevergreen,” from Nathan Engelhardt and Jeremy Spears, about a nurturing tree, a restless bear and the dangerous allure of potato chips. The message gets muddled but this eco-conscious journey is charming.

It’s tough to predict a winner when the entrants are this strong, but John Kelly’s “Retirement Plan” feasts on wry relatability, as Domhnall Gleeson narrates a paunchy middle-aged man’s ambitious post-career goals, while the cascade of deadpan funny, thickly-lined and mundanely hued images stress a more poignant, finite reality. In its all-too-human view of life, this is, entertainingly, whatever the opposite of a cloying graduation speech is.

A scene from “Retirement Plan,” nominated in the animated short category.

(Roadside Attractions)

The spindly aged-doll puppetry in the stop-motion gem “The Girl Who Cried Pearls” marks a sly fable of need, greed and destiny, centered on a wealthy grandfather’s Dickensian fashioning of his poverty-stricken childhood in early 19th century Montreal. Filmmakers Chris Lavis and Maciek Szczerbowski find an enchanting balance between storybook allure and adult trickery. Maybe this one steals it?

Whichever the case, the animation that moved me the most is “Butterfly,” from Florence Miailhe, imagining the last, memory-laden swim of Jewish French-Algerian athlete Alfred Nakache, who competed in the Olympics before and after the Holocaust. In the cocooning fluidity of an ocean-borne day, rendered with thick-brushed painterliness and splashes of sound, we travel across flashes of community, injustice, achievement, love and despair. The visual, thematic constant, though, is water as a haven and a poetic life force that feeds renewal.

Stephen Libby – who won The Traitors alongside Rachel Duffy – has confessed he has gone “full survival” with his winnings after quitting his job

Just last month Stephen Libby, was crowned the winner of The Traitors in a dramatic and nail-biting final watched by a staggering 9.6million viewers. Despite the hit BBC series, being filmed last year, the Scotsman, has only just received his £47,875 prize money.

The share of the total £95,750 was spilt between Stephen, 32, and his fellow co-Traitor Rachel Duffy, 42, who also made the final.

“I have the money, but I’ve not spent it,” says the former cyber security consultant. “I’ve left my job, so right now it’s going on full survival. It’s going to my London rent and things like that, so I’ve not made any plans for it just yet.”

The London-based star – who is originally from the Isle of Lewis in Scotland – confesses he is not tempted to jump onto the property ladder with his winnings.

“I don’t know what properties could be bought in London with the money that I just received. Maybe 40 years ago I might have been able to, but not anymore,” he tells The Mirror at the C abaret press night in the Kit Kat Club.

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Stephen and Rachel may have been Traitors on the gripping gameshow fronted by Claudia Winkleman, but they remained loyal to each other until the very end.

Tragically, Rachel’s mother, Anne – who suffered from Parkinson’s disease and dementia, passed away just days after the final, meaning she couldn’t create new memories with her mum, like she had planned to with the winnings.

“I speak with Rachel all the time. We are on the phone every day almost. We are really close, and I love her family,” he shares. “She’s had nothing but all the support of myself and all the cast as well.

“I’ve met her children and husband, Sean – they’re lovely. I went over to [her home city] Newry in Northern Ireland last year, and she took me for a lovely meal to Friar Tucks,” he adds.

Earlier this month, Stephen, made his This Morning debut, where he presented the fashion segment of the programme, alongside his style icon, Anneka Rice.

“It was so much fun. I was very nervous because it’s very different doing interviews and being asked questions, to then having to present something and leading it. That happened so quickly after being on The Traitors that I just didn’t know if I was ready for it, but I had so much fun,” he says.

Incredibly, TV star, Anneka, 67, is rumoured to take part in the celebrity version of The Traitors later this year, alongside actors, Danny Dyer and Richard E. Grant.

Luckily, Stephen has no regrets about his spell on the show, and is already settling into his new showbiz life.

“I’ve been to a couple of awards ceremonies, and I guess it’s just been so nice to see that everyone watches The Traitors,” he admits, “Everyone who I bump into says, ‘I loved you on the show,’ so it’s lovely. I feel very overwhelmed.”

Stephen spoke to the Mirror at the Cabaret press night in the Kit Kat Club.

One of the U.S. Air Force’s C-32A VIP aircraft has re-emerged wearing a new red, white, and blue paint scheme. The same livery has recently been appearing on other U.S. government executive jets, and is nearly identical to one President Donald Trump had previously chosen for the future VC-25B Air Force Ones. The C-32As are commonly referred to as “Air Force Twos,” a callsign used when they carry the Vice President, but they are often used to transport the President, as well as other high-level officials and diplomats.

The C-32A with the new paint job was caught flying from Majors Airport in Greenville, Texas, yesterday by an aircraft spotter who goes by the handle @tt_33_operator on Instagram. The aircraft was using the callsign Vader 20 at the time. Online flight tracking data shows that the jet is serial number 99-0003. The Air Force’s Boeing 757-based C-32s are regular visitors to Majors Airport, home of L3Harris’ Mission Integration plant, which is a hub for conversions, upgrades, and other work related to large special mission aircraft.

The jet’s new paint scheme is white over dark blue, separated by red and gold cheat lines. The livery also includes a large American flag, depicted blowing in the wind, on the side of the tail. The flag has the same general style as the one on the tail of Trump’s personal 757, also commonly called “Trump Force One.” “United States of America” is in large lettering and a standard U.S. military ‘stars-and-bars’ insignia is also painted on the side of the fuselage of the C-32A. There is no readily visible serial number, which is in keeping with a policy that Air Mobility Command (AMC) enacted under President Joe Biden’s administration, ostensibly intended to improve operational security.

99-0003 has been at Majors Airport since at least last December, according to available tracking data. Spotters caught the aircraft arriving in Greenville on December 8, at which time it was wearing the blue, white and gold scheme typically seen on Air Force C-32s. Earlier this month, it was sighted completely stripped of paint.

The Air Force currently has some eight C-32As in its inventory. The service also operates a fleet of more secretive C-32B Gatekeeper personnel transports, which have overall white paint schemes.

TWZ has reached out to the Air Force for more information about the new livery on 99-0003 and what plans there might be now for applying it to the rest of the C-32 fleet or other aircraft.

For decades now, the Air Force’s C-32As have worn the same white-over-blue paint scheme, which is also found on Boeing 737-based C-40 Clippers. Other business jet-based executive aircraft the service operates wear similar liveries.

The typical C-32A livery shares distinct similarities with the one currently worn by the Boeing 747-based VC-25A Air Force One aircraft, but there are differences. The famed Air Force One scheme dates back to President John F. Kennedy’s administration, and was created with the help of legendary designer Raymond Loewy at the urging of First Lady Jacqueline Kennedy.

In 2019, during his first term in office, President Trump unveiled a new red, white, and blue scheme for the forthcoming VC-25B Air Force One aircraft. As already noted, the scheme is essentially the same as the one now seen on 99-0003.

President Biden subsequently reversed that decision, with the Air Force rolling out new renders of the VC-25B wearing a version of the Kennedy-era livery in 2023. In August 2025, following Trump’s re-election, the Air Force told Inside Defense it was “implementing a new livery requirement for VC-25B,” but did not elaborate.

There are certainly growing signs that the red, white, and blue livery that has now emerged on an Air Force C-32 is becoming a standard for executive jets across the U.S. government. The first aircraft to appear with this paint scheme was a 737 Boeing Business Jet (BBJ) with a luxurious interior and clear ties to the Department of Homeland Security (DHS). Details about that jet, which carries the civil registration number N471US, and has been flying around the United States and to destinations abroad since December, remain limited.

The U.S. Coast Guard, which falls under the purview of DHS, has now received the first of two modified Gulfstream 700 (G700) jets wearing this livery, as well. Also known as Long Range Command and Control Aircraft (LRCCA), the G700s provide VIP transport for the Secretary of Homeland Security (currently Kristi Noem), as well as other senior DHS and Coast Guard officials. The aircraft also fit into continuity of government plans in place to ensure U.S. authorities can keep functioning in the event of a host of different severe contingency scenarios, including major hostile attacks and devastating natural disasters. The Coast Guard already operates two LRCCA jets based on older, out-of-production Gulfstream models, which it says are becoming increasingly difficult to sustain. Older Gulfstream types are still in widespread service elsewhere across the U.S. government, including with the Air Force.

Separate from any deliberations over paint schemes, the Air Force has similarly been exploring various options for ultimately replacing the C-32As in recent years. The very last 757 rolled off Boeing’s production line in 2004, and the type has been in declining use by airlines and other operators globally, which has impacts on residual supply chains.

The Air Force had previously considered rolling a C-32 replacement effort into work on successors for the E-4B Nightwatch and E-6B Mercury command and control aircraft, but subsequently decided against that course of action. The Boeing 747-based E-4Bs are now set to be succeeded by E-4C Survivable Airdrop Operations Centers (SAOC) converted from newer 747-8i airframes, which could also take over some of the roles now performed by the E-6B. The E-4s and E-6s are commonly referred to as ‘doomsday planes’ because of the role they could play in launching nuclear strikes.

A proposed plan to augment the C-32 fleet with additional “large commercial derivative aircraft” was also put forward in the past. Most recently, the Air Force has laid out the possibility of supplanting its C-32s, as well as at least a portion of its C-40s, with a single common platform. Doing so would offer a way to simplify executive airlift operations compared to how things stand now with the two fleets of different narrow-body airliner types.

In the meantime, the Air Force has continued to upgrade its C-32 fleet, including making critical improvements to the jets’ secure communications capabilities and installing new interiors. You can read more about the latter, specifically, here.

There has been a surge of new executive aircraft developments under the current Trump administration, in general. This has been particularly visible in the acquisition of additional 747s in relation to the much-delayed VC-25B program. This includes the purchase of second-hand 747s from German flag carrier Lufthansa to provide training support and as sources of spare parts for the future VC-25Bs. The Air Force is also repurposing a highly-modified ex-Qatari VVIP 747-8i, ostensibly gifted to the U.S. government, as what is now being called a VC-25 bridge aircraft. TWZ has previously raised significant questions about the feasibility of using that aircraft in the Air Force One role.

Time will tell what the future may hold now for the Air Force’s C-32s, but at least one of the jets is now flying with a new paint scheme that is seeing growing use across the U.S. government. By the time the VC-25Bs enter service, they will likely be surrounded by identically painted executive airlift aircraft.

Update: 4:25 PM EST –

The U.S. Air Force has now confirmed that other C-32As are set to receive the new red, white, and blue paint scheme, and that this livery will also be applied to the future VC-25Bs and the ex-Qatari 747-8i.

“The Air Force is implementing a new paint scheme requirement (red, white, gold and dark blue) for VC-25B as well as the additional executive airlift fleet, which will include the new 747-8i and four C-32 aircraft,” a spokesperson for the service told TWZ. “The C-32s will be painted during regularly scheduled maintenance. The first C-32 has been painted and is expected to be delivered to the Air Force in the next few months.”

CBS News had first reported these details, citing anonymous sources, earlier today, following the publication of our initial story.

Special thanks again to @tt_33_operator for sharing the pictures of the C-32A wearing the new paint scheme.

Contact the author: joe@twz.com

CNN anchor Anderson Cooper is walking away from his second job at “60 Minutes” in the latest sign of upheaval at the storied news magazine.

Cooper said in a statement Monday he is leaving the CBS News program because he wants to spend more time with his two young children. He joined the program in 2007 while maintaining his role as prime-time anchor at CNN.

“Being a correspondent at ’60 Minutes’ has been one of the great honors of my career,” Cooper said. “I got to tell amazing stories, and work with some of the best producers, editors and camera crews in the business. For nearly 20 years, I’ve been able to balance jobs at CNN and CBS, but I have little kids now and I want to spend as much time with them as possible, while they want to spend time with me.”

Cooper’s departure could be the first of a number of changes for “60 Minutes” as Bari Weiss, who joined CBS News as editor-in-chief last October, is expected to substantially overhaul the prestigious news magazine.

Cooper, 58, was courted for the anchor role at “CBS Evening News” last year before the network parted ways with the anchor duo of Maurice DuBois and John Dickerson. Cooper signed a new deal with CNN instead, and CBS News gave the anchor job to Tony Doukopil.

This is a developing story.