Kristen

President Trump lashed out Sunday at NBC’s “Meet the Press” moderator Kristen Welker, calling on the Federal Communications Commission to punish her over comments she made about the president’s record in endorsing primary candidates.

“Kristen Welker, the Unpopular ‘Hostess’ of the once great Meet the Press, now considered Meet the Fake Press, just stated that Donald Trump has ‘mixed results’ on his Endorsements of Candidates, when the recent WINS of Darline Graham and Mike Mazzei, stand at 100% for the U.S. Senate, and 98% for the U.S. House, recently and over the longterm,” Trump wrote on Truth Social.

Trump actually endorsed Mazzei in the Oklahoma governor’s race, not a congressional seat.

“How can anyone be allowed to say this, working for freely given Public Airwaves?” Trump added. “Because of this purposeful inaccuracy, she will be reported to the FCC for rebuke or punishment.”

Welker was previewing Sunday’s edition of “Meet the Press” on NBC’s Washington station WRC when she made the remarks about Trump’s endorsements.

“He’s going to loom large over these midterms,” Welker said. “There’s no doubt about that. He, of course, has endorsed a slate of candidates in the primaries. He’s had some mixed results, but most recently, his pick of Senator Darline Graham, of course, the sister of the late Senator Lindsey Graham, was successful in her primary battle, so now she takes on Dr. Annie Andrews in South Carolina.”

In a statement, NBC News expressed its support for Welker. “Kristen is one of the best in the business and we stand by her,” a representative said in a statement.

FCC Chairman Brendan Carr has shown a willingness to use his agency’s levers to go after broadcast media outlets Trump deems unfriendly. In April, he called for an early review of the TV station licenses held by ABC, claiming the company’s diversity and inclusion policies are in violation of federal anti-discrimination laws.

ABC has filed a lawsuit against the FCC to block the review, saying it was motivated by Trump’s animus toward the late-night host Jimmy Kimmel.

Going after Welker for an anodyne analysis that did not match the president’s perception of his endorsement results would be a stretch, according to the FCC’s own guidelines.

“The FCC’s authority to take action on complaints about the accuracy or bias of news networks, stations, reporters or commentators in how they cover — or sometimes opt to not cover — events is narrow,” according to the FCC website. “The agency is prohibited by law from engaging in censorship or infringing on First Amendment rights of the press.”

Anna Gomez, the lone Democratic member of the FCC, said Trump’s comments are dangerous and also demonstrate a fundamental lack of understanding of the agency’s role.

“As I’ve said many times, the FCC has no authority to punish journalists this administration doesn’t like,” Gomez wrote on the social platform X. “These threats to press freedom are dangerous. They undermine the foundation of our democracy, and they have no place in it.”

Trump is clearly sensitive about critiques of his endorsement powers. On Friday, Bill Maher did a lengthy segment on his show “Real Time,” apologizing to the president for having said “almost none” of his endorsed candidates are winning their primaries. Maher noted that out of 260 candidates endorsed by Trump, only nine have lost. Maher noted that many of those candidates were heavy favorites to win but agreed that his statement was not accurate.

Maher also gave a strong indication that Trump had texted him to express his unhappiness over his comments.

But “Real Time” is on cable and streaming where the FCC has no say on programming content. The agency regulates broadcast channels that are delivered over the public airwaves.

The Federal Communications Commission under Trump has tried to target news outlets for spreading ‘fake’ news.

United States President Donald Trump says he will report a prominent NBC television journalist to the federal agency in charge of regulating broadcast news outlets for “rebuke or punishment”.

In a post on Truth Social on Sunday, Trump took issue with Kristen Welker’s characterisation of his endorsements of electoral candidates as having “mixed results” in the primaries leading up to November’s elections.

“How can anyone be allowed to say this, working for freely given public airwaves?” Trump wrote. He also posted, without any attribution of where he got the data, a chart showing 98 percent of the candidates he endorsed had won their elections.

“Because of this purposeful inaccuracy, she will be reported to the FCC,” the Federal Communications Commission, he said.

Welker hosted the 2020 presidential election debate between Trump and former President Joe Biden and currently hosts NBC’s weekly news programme Meet the Press.

‘Crooked networks’

In June, Welker had a one-on-one interview with Trump that ended in a heated exchange as she pressed the Republican president on continuing to claim the Democratic Party had cheated in the 2020 presidential election, in which Biden defeated Trump.

“Your elections are crooked, and you’re crooked, and Meet the Press is crooked and so is ABC and CBS and CNN. You’re one-sided crooked networks,” Trump said shortly before pulling off his microphone and leaving the interview.

Trump, who has long had a tumultuous relationship with those US television news networks, has increasingly threatened to use the FCC to target what he says is false news.

This month, ABC News’s owner, Disney, sued the FCC, saying the agency was conducting an early licence review of eight of the network’s stations, a move that it said was “retaliation” against it. ABC said the FCC was seeking “a media industry too fearful of official reprisal to report the news freely”.

The review followed a row between the network and the FCC after Trump and his wife Melania called on it to fire late-night TV host Jimmy Kimmel over a joke he had made about her.

President Trump has also filed several multibillion-dollar civil lawsuits against news outlets alleging defamation. Last year, he filed a $10bn lawsuit against the BBC, which he said unfairly edited a clip of him speaking just before his supporters stormed the US Capitol on January 6, 2021, to make it seem like he had called for violence.

Trump sued The New York Times for $15bn and The Wall Street Journal for $10bn, alleging defamation over reporting on issues such as how he amassed his wealth and his relationship to convicted sex offender Jeffrey Epstein. A judge threw out the case against The Wall Street Journal. Trump refiled the case against The New York Times after a judge dismissed the first complaint against the newspaper last year.

Attempts to compel reporters to reveal sources

The warning from Trump also comes as his administration has taken the rare step of using the courts to try to pressure journalists into giving up confidential sources for stories that have pointed out wrongdoing.

This month, The New York Times said agents from the FBI showed up at the home of one of its reporters in February to deliver a subpoena seeking cooperation for an investigation into a story that revealed how a secret US Navy SEALs mission in North Korea had ended up with them opening fire on a North Korean boat.

In July, the US Department of Justice also tried to subpoena three other journalists from the newspaper after they reported on security concerns with the president’s new Air Force One jet. Investigators were seeking phone records of the journalists but withdrew the requests after a federal judge upbraided the tactic in court, saying they were violating the First Amendment, a provision in the US Constitution that protects freedom of the press.

Reporters at The Wall Street Journal and The Washington Post have also been subpoenaed in recent months for national security coverage, including for reporting on internal Pentagon warnings about the US-Israel war on Iran.

News media freedom groups like the Committee to Protect Journalists have criticised the Trump administration for targeting critical media. In April, the group Reporters Sans Frontieres, or Reporters Without Borders, said the US has fallen to a “historic low” in its annual global press freedom rankings, dropping from 57th in the world to 64th.

The back-to-back news this week of the deaths of Dolly Parton and Tim Curry — both at age 80 — felt like an unfair and twisted threat to our peace.

Both were extraordinary cultural forces whose screen and stage work lit up and shaped our lives, so its no wonder the emotional whirlpool led to one large group chat on social media, with fans posting favorite performance clips and interview soundbites. I took comfort in many, including Parton singing “Jolene” at the Grand Ole Opry in 1988 and eight minutes of Curry in the frantic “how it was done” climax in “Clue” (1985), which he reportedly performed so intensely he had to be taken to the hospital for high blood pressure.

Our writers captured the depth of the legacy each leaves behind.

Greg Braxton reflected on Curry’s significant contribution to the twisted image of clowns with his terrifying portrayal of Pennywise in “It.” Robert Lloyd took on highlighting the actor’s most memorable roles on TV. And in his appreciation of Curry, Steve Appleford praised how Curry’s roles “turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.” (Appleford spoke with Curry in 2025 for his final interview published in The Times; I encourage you to read it.)

Meanwhile, Mikael Wood waxed on Parton’s storytelling prowess in her music. Lloyd looked at her legacy on the small screen, where she appeared in variety shows (two of her own), specials, TV movies, guest shots, interviews and music videos — contending it’s where “much of America met Dolly.” Mary McNamara explored Parton’s unexpected persona as a feminist icon. And Emily St. Martin reminded us of Parton’s contributions to literacy.

The country music superstar’s performance in 1982’s “The Best Little Whorehouse in Texas,” which earned her a Golden Globe nomination, is one of our streaming recommendations this week. (For those seeking community while celebrating the life of Parton, AMC Theatres announced screenings for the film, as well as “Steel Magnolias,” in select locations through Sept. 2.) Our other streaming suggestion, if you need a life vest to keep afloat through the tears, is a series featuring veteran fashion police partners reuniting again — this time, to dole out critiques of fictional characters.

Also in this week’s Screen Gab, we spoke with actor Kristen Johnston about the Season 2 return of “Leanne.” Best known for her role as Sally Solomon in the hit ’90s sitcom “3rd Rock From the Sun,” Johnston has built a career bringing laughs to comedies like TV Land’s “The Exes” and CBS’ “Mom.” Lately, she’s been bringing her seasoned comedy skills to Netflix’s multi-cam sitcom, which captures the messy (and funny) experiences of women navigating midlife — like dealing with menopause or the horrors of the modern dating scene. Stand-up comedian Leanne Morgan stars as the titular character, while Johnston plays her brutally honest sister, Carol.

“Not every show has to be, you know, medieval dragons,” Johnston says. “There’s room for a couple of silly women in their 50s trying to figure it out.” Read more from Johnston in Guest Spot. In the meantime, I’m off to mix and bake a cuppa flour, a cuppa sugar and a cuppa fruit cocktail with the juice at 350 till it’s gold and bubbly. See you next week. — Yvonne Villarreal

Turn on

Recommendations from the film and TV experts at The Times

Dolly Parton as Miss Mona in the 1982 movie “The Best Little Whorehouse in Texas.”

(Universal Pictures)

“The Best Little Whorehouse in Texas” (VOD)

Dolly Parton cemented her movie star status with her feature debut “9 to 5” alongside Jane Fonda and Lily Tomlin. But outside of the irresistible title song, Parton did not sing in the film. She makes up for it with her second film, 1982’s “The Best Little Whorehouse in Texas.” Adapted from the Broadway musical, the country superstar dazzles as Miss Mona Stangley, the proprietress of the popular “Chicken Ranch” brothel. With her characteristic down-home charm, she makes her place of business seem as wholesome as apple (“There’s lots of goodwill and maybe one small thrill, but there’s nothing dirty going on,” she sings in the opening number). Parton also contributed two extra songs to the soundtrack alongside the original Broadway score, including her hit “I Will Always Love You.” — Greg Braxton

Clinton Kelly, left, and Stacy London in “Why’d They Wear That?”

(Jordan Petsy / Simple Alien)

“Why’d They Wear That?” (YouTube)

Stacy London and Clinton Kelly are back with a third “Wear” show, after “What Not To Wear” and last year’s “Wear Whatever the F You Want.” This one’s for the Stacy and Clinton fans, as it removes the clients and makeover elements and sits the hosts on a bed together in front of a TV as they critique what characters wear in the movies, viewing film through the lens of clothing, hair and makeup. (It’s very smart.) The films and actors they highlight are meaningful to one or the other — they don’t always agree — which is to say they broadly represent the tastes of people born in 1969. The range of subjects encompasses “Meatballs,” “Poltergeist,” “Best in Show,” “Gentlemen Prefer Blondes” and “The Empire Strikes Back,” in which episode you will learn that London views Darth Vader as “the Karl Lagerfeld of outer space” (“monochromatic dressing … quiet luxury and he doesn’t change — he invests in his pieces”). One episode is a tribute to Catherine O’Hara. With no one’s feelings to dance around, they can be as critical as they like, but snark isn’t the point so much as celebration and the delight of old friends sharing their own, often self-deprecating stories. Come for the analysis, stay for the laughter, or vice versa. — Robert Lloyd

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Leanne Morgan, left, and Kristen Johnston in Season 2 of “Leanne.”

(Patrick Mcelhenney / Netflix)

In “Leanne,” Kristen Johnston plays the ultimate ride-or-die sister you want in your corner — she turns chaotic moments into fun, tells the hard truths and provides unwavering emotional support. The Netflix sitcom stars comedienne Leanne Morgan as a woman trying to rebuild her life after her husband of 33 years left her for someone else. Helping her navigate the emotional rubble is her family, including her fiercely loyal, unfiltered, twice-divorced sister, Carol (Johnston). As Leanne confronts more change in Season 2, like turning 60 and coming to terms with aging parents that require more care, Carol remains a blunt support system. Over the phone, Johnston discussed her connection to the themes explored in the comedy and the genre of TV that has her hooked these days. — Y.V.

Change continues to be a theme in Season 2. It opens with Leanne resisting the idea of turning 60 and still not ready to be alone with herself. Carol is there to remind her that she’s capable. Tell me about your 50s, Kristen. How are you feeling about this stage of your life and the prospect of turning 60?

Oh my God! Honestly, I never even thought I’d make it to my 50s. So, the fact that I’m still here is a pretty big miracle. My 50s has just continued to be about trying to figure out my place in the world and deepening my friendships with my friends, my family. That’s about it.

Are there things you used to worry about that now you’re like, “I can handle that”?

I used to worry about everything, and now I really couldn’t give a s—. I don’t live for other people’s opinions anymore, and that was probably something I lived for for a long time. When you get fame really early, you just condition yourself to not make anyone upset and not get found out by the tabloids or be stalked. I don’t know. I do enjoy really just trying to live. Other people’s opinions matter to me, but they’re not the reason I do or don’t do anything.

You and Leanne both get a chance to play with the idea of getting older early in the season with a daydream sequence about being in the retirement home. What was that like? It hits at such a big topic that many people come to grips with at some point, which is the idea of caring for aging parents.

That’s a huge topic this season, and it one it matters to me because my mom is still here — thank God. But it’s stuff that really comes up a lot. When it’s time to get them into a home, it’s so hard, and of course, they never want to go. Who would? But literally doing that scene was so great because I’m so into prosthetics and makeup. We had a lot of fun coming up with what each of us would be.

Kristen Johnston, left, and Leanne Morgan in “Leanne.”

(Patrick Mcelhenney / Netflix)

The bond between Leanne and Carol is such an important element of the show. What do you think this show really gets right about sisterhood?

It feels very real. You have one who’s a black sheep and always blamed for everything, then you’ve got one who’s the Goody Two-shoes and got married at the right time and had kids. Carol did none of that. But throughout that, and much more important than the rivalry and being mad at each other or whatever, is just this absolute unending love. And I feel very sisterly towards Leanne. I get really emotional about her because I feel like she’s my sister. They’re pretty easy scenes to act.

You’ve worked in multi-cam sitcoms across broadcast, cable and streaming. Do you feel a difference?

I don’t know if it’s as much that they’re different, but the times sure have been different. I’m from the era where we would have the head of the studio come to every taping and send us cards and thank you or call you to come over to his house for his 60th birthday or whatever. That doesn’t really happen anymore. I’m from this other era, which really felt more personal and felt more one-on-one. Now it really just feels like, “Don’t look at me. I just want thanks for the paycheck.”

And it seems hard to even gauge how well the shows are doing.

Exactly. Leanne was so nervous about all that at first, and I just said, “Look, all we can do is our our best. Let’s just be funny and have fun, and everything else is above our pay grade.” So she went with that. That’s how we kind of roll.

OK, tell me — how often are you asked about the “Splat!” episode of “Sex and the City”? How often do people come up to you about Lexi?

It’s crazy. It’s all anybody wants to talk about, any podcasters or anything. Really, I would say 80% of the conversations I’ve had in the last few weeks are focused mainly on that.

What does that tell you that a role that was a one-off could have that kind of lasting impact?

It’s the shock of what happens in that scene more than almost anything. There was kind of this angry “I’m gonna live no matter what” vibe to her. So to watch her fall to her death out of her own hubris, it’s just a perfect little encapsulation of a moment in New York City, and I think that’s why people love it. It’s also probably one of the bigger, bigger acting choices I’ve ever made. That was Michael Patrick King. I can’t believe it still matters to people, but obviously, I’m thrilled it does. I did like three takes [of the fall]. And it could have been the stunt woman [who made the cut]. I honestly don’t know who they cut to for what.

Because when people say, “Are you a Carrie? Are you a Charlotte?” A lot of people say, “I’m Lexi.”

They tell me that all the time. I just go, “Oh, babes.” I wouldn’t really want to cling to her as like an inspiration for your character, but I think what they mean is they’re probably bawdy. There are worse things to be in life.

What’s the most recent thing you watched that you’re obsessed with?

I’ve gone down the K-drama rabbit hole. And something I loved is this C-drama called “Pursuit of Jade” on Netflix. It’s so well-done, really good and very thrilling. A period show. Love it. I’ve been sucked into that. Oh, for K-drama — “Bon Appétit, Your Majesty.” That’s pretty much where I’ve been living.

What’s your go-to comfort watch?

I like spooky, weird stuff like “True Detective,” “Broadchurch.” I just did a rewatch. I can’t believe “Broadchurch” is my comfort show. Anything with really good character development, fantastic acting. I love it.

ICYMI

Must-read stories you might have missed

Taryn Brasher and Kristen Cruz clinched an AVP Manhattan Beach Open three-peat on Sunday, sweeping Kelly Cheng and Megan Kraft.

It was the tournament’s first three-peat since Misty May-Treanor and Kerri Walsh Jennings won four straight titles from 2005-08.

Brasher and Cruz, the top-ranked women’s pro beach volleyball team out of Louisiana State, rolled past Cheng and Kraft 2-1 (21-18, 21-16).

Brasher and Cruz took a commanding 4-1 lead to start the first set, the first of back-and-forth surges by both sides. Cheng and Kraft tied the set at 15, but Brasher and Cruz pulled ahead for the 21-18 win.

Kristen Cruz dives for a dig during the AVP Manhattan Beach Open women’s final at Manhattan Beach Pier on Sunday.

(Ronaldo Bolaños / Los Angeles Times)

Taryn Brasher, left, and Kristen Cruz celebrate after defeating Kelly Cheng and Megan Kraft during the AVP Manhattan Beach Open women’s final Sunday.

(Ronaldo Bolaños / Los Angeles Times)

Brasher and Cruz kept the pressure on during the second match, pulling ahead early 8-6 and leading by as much as 17-12 before closing out the victory.

On the men’s side, Andy Benesh and Taylor Crabb defeated Thomas Hurst and Gage Basey in two sets (21-14, 21-13) to clinch the tournament title.

Crabb previously clinched a Manhattan Beach Pier bronze plaque, but it was Benesh’s first time winning the open.

Crabb and Benesh took a commanding 8-3 lead in the first set with all of the energy flowing on their side. Hurst and Basey rallied to cut the deficit to 8-7, but Benesh ended the scoring drought with a monster block.

Taylor Crabb dives for a ball during the AVP Manhattan Beach Open men’s final at Manhattan Beach Pier on Sunday.

(Ronaldo Bolaños / Los Angeles Times)

Andy Benesh, left, spikes the ball under pressure from Thomas Hurst.

(Ronaldo Bolaños / Los Angeles Times)

Andy Benesh and Taylor Crabb stand alongside friends and family after winning the AVP Manhattan Beach Open on Sunday.

(Ronaldo Bolaños / Los Angeles Times)

Benesh and Crabb added to their lead to 13-8 with back-to-back blocks and rolled to a 21-14 win.

The duo led early in the final set and had little trouble delivering a 21-13 victory.

Crabb had 10 kills and 14 digs during the match, with many of the kills coming during the second set. Benesh closed with 14 kills and eight blocks.

“The Wrong Girls” is the right comedy if you want to unplug your brain and laugh. The first punchline doesn’t even have words. It’s just two stoner roommates, Frankie (Kristen Stewart) and Molly (Alia Shawkat), ripping a mega-hit and coughing at each other. Finally, they speak in unison: “Jinx.”

Frankie, a Stanford dropout, engineered the living room’s impressive “bong-a-tron.” Molly, a wannabe chef, bakes brownies spiked with pot and blue cheese. (We’re assured they‘re delicious.) These screw-ups share everything: a taste in thrift store cat paintings, a chillaxed attitude toward overdue bills and a comfy inertia that’s kept them both stunted, frustrating Molly’s boyfriend Josh (a likable Zack Fox). In turn, possessive Frankie thinks Josh is a buzzkill.

Soon, the insular twosome will share a mind, too, thanks to a telepathic drug they ingest like idiots, not that they have any gray matter to spare. That’s not entirely fair. The friends aren’t dumb; they’ve just been baked for so long that acting dumb is a habit. (Don’t worry, writer-director Dylan Meyer won’t force them to sober up.)

The plot is confidently stupid. A criminal courier (LaKeith Stanfield) mistakes Frankie for her more successful doppelganger Francis (also played by Stewart), saddling her with a briefcase that a trio of dangerous Danes are determined to steal back. Thus, our heroes must peel themselves off from the couch and go on the run with their resentful felines Dio and GG bouncing along in backpacks.

Voiced by Seth Rogen and Kumail Nanjiani, the pets have opinions their owners don’t want to hear. “I’m pretty sure they’re the ones who gave us fleas,” GG sneers. I like those comics and live with two annoying Maine Coons. Nevertheless, these cats are too chatty.

Meyer is a screenwriter-turned-filmmaker who met Stewart on the set of the underseen 2015 comic thriller “American Ultra.” In the years since, she has also become Stewart’s wife. That’s important only because “Wrong Girls” has the pinpoint silliness of soulmates who spend a lot of time goofing around at home. Meyer wrote the script a decade ago about her friendship with producer Maggie McLean, but no doubt she knows better than anyone how much the smart and sensible-projecting Stewart delights in acting the fool.

The jokes are as flawlessly tailored to Stewart as Chanel couture, be they zany schemes, spacey freak-outs or the sly middle finger Stewart flashes with her 818-tattooed knuckles while her character suffers a jerk (Tony Hale). And they custom-fit Shawkat’s mellower Molly, who trots behind in Frankie’s wake of destruction. The sci-fi twist in the script turns their relationship into a send-up of co-dependence. Their insular bond can’t last forever — can it?

Meyer subverts a couple tropes, embraces others. Comedy capers like this usually deflate in the third act when their pleasures get punctured by unfunny gunfire. The movie sees that trap coming and dodges it by the skin of its teeth. Nimbly, it manages to be both a pacifist film and a subversive one with no faith in the system as it stands. Characters deliver jabs at “Jeff Bozos” and the Epstein class while slyly revealing you shouldn’t trust their takes, either. Frankie invents a new nonsensical insult, calling Molly’s boyfriend Josh “such a customer.” Sure, whatever that means!

“The Wrong Girls” shares its own hive mind with David Wain’s also-good “Gail Daughtry and the Celebrity Sex Pass,” released earlier this summer. Both are star-studded, hyper-L.A. chase comedies that treat their central contrivances as nothing more than scaffolding for the scenes that actually count. Who cares what happens to the Danes’ precious briefcase? We just want to see Frankie and Molly melt down upon learning that their favorite all-you-can-eat lunch spot is closing due to uncertainty in the buffet sector (a eulogy for the real-life Souplantation, whose absence remains deeply felt).

Even within the tenuous reality of the movie, Frankie and Molly aren’t focused on saving their own necks, especially after their clairvoyant powers kick in and the friends realize they can communicate with closed mouths. As lab-coated figures played by Kate McKinnon and Geena Davis attempt to deliver exposition, the pals drown them out chit-chatting about drivel. The stars know it takes skill to act dumb. Christina Applegate described it best: About her portrayal of hair metal bimbo Kelly Bundy in “Married … with Children,” Applegate said, “In her own mind, she’s a genius.”

The film is just wonky enough to wonder if some beats got chopped out of it, like a go-nowhere running joke about how Hale’s front door won’t close or an aside about how Stewart’s Frankie once Jerry-rigged an escape parachute, which cinematographer Todd Banhazl seems to be reminding us of when he lingers on a shot of an awkward shindig’s helium décor. Banhazl does pull off one of the few inventive psychedelic sequences I’ve seen in a while. (To see another, go stream the giddy new campus comedy “Pizza Movie.”)

Or maybe “The Wrong Girls” is simply making an artistic statement about the joy of sloppiness. Here, to be chaotic and colorful is a badge of honor. Just compare the girls’ cluttered digs with their pursuers’ sterile white suits. In that same spirit of excess, there’s an extra scene in the end credits that goes over like a lead balloon. No one in my theater chuckled. But I respected it anyway for insisting on these jokers’ right to remain an unapologetic mess.