A cause of death has been determined for Martin Short’s daughter Katherine, who took her own life in February.
She died Feb. 23 from a gunshot wound to the head, according to the Los Angeles County medical examiner’s database, which listed her case under her legal name, Katherine Hartley.
Her death was confirmed by her family in a statement to The Times two days later.
“It is with profound grief that we confirm the passing of Katherine Hartley Short,” the family said. “The Short family is devastated by this loss and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”
The 42-year-old was the eldest of three children adopted by the “Only Murders in the Building” star and his wife, actor Nancy Dolman. Dolman died of ovarian cancer in 2010, 30 years after marrying her husband. Martin Short’s sons are Oliver and Henry.
Hartley, whose body was found at her Hollywood Hills home by L.A. County Fire Department paramedics, legally applied for a name change in 2012 because of her famous father’s public persona.
“My father is a public figure. I am a social worker. I am concerned about potential harassment from future patients resulting from my association with my father,” she wrote in her name-change application, which was filed in October 2012 and approved Jan. 25, 2013.
After obtaining a bachelor’s degree in psychology and gender studies from NYU in 2006, she followed up with a master’s in social work from USC in 2010, People reported. In addition to having a private practice, she worked part time at Amae Health, a Los Angeles clinic providing mental health and psychiatric care, the outlet said. Suicide attempts and ideation are among the conditions the clinic says it specializes in treating.
The death certificate for Katherine Elizabeth Hartley, which was obtained by TMZ, includes a field denoting how the injury occurred. It reads, “shot herself.” According to the outlet, a note was found at the scene.
Times staff writer Malia Mendez contributed to this report.
Suicide prevention and crisis counseling resources
If you or someone you know is struggling with suicidal thoughts, seek help from a professional and call 9-8-8. The United States’ first nationwide three-digit mental health crisis hotline 988 will connect callers with trained mental health counselors. Text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.
Katherine Short, the daughter of actor and comedian Martin Short, has died. She was 42.
Her death was confirmed by her family.
“It is with profound grief that we confirm the passing of Katherine Hartley Short,” the family said in a statement. “The Short family is devastated by this loss and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”
A law enforcement source told The Times that Short, an L.A. social worker, died by an apparent suicide.
Suicide prevention and crisis counseling resources
If you or someone you know is struggling with suicidal thoughts, seek help from a professional and call 9-8-8. The United States’ first nationwide three-digit mental health crisis hotline 988 will connect callers with trained mental health counselors. Text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.
CAMERON, N.C. — The 21-year-old North Carolina man who drove through a gate at President Trump’s Mar-a-Lago resort with a shotgun before he was shot and killed worked as a golf course groundskeeper and liked to sketch.
Austin Tucker Martin rarely, if ever, talked about politics, seemed afraid of guns, and came from a family of Trump supporters, according to Braeden Fields, a cousin who said the two grew up together.
“I wouldn’t believe he would do something like this. It’s mind-blowing,” Fields said. “He wouldn’t even hurt an ant. He doesn’t even know how to use a gun.”
Martin drove into the secure perimeter at Mar-a-Lago early Sunday and raised a shotgun at two Secret Service agents and a Palm Beach County sheriff’s deputy who then opened fire “to neutralize the threat,” said Sheriff Ric Bradshaw.
Trump, who often spends weekends at the Palm Beach, Fla., resort, was at the White House at the time.
Investigators have not identified a motive. Trump faced two assassination attempts during the 2024 campaign, including one just a few miles from Mar-a-Lago when a man was spotted aiming a rifle through shrubbery while Trump was golfing.
Following Sunday’s incident, Secret Service spokesperson Anthony Guglielmi said investigators believed Martin bought his shotgun while driving to Florida. Authorities said his family had recently reported him missing.
Martin was from central North Carolina, where guns and hunting are a part of life, his cousin said. But whenever they’d go hunting or target shooting, Martin would never pick up a gun, Fields told the Associated Press on Sunday.
He lived with his mother in a modest modular house down a rutted sandy road near the town of Cameron. No one answered the door Monday, and the large police presence from the day before was gone.
Martin’s sister was killed in a car accident a few years ago, and he has an older brother who’s in the military, Fields said.
For the last three years, Martin had worked as a groundskeeper at Pine Needles Lodge & Golf Club.
“It’s tragic. I feel for his family,” said Kelly Miller, president of the course in nearby Southern Pines. “It’s just unfortunate what transpired. It was totally unexpected.”
Martin last year started a business to sell pen drawings he made, according to state records. A website matching the company name features illustrations of golf courses, buildings and ancient Roman architecture.
Politics didn’t seem to be among his interests, his cousin said
“We are big Trump supporters, all of us. Everybody,” Fields said, but his cousin was “real quiet, never really talked about anything.”
Breed writes for the Associated Press. AP reporters Michelle L. Price in Washington, Ali Swenson in New York, Jeffrey Collins in Columbia, S.C., and John Seewer in Toledo, Ohio, contributed to this report.
Ira Parker intended the very last scene of “A Knight of the Seven Kingdoms,” Episode 6 (titled “The Morrow”), to be just “something that was a little funny.”
Sunday’s season finale of the HBO fantasy series ends with everyone, including the royal Targaryen entourage, departing Ashford after the conclusion of the trial and tournament. Just before the credits roll, Prince Maekar, who notices his young son Aegon is once again missing, frantically shouts, “Where the f— is he?”
“To be honest, the very, very, very end was almost just meant as a joke,” the showrunner says during a recent video call. “But I think people — both in my writing camp and in the HBO camp and probably in the world — took that quite literally. So I’ve maybe had to deal with it a little bit more in Season 2 than I was planning to.”
“A Knight of the Seven Kingdoms” showrunner Ira Parker, right, with director Sarah Adina Smith on the set of the fantasy series.
(Steffan Hill / HBO)
Starring Peter Claffey as Ser Duncan the Tall and Dexter Sol Ansell as Prince Aegon Targaryen, “A Knight of the Seven Kingdoms” is an adaptation of George R.R. Martin novellas set in the same world as his “A Song of Ice and Fire” series. These “Tales of Dunk and Egg” stories take place around 100 years before the events depicted in “Game of Thrones.”
The moment in question could be a big deal for some fans of Martin’s novellas. The scene is not included in “The Hedge Knight,” the book upon which the first season of “A Knight of the Seven Kingdoms” is based. Whether Egg had Maekar’s permission to join Dunk’s travels as his squire is left more open ended in the novella itself.
While the young prince said he had his father’s blessing, “it’s not confirmed canonically” in the book, says Parker. “We haven’t done anything egregious here, I don’t think. [And] I believe it from a character perspective. I believe that Egg would do that again, because he’s already done it. We’ve seen him. He runs away. That’s sort of his thing. And he lies to people.”
Without sharing any details, Parker teases the situation will be addressed again next season.
Dunk (Peter Claffey) in the season finale of “A Knight of the Seven Kingdoms.”
(Steffan Hill / HBO)
The showrunner, who co-created the series with Martin, admits that approaching “The Morrow” was “daunting.” Set in the aftermath of Trial of Seven, Episode 6 involved “a lot of creation” to stretch out the remaining events from the source material.
“Very early on, all of us knew that we weren’t going to add any story,” says Parker, who previously worked on “Thrones” prequel “House of the Dragon.” “The story is the story. We’re going to be 100% faithful to the novellas in that respect. But where we could add, because we needed about another 50% of material in order to fill out even our six 30-minute episodes, was going to be in the characters.”
This has meant the show has spent more time with the very relatable Dunk and his precocious charge Egg. Its supporting ensemble including Lyonel Baratheon (Daniel Ings) and Raymun Fossoway (Shaun Thomas), who give Dunk a helping hand, have also been more fleshed out. This has allowed audiences to just “enjoy hanging out in this world.”
“I wasn’t always convinced that people would allow us to do it,” Parker says. “Hanging out in Westeros. It meant a little bit of a slower start. Luckily, people have come along with us on the ride. … We really just hoped that people would be charmed enough by these characters and the story and want good things for Dunk.”
Like “The Hedge Knight,” the episode concludes by teasing Dunk and Egg’s journey to Dorne, but Parker confirms Season 2 will be an adaptation of the second novella, “The Sworn Sword,” which takes place a year and a half or so after the events of “The Hedge Knight” and sees the pair in a part of the Reach.
“I love ‘The Sworn Sword’ because I think it’s very funny, and I think the sort of ‘will they / won’t they’ between Dunk and Lady Rohanne is just good territory for us,” he says. (Parker said they considered setting Season 2 in Dorne but that it would have taken too much time to flesh out the story even with Martin’s notes.)
In a conversation edited for clarity and length, Parker discussed his collaboration with Martin, every aspect of the show being a reflection of Dunk, and “A Knight of the Nine Kingdoms.”
Lyonel Baratheon (Daniel Ings), left, and Dunk (Peter Claffey) while a maester (Paul Murphy) looks over the injured hedge knight.
(Steffan Hill / HBO)
The show is called “A Knight of the Seven Kingdoms,” but in the finale, Egg points out to Dunk that there are actually nine kingdoms in Westeros. Can you explain that moment and actually showing the alternate title card?
The situation is so overwrought in this episode. With Baelor’s death and with everything that Egg has gone through, which we see him struggling with. Where Dunk’s head is at, going off alone again. The fact that they both get together is wonderful and uplifting, but we sort of had to reassure the audience — that even though Egg is now officially a prince and Dunk knows that, and this tragedy has come to pass between the two of them, the core of that relationship, what we learned to love about their relationship before all of this happened, actually still remains. So that was the importance of having a type of conversation like that. It didn’t necessarily have to be the conversation about the kingdoms, but just Egg, in his way, making sure that Dunk never feels like he knows anything. And it is a wink to the audience and to the fans [who have raised questions about the number], but we’re not changing the name of the show.
You mention Egg’s struggles and we do see just how much anger he has toward his brother Aerion in this episode. What were your thoughts on depicting that onscreen and what it says about Egg?
I talked to George a little bit about Egg and his motivations early on, and George said kids feel disappointment more acutely and that that is a huge part of it. It’s not to be discounted. I don’t want to go out there and say it’s because of Targaryen trauma and everything he’s been through. He’s a boy. Things were happening that were very nice for him that he was very happy about. Then it was all taken away and he blames people. He feels like he’s caused all these problems [for others], and when that doesn’t have a place to land, that’s what turns into anger. It just sort of brews up inside of you.
He sees Aerion as the true cause of all this. At that young age, he doesn’t know how to undirect that. He has some sort of a father there in Maekar. But the fact that he ends up with Dunk, that’s the whole story of Episode 6. Is Dunk, after all this, going to decide to save this kid who is just going to be thrown to the wolves otherwise? Who’s not going to get what he needs to direct his frustration and his disappointments to good energy targets? Kids who have that end up, generally, in better situations than kids who don’t.
It’s very important for me to show the importance of having a mentor in your life. We’re obviously very thematically about fathers and sons, knights and squires, and, to a certain extent brothers. But it is, at the core of it, what it is to have a teacher. Dunk had that in Ser Arlan. Dunk certainly has no obligation to do anything for this family at this point and he does it … because it was done for him. So he’s paying it forward, being a benefit to the person next to him.
Dunk (Peter Claffey) is ready for his next journey.
(Steffan Hill / HBO)
That’s one thing that sets Dunk apart. He’s one of the few people we see in this world who believes in doing good and that that’s what he’s supposed to be doing.
There’s an addition to that, which is that he wants so badly to do good and do right by his mentor who taught him what a knight was supposed to be. But there is this feeling that the world isn’t going to let you do that. We see somebody like Ned Stark, who’s very honorable, [but] probably suffered ultimately from his naivety — his belief in others. Dunk, I think, has one extra level. Or maybe I’m just projecting that onto him because sometimes I think about how to protect myself in this world where not everybody always has the best intentions. You so badly want to do good, but then there’s also the reality of that, and a big part of Dunk’s early journey in this world is learning those lessons.
Maybe that’s just because my head is also stuck in Book Two, where I think that is brought even more to the forefront. But he’s never going to change. He’s always going to be hopeful.
You did a Reddit AMA recently and you responded to someone who had asked about the show’s production budget that everything in this show was a reflection of the lead character. Can you explain what you meant by that?
It’s very chilling at the beginning to realize that you have one [point of view] character, but then when you realize how many facets go into making up that one person — from costumes, cinematography, music, everything — you realize you actually are telling a lot of different stories, just about one person and how they relate to the world. You have to make sure that that is one hell of an immersive experience, because it’s not like you could just have an audience member tune out if they don’t like the Dunk story this week. We had to make you feel in every single episode that you are in that situation, that you can somehow relate to Dunk and what he’s going through. This is because it’s about to get even tougher for him. Hopefully the people who come to us for the light, fun, enjoyable take on Westeros will stick with us through some of the harder, trickier, grimmer moments. Because this is George R.R. Martin’s world, and it gets dangerous.
But it was actually a very nice, natural way for us to differentiate ourselves [from the other shows]. We’re not a prequel. These are novellas that have existed for 30 years. It’s more organic. Rather than being so grand and epic in scale, it’s still small and simple and hopeful. [Dunk’s] still basically just a kid. It’s two kids setting out to have a little bit of fun. There’s got to be some some whimsy about it. That very easily allowed us to find our own voice.
Egg (Dexter Sol Ansell) has a lot of anger for his older brother.
(Steffan Hill / HBO)
How is it like to work with George R.R. Martin?
He has been wonderfully collaborative. It’s been the most fulfilling creative partnership of my whole life. A lot of people can start out in this industry reading your stuff and telling you what they think is wrong without asking you why you did something the way that you did it. Giving you the benefit of the doubt and the conversation jumping off from there, George is very good at that. Whenever he would call me about a new script, we’d talk out what’s in my head in the version of events that led me down this path. And then he talks about why he either did it another way or has issues with it. It becomes a very natural conversation. It’s an extension of a writer’s room with a living legend, one of the greatest living writers in the world today. He just likes talking about this stuff with you, and I like talking about it with him.
What were your earliest conversations with him about “Dunk and Egg” like? Did you already have an idea of how you wanted to do the show before you talked to him?
I swung pretty wildly at the beginning from the point where HBO sent it to me — where I thought “Game of Thrones” shows are 10 episodes, an hourlong each, how could we possibly do that with these three novellas — to finding out what HBO’s intentions were for it, finding out what George’s intentions were for it. Having conversations with George about what he likes, why Dunk is his sole POV character. Why, for example, he never wrote any Egg chapters. He has so many specific thoughts on all of this that that really helped inform what my approach was going to be.
I think it was very important for me to go into that first meeting, when I flew to Santa Fe to meet him, with a mile-high preparation. I knew everything possibly in and around this world and these characters, and I had a lot of pitches, if it came to that. But I didn’t go in there and lead with that. I just went and I sat down and we had conversations. I asked a lot of questions and I listened a lot. And then I went back and I re-formed and I went off and wrote a pilot. Then we were off to the races.
Raymun Fossoway (Shaun Thomas), left, was a true friend to Dunk (Peter Claffey).
(Steffan Hill / HBO)
You worked on “House of the Dragon,” which is such a different show, even though it’s in the same world. How did your time there affect how you wanted to approach this show?
That room was one of my favorite rooms that I’ve ever been in. Ryan Condal is a true writer’s writer. He has so much love for this world. It’s funny because everybody thinks comedy rooms are just so funny all the time, everybody’s cracking jokes, and drama rooms are so serious because of the material. It’s actually often the exact opposite. In drama, because comedy is not currency, everybody’s just cracking jokes all the time. And Ryan has such a sharp wit; we share a very similar sense of humor. I think it was him who put me forward for this to HBO when they were looking for a writer for “Dunk and Egg,” and I’m very grateful.
Our room for “Knight of the Seven Kingdoms” was very different. We hired all drama writers, just people that have different sensibilities. I felt like I was living my very best days. We had 11 days in that writer’s room because the writers’ strike shut us down so quickly, but we knew that that was coming up. So we got going as fast as we possibly could and we broke as much as we could. Then I assigned scripts the very last day. But those 11 days in that room, I think we broke, ultimately, 20 seasons of a show by accident.
We were having so much fun, we were creating it all for the first season. We did it all for six episodes. As soon as we got back from the strike, a few of my writers were just like, “How do you expect us to write 35-minute episodes with these beats to be broken?” We pulled it a lot, lot back from what that was, but writers rooms are the happiest place on Earth, or least lonely place on Earth. It’s not always happy — it’s hard sometimes.
Arsenal‘s players rotate positions to make it difficult for opponents to pick them up. They aim to maintain the balance of the side while playing in this fluid manner. Zubimendi, like the others, vacates his position based on the movements of team-mates.
By dropping into a deep position against Chelsea, Bukayo Saka opened up space on the right flank to allow Zubimendi to push into this area. Rice, the far-side midfielder, filled in at defensive midfield, ensuring Arsenal‘s shape remained similar, only with different players arriving in each zone.
It is unusual to see a defensive midfielder make such adventurous runs off the ball but it appears to be the next step on from the more popular use of roaming full-backs, such as Riccardo Calafiori, Nuno Mendes and Marc Cucurella.
The logic is that the players often tasked with marking defensive players are unlikely to defend them as closely. Finding defensive players who possess attacking quality to contribute in the final third is a rarity but Zubimendi has the skillset to punish teams in this way.
Defences set up in a low block will often drop even deeper when faced with a winger or forward trying to run in-behind. It leads to space opening up in front of the defence, rather than in the box.
Arsenal spend large parts of the game looking to unlock deep defences. This allows Zubimendi to arrive into a position to receive a pass, without being picked up, before executing on the idea he has in his head immediately. This could be a precise through ball or a dinked chip over the top – riskier passes that pose new questions for deep defences.
Alternatively, when Zubimendi sits at the base of midfield, Rice is free to push up and rotate with the attackers, knowing there is protection behind him.
And the England man will likely feel safe to play freely after seeing his 5ft 9in team-mate beat 6ft 6in Newcastle striker Nick Woltemade to a header earlier this season.
Meanwhile, Zubimendi’s willingness to shoot from distance provided Arsenal with the much-needed opening goal against Nottingham Forest and Sunderland, after which more space opened up for the Gunners with their opposition forced to play more adventurously.
Arteta said “if the space is not in one place, it will be somewhere else” – and against deep defences, long shots have become an increasingly viable tactic this season.
Signing Zubimendi, therefore, could not have been more timely.
Apple Martin is in Vogue — as she lands her first shoot in the magazineCredit: Letty Schmiterlow/VogueApple strikes a pose for the glossy magCredit: Letty Schmiterlow/Vogue
Apple, 21, posed in a short red skirt and jumper, with a stylish black leather jacket.
She is set to swap fashion for cap and gown when she graduates with a law degree in May.
But she hopes to make it big in Hollywood like her mum, rather than follow in Chris’s footsteps.
She tells Vogue: “Getting on stage by yourself to sing is so terrifying.
Following Bad Bunny’s landmark album of the year win at the 68th Grammy Awards for “Debí Tirar Más Fotos,” Ricky Martin penned a letter of appreciation to commemorate the moment.
In an opinion piece for the Puerto Rican newspaper El Nuevo Día published Tuesday, the Boricua hitmaker said Bad Bunny’s accomplishment stirred deep feelings within him.
“Benito, brother, seeing you win three Grammy Awards, one of them for album of the year, with a production entirely in Spanish, touched me deeply,” Martin wrote. “Not only as an artist, but as a Puerto Rican who has walked stages around the world carrying his language, his accent and his history.”
In addition to becoming the first all-Spanish album of the year winner, the “Nuevayol” artist took home the Grammy Awards for música urbana album and global music performance for the track “EoO” on Sunday.
Martin further called Bad Bunny’s achievement a “human” and “cultural” win, lauding him for not bending to the will of anyone who tried to change his sound in any way.
“You won without changing the color of your voice. You won without erasing your roots. You won by staying true to Puerto Rico,” Martin wrote. “You stayed true to your language, your rhythms and your authentic narrative.”
Martin, who first broke out as a solo musical act in the mid-’90s, became an international superstar off the back of his Spanish-language hits including 1995’s “María,” 1998’s “Vuelve” and “Perdido Sin Ti.”
He reached a new strata of stardom after his track “La Copa de Vida” was used as the official anthem for the 1998 FIFA World Cup. That song charted in over 60 countries and was translated into English. He landed his biggest hit with “Livin’ La Vida Loca,” which was the lead single from his 1999 self-titled English album.
When accepting his album of the year award Sunday night, Bad Bunny addressed the crowd predominantly in Spanish and spoke of the strugglesof the immigrant experience.
“I want to dedicate this award to all the people who had to leave their homeland, their country, to follow their dreams,” he said in English.
“Puerto Rico, believe me when I say that we are so much bigger than 100 by 35 and there is nothing that exists that we can’t accomplish,” the “Dakiti” artist said in Spanish. “Thank God, thank you to the academy, thank you to all the people who have believed in me throughout my whole career. To all the people who worked on this album. Thank you, Mami, for giving birth to me in Puerto Rico. I love you.”
The 54-year-old singer also showed love to Bad Bunny for using his platform to show solidarity for vulnerable communities.
“What touched me most about seeing you on the Grammys stage was the audience’s silence when you spoke,” Martin wrote. “When you defended the immigrant community, when you called out a system that persecutes and separates, you spoke from a place I know very well where fear and hope coexist, where millions live between languages, borders and deferred dreams.”
Martin concluded his letter by thanking Bad Bunny for reminding him and showing other Puerto Ricans that there is power in being true and authentic to yourself.
“This achievement is for a generation to whom you taught that their identity is non-negotiable and that success is not at odds with authenticity,” Martin wrote.
“This was for Puerto Ricans, for all our Latino brothers and sisters who dream in Spanish, for those crossing seas and borders wearing their cultures like a flag. From the heart, from one Boricua to another, with respect and love, I thank you for reminding us that when one of ours succeeds, we all succeed.”
