media

Perplexity unlawfully copied thousands of CNN stories, videos and images to power its products, CNN said in its lawsuit.

United States news channel CNN has filed a lawsuit against Perplexity in New York federal court, alleging the AI search engine provider is unlawfully distributing its copyrighted content, marking the latest legal tussle between the AI firm and a news publisher.

The complaint, filed on Thursday, said that Perplexity unlawfully copied thousands of CNN stories, videos and images to power its products and distribute “identical or substantially similar” competing content.

“You can’t copyright facts,” Perplexity spokesperson Jesse Dwyer said in response to the lawsuit.

CNN is asking for an unspecified amount of monetary damages and a court order blocking Perplexity from violating its intellectual property rights.

“CNN’s lawsuit stands for the proposition that Perplexity, a company valued at tens of billions of dollars, should not be able to steal from entities that create the original content Perplexity exploits,” the Warner Bros-owned news company said in a statement.

“By exploiting CNN’s reporting in this manner, Perplexity violates the protections afforded by copyright law and undermines the economic incentives that make original newsgathering possible,” CNN said in the complaint.

Since the launch of OpenAI’s ChatGPT in 2022, news publishers and writers have worried about their content being repurposed to appear in the results of a chatbot query, triggering battles over copyright, compensation and ownership.

CNN’s lawsuit is one of dozens of high-stakes US cases brought by copyright owners, including news outlets, authors and publishers, against tech companies over alleged misuse of their work to train large language models. Anthropic was the first AI company to settle one of these cases last year, agreeing to pay $1.5bn to resolve a class action lawsuit from a group of authors.

The CNN suit is the latest in a series of legal challenges brought against Perplexity, which uses AI to scour websites and answer users’ queries, alleging the company has infringed copyrights and unlawfully scraped data to train its technology.

Perplexity is also facing lawsuits from The New York Times, Reddit and Dow Jones, among others.

Several news firms have now signed licensing deals and partnerships with Big Tech and generative AI companies to ensure that their models have access to verified sources of news, while also compensating publishers and linking back to original articles.

Across South Asia, concerns over press freedom, political influence, and media credibility are drawing increasing international scrutiny. From Bangladesh and Pakistan to India, journalists and independent media organisations face mounting political, economic, and legal pressures that are reshaping how information is produced and consumed.

Recent international assessments point to what rights groups describe as a broader regional decline in media independence. The 2026 World Press Freedom Index placed multiple South Asian countries near the lower end of global rankings, reflecting concerns over censorship, political pressure, and growing ideological polarisation within news ecosystems.

Among these cases, India continues to attract the most sustained global attention due to its scale, democratic profile, and influence as the world’s largest electoral democracy.

When a country that defines itself as a global democratic model falls to 157th out of 180 nations on the World Press Freedom Index, the question is no longer whether there are challenges within its media environment. The question is how deeply those challenges have reshaped journalism itself.

Together with other regional indicators, the findings suggest not isolated failures but a structural transformation in how media systems operate across South Asia.

The concerns highlighted in global reports do not exist in isolation. Across South Asia, governments and political actors are increasingly accused of exerting pressure on journalists through legal action, advertising influence, regulatory scrutiny, and informal intimidation.

According to World Press Freedom Index in 2026, Bangladesh stood at 152nd. Afghanistan remained among the lowest-ranked countries globally, reflecting ongoing restrictions on press activity. Nepal, while comparatively better positioned at 87th, has also faced periodic concerns over political influence and media ownership concentration.

Analysts argue that while each country’s political context differs, a shared pattern is emerging: fragile media economies, heightened political polarisation, and increasing hostility toward independent journalism.

However, India’s trajectory is often singled out due to its democratic stature and its role as a regional political and cultural benchmark. This contrast between democratic identity and media freedom rankings has intensified global debate about the state of its information ecosystem.

Political Influence and the Changing Nature of News

Within India, one of the central concerns raised by international observers is the perceived growth of political influence over large sections of mainstream media.

A detailed report by Genocide Watch described what it termed a “severe crisis of credibility” in parts of the Indian media landscape, arguing that dominant narratives in some outlets increasingly align with those of the ruling Bharatiya Janata Party rather than independently scrutinising power.

This does not imply uniformity across the entire media sector. India still has a diverse ecosystem of investigative journalists, regional newspapers, and independent digital platforms producing critical reporting. However, critics argue that the dominant tone of mainstream television and high-visibility digital media increasingly reflects political messaging rather than adversarial journalism.

The Reporters Without Borders (RSF) assessment echoed concerns about structural vulnerabilities. It highlighted the heavy dependence of Indian media on advertising revenue, including significant spending by both central and state governments. Critics argue that this financial structure creates subtle incentives for compliance, where editorial decisions may be influenced not through direct censorship, but through economic dependency.

In such an environment, formal restrictions are often unnecessary. Editorial caution can emerge internally, as news organisations weigh political and financial risks before pursuing certain stories.

The Rise of Divisive Television Narratives

Another recurring concern involves the increasing polarisation of televised political discourse.

Genocide Watch and other rights-focused assessments have warned that sections of mainstream media increasingly frame political and social issues through identity-based narratives, often centred on religion and nationalism. Complex policy debates are frequently simplified into binary positions, contributing to heightened social tension.

Human Rights Watch, in its World Report 2026, also documented concerns that hostile rhetoric in parts of media and online spaces has coincided with rising incidents of discrimination and attacks against minority communities, including Muslims in different parts of the country.

While causation is difficult to establish definitively, observers argue that repeated framing of communities through suspicion or collective identity can contribute to an environment where social hostility becomes easier to normalise.

The RSF report additionally pointed to structural imbalances within media representation, noting concerns about concentration of leadership within certain social groups and the underrepresentation of women in prominent political debate programming. These imbalances, critics argue, shape not only who speaks in media spaces, but also which perspectives are amplified or marginalised.

Self-Censorship and Invisible Constraints

Not all constraints on journalism are explicit. In many cases, they manifest as self-censorship.

According to Genocide Watch, journalists and editors increasingly avoid topics that could lead to political backlash, regulatory scrutiny, legal threats, or coordinated online harassment campaigns. Over time, this produces a newsroom culture in which certain subjects are quietly excluded before formal editorial decisions are even made.

This form of pressure is difficult to measure, but its effects can be significant. When reporters internalise risk calculations, the range of publicly available information can narrow without any formal ban or directive.

RSF similarly highlighted concerns over actions taken against independent journalists, commentators, and publications. It cited instances of restrictions, legal pressure, and bans on certain media outlets in sensitive regions, including Jammu and Kashmir, where authorities have taken action against publications accused of promoting separatism.

Critics argue that such measures contribute to a wider climate of caution, particularly around politically sensitive reporting.

A Broader Democratic Stress Test

The implications of these developments extend beyond journalism alone.

Genocide Watch framed the weakening of press freedom as part of a broader institutional credibility challenge linked to political polarisation and majoritarian dynamics. In this view, media independence is not an isolated issue but part of a wider ecosystem that includes accountability, governance, and civic trust.

A free press plays a central role in democratic systems by enabling scrutiny of power and facilitating informed public debate. When that role weakens, the consequences extend into how citizens engage with institutions and interpret political realities.

India’s trajectory in the RSF index over recent years reflects this concern. The country ranked 150th in 2022, fell further to 161st in 2023, improved slightly to 151st in 2025, and then declined again to 157th in 2026. Analysts interpret this pattern not as random fluctuation but as part of a longer-term structural challenge.

At the same time, government supporters argue that India remains a robust electoral democracy with active institutions, a vibrant political opposition, and a highly diverse media landscape. They contend that international rankings often fail to capture the complexity of India’s scale, security challenges, and internal diversity.

The debate, therefore, is not solely about classification, but about how democratic quality itself should be assessed.

South Asia in a Global Decline

These concerns are unfolding within a broader global downturn in press freedom. RSF’s 2026 index noted that worldwide media freedom has reached its weakest level in 25 years, with more than half of all countries classified as having “difficult” or “very serious” conditions.

South Asia reflects this global trend particularly sharply. Alongside India, countries such as Bangladesh remain in the lower tiers of the global rankings, highlighting shared regional challenges around political influence, media ownership concentration, and journalist safety.

Yet despite this broader pattern, analysts continue to emphasise that each country’s trajectory is shaped by its own political history and institutional structures. In India’s case, its global influence and democratic identity make developments in its media landscape particularly consequential for international observers.

What Is Ultimately at Stake

The credibility of media systems plays a central role in shaping the health of democratic life. Journalism informs not only public debate but also citizens’ ability to evaluate leadership, understand policy decisions, and hold institutions accountable.

When trust in media declines, democratic accountability becomes harder to sustain.

The findings from Genocide Watch and RSF should therefore be viewed not simply as criticism of individual outlets or governments, but as indicators of broader institutional stress across South Asia.

Addressing these challenges would require a combination of stronger protections for editorial independence, more diversified ownership structures, reduced reliance on state advertising, and greater safeguards for journalists facing intimidation or harassment.

Despite these pressures, the region continues to produce significant investigative journalism and independent reporting under difficult conditions. Many journalists continue to work at considerable personal and professional risk to maintain public access to information.

Acknowledging structural challenges across South Asia is not an indictment of any single democracy. Rather, it is increasingly seen by analysts as a necessary step toward strengthening the democratic principles that the region’s constitutions and institutions claim to uphold.

With information from Reuters.

Russia provided a rare look at damage caused by a Ukrainian strike on a college in occupied Luhansk. Moscow claimed that 21 people were killed in the targeted attack, Ukraine denied the claims saying it struck an elite Russian drone command unit operating in the area.

FORMER Little Mix star Jade Thirlwall has returned to social media after a break from the online world – and fans are certain she’s been cooking up new music in the studio.

The 33-year-old released her debut solo studio album, That’s Showbiz Baby, back in September 2025.

It hit number three on the UK Album Chart and produced her popular singles Fantasy, FUFN, Plastic Box, and Unconditional.

Jade has now surprised fans by making a comeback on TikTok after five months of being away.

In the video, the British singer could be seen opening a door and twirling around a room to the song Keeping Your Head Up by Birdy.

The lyrics said: “Hold tight you’re slowly coming back to life, I’ll be keeping your head up, I’ll be keeping your head up.”

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She then flicked her curly brunette locks over her shoulders as she walked towards the camera.

Jade wrote in text over the video: “Me returning to TikTok after a menty b social media break x”

The star appeared to be making light of having a few days feeling down in the dumps.

Despite the singer telling fans she took a break due to mental health, they were convinced it was because new music is on the way – just seven months on from her last album.

She captioned the post: “We’re back! Did you miss us? Because we missed you!”

One fan wrote under the clip: “Soooo word on the street is your back in the studio.”

Another said: “I think it might be album 2 time.”

A third fan penned: “I’m dying can’t wait for the new single.”

While Jade took an extensive break from TikTok, she was only missing from Instagram for six days.

LEE Andrews has been BLOCKED by the ‘biker babe’ he followed on social media – in a most recent twist to the bizarre tale.

The ‘missing’ husband of Katie Price appeared to briefly return to social media again today when a glam US Navy Veteran was no longer on his following list.

However, The Sun can reveal Marisol blocked Lee’s account.

When users block someone on Instagram, they are automatically unfollowed and removed from following them.

Fans were baffled with Lee seemed to have added Marisol — despite Katie‘s claims he’s been kidnapped.

Before then, Lee’s account only followed Katie – who says she hasn’t heard from her other half since Wednesday, May 13.

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Marisol reached out to The Sun and thanked us for making her aware of Andrews’ background.

She confirmed she does not know Andrews and has never exchanged messages with him – and has now blocked him.

Earlier today Katie clashed with Lee’s dad over her husband’s whereabouts after claims he’d been arrested.

A missing persons’ report was filed with the British Embassy in the United Arab Emirates city and three days ago Dubai police denied he’d been detained.

However, a police insider has since told the Daily Mail: “Lee Andrews has been arrested.”

His dad Peter claimed: “Lee is OK. 

“He has not been kidnapped but he is under arrest. I don’t know on what charge.

“I’m not sure where he is being held. But he will call me later today.

“He is not at my house.”

However, Katie hit back on social media hours later, insisting: “This is fake news.

“Lee is still missing. Me and his family know what’s going on and working
with the authorities involved.”

Katie’s last contact with Andrews came when he claimed he had been arrested and taken to a “black site”.

May 22 (Asia Today) — The head of the U.S.-based Committee to Protect Journalists warned Friday that pressure on press freedom is not limited to imprisonment, killings or direct censorship, saying lawsuits, access restrictions and online attacks can also intimidate reporters and encourage self-censorship.

Jacob Weisberg, chairman of the Committee to Protect Journalists, made the remarks during a news conference at the Foreign Correspondents’ Club of Japan in Tokyo when asked about indirect pressure on journalists in democracies such as South Korea and Japan.

“The issue of reporters being prevented from doing their jobs or being punished in unofficial ways, and the issue of threats and self-censorship, are much more difficult matters,” Weisberg said.

Asia Today asked how the organization evaluates cases in which press freedom is restricted not through direct censorship but through exclusion, intimidation or loss of access, citing press corps-centered reporting restrictions, limits on access to government briefings, defamation lawsuits and online harassment.

Weisberg said the CPJ is still considering how to respond to such issues.

“That does not mean CPJ is not concerned about such issues, but to be fair, we are still thinking about how to deal with questions like that,” he said.

He said the group’s top priority remains helping journalists who face physical danger.

“CPJ’s first obligation is to help journalists who are in physical danger,” he said. “We first deal with cases involving journalists who are imprisoned, abused, tortured or killed.”

But he stressed that this does not mean the organization is unconcerned about more subtle and complicated issues surrounding press freedom.

Weisberg also addressed Japan’s press club system. While saying he did not know enough about Japan, he said he had often heard about the country’s press clubs and the inherent limits of that system.

He said reporters outside press clubs may not have the same access to information and that the system can function as an exclusive channel through which information is delivered.

Weisberg did not equate the issue with censorship seen in authoritarian countries.

“It is not censorship, but it is a lower-level problem than that,” he said.

He also cited the United States, saying there have been no confirmed recent cases of journalists being jailed or killed there, but that the environment for reporters has worsened and become more dangerous in several ways.

He mentioned “media capture,” in which government approval or corporate merger issues can be used as leverage over broadcasters and media companies, as well as concerns over lawsuits and self-censorship.

Referring to the Trump administration, Weisberg also raised concerns about restrictions on White House access for certain media outlets and limits on access to Pentagon briefings.

Restricting government access to the press because of political views is “illegal and unconstitutional,” he said.

On Asia, Weisberg expressed more direct concern. He said that as of May 13, CPJ counted 103 journalists imprisoned across Asia. China had the largest number, with 51, followed by Myanmar with 18 and Vietnam with 16.

Weisberg also said that while Japan has no recorded cases of journalists being imprisoned or killed, worsening press freedom across Asia affects the safety, movement and reporting ability of Japanese journalists working abroad.

He cited the case of NHK Tehran bureau chief Shinnosuke Kawashima, who was arrested in Iran and later released but has not yet been able to return to Japan.

Weisberg said Japan could play a more active diplomatic role in defending press freedom in Asia.

His remarks suggested that press freedom debates in South Korea and Japan should move beyond the question of whether censorship exists and ask who monopolizes information, who loses the right to ask questions and who is pressured into silence.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260522010006683

Watchdog instructs social media giant to strengthen moderation following circulation of ‘grossly offensive’ content.

Malaysia’s internet watchdog has ordered TikTok to take action against “offensive and defamatory” content about the country’s monarchy.

The Malaysian Communications and Multimedia Commission (MCMC) said on Thursday that it had instructed the video-sharing platform to take “immediate remedial measures” in response to an account purporting to be linked to King Sultan Ibrahim.

The MCMC said its order requires the social media company to strengthen its moderation policies and provide a “formal explanation” for its failure to block the “grossly offensive, false, menacing and insulting” content, including AI-generated videos and manipulated images.

The regulator said it takes a “serious view” of online platforms being used to disseminate content that is false or “detrimental to public order”, particularly as it relates to the monarchy.

It added that it issued the order after finding TikTok’s response to previous notifications to be “unsatisfactory”.

TikTok, founded by Chinese tech company ByteDance, did not immediately respond to a request for comment.

“MCMC will continue to take firm and proportionate action where necessary to ensure digital platforms operating in Malaysia uphold their responsibilities in maintaining a safe, secure and respectful online environment,” the watchdog said in a statement.

Malaysia, a constitutional monarchy, penalises speech deemed to inspire “hatred or contempt” against the royal family under a sedition law passed in 1948.

The watchdog’s order against TikTok is the latest move by authorities in the Southeast Asian country to regulate social media platforms.

In January, the MCMC briefly blocked access to the AI assistant Grok amid a global backlash over its use to create sexually explicit images of people without their consent.

Malaysia’s government is also currently preparing to enforce legislation passed last year to prohibit social media use by under-16s, following similar moves by countries including Australia, Indonesia and France.

The deal, valued at more than $300m, gives Murdoch control of a storied magazine and a podcast division with a reach valued by advertisers.

Media scion James Murdoch has agreed to acquire New York Magazine and the Vox Media Podcast Network in a deal that will significantly expand his portfolio and stands to boost his influence over news and entertainment.

“This acquisition reflects both our interest in the forward edge of culture and our deep commitment to ambitious journalism,” Murdoch, the younger son of media mogul Rupert Murdoch, said in a statement on Wednesday announcing the transaction. His company Lupa Systems will buy both properties from Vox Media.

The deal, valued at more than $300m, gives Murdoch control of a storied magazine known for its coverage of culture, politics and fashion, and a podcast division whose reach, among a demographic coveted by advertisers, rivals that of cable television news networks, according to several people with direct knowledge of the acquisition. The politics news site Vox.com is also included.

Murdoch and his wife Kathryn Murdoch were intimately involved in courting key talent from Vox, specifically Kara Swisher and Scott Galloway, stars of the popular Pivot podcast, as well as several other programmes on the company’s podcast network.

“I like James and Kathryn,” Swisher said in a phone interview. “Unlike many other media owners these days, they’re savvy about the business and willing to take smart risks.”

Vox’s podcast division was valued much higher than New York Magazine in the transaction, two of the people said, spotlighting the importance of making sure top programmes were locked in. Pivot, for example, has three years remaining on its contract, which will continue under Murdoch. Swisher met with the investor and his wife Kathryn several times before the deal came together.

“In a company like Vox, if its talent doesn’t like something, it’s not gonna happen,” Galloway said in an interview. He added, “James is the only Murdoch that this deal could have happened with.”

Several years ago, James was locked in a fierce dispute with his father over the editorial direction and future control of the family’s media empire. In 2019, he founded Lupa after stepping down as chief executive of 21st Century Fox. In 2020, he resigned from the board of News Corp, the publishing arm of the family’s media empire, citing “disagreements over certain editorial content”.

Vox’s podcast and publishing assets will operate as a subsidiary of Lupa Systems, which also owns Art Basel, which hosts annual events in Paris, Miami, Hong Kong, and Doha, and Tribeca Enterprises, the media and entertainment company cofounded by Robert De Niro and Jane Rosenthal.

Vox Media CEO Jim Bankoff will join Lupa Systems and will continue to lead the brands under the Vox Media label, he said in a note to the company’s staff, adding the deal is expected to close in four to six weeks.

New York Magazine’s publications include The Cut, Vulture and Intelligencer, with a digital audience of tens of millions and more than 400,000 paying subscribers currently.

The acquisition does not include other Vox Media brands such as Eater, Popsugar and The Verge. These brands, along with SB Nation and The Dodo, will become an independent company under a new corporate name.

James’s father, Rupert Murdoch, once owned New York Magazine from the late 1970s till he sold it in 1991.

Lupa Systems, the media and tech holding company owned by James Murdoch, is set to acquire nearly half of Vox Media.

As part of the deal, Murdoch’s company will own Vox Media’s podcast network, Vox.com and New York Magazine, once an asset of his father, industry giant Rupert Murdoch. Terms of the deal were not disclosed, but the price tag was reportedly over $300 million, the New York Times reported citing people familiar with the deal. The goal of the investment is to bring “influential journalists, top-rated podcasts, and digital brands with large social footprints” to Lupa and help grow its media portfolio, the company announced Wednesday.

“This acquisition aligns well with our existing holdings and investments and reflects both our interest in the forward edge of culture and our deep commitment to ambitious journalism and agenda-setting conversations,” Murdoch said in a statement.

The three new assets will function as a subsidiary of Lupa Systems and will keep the name Vox Media. The deal includes New York Magazine’s popular verticals like The Cut, Vulture and Intelligencer, as well as Vox’s most successful podcasts like “Today, Explained” and “Pivot with Kara Swisher and Scott Galloway.” Jim Bankoff, Vox Media’s current CEO, will continue to lead the company.

The other Vox Media properties, which Murdoch did not purchase, include websites like Eater, The Dodo and The Verge. These platforms will be run under an unnamed new company by the current president of Vox Media, Ryan Pauley.

This investment strengthens Lupa Systems’ position in the evolving media landscape. The business has other holdings including the parent company of Tribeca Film Festival, the owner of Art Basel, Robert DeNiro and Jane Rosenthal’s entertainment company Tribeca Enterprises, and Bodhi Tree Systems, an investment platform behind a popular Indian streaming service.

This is one of the largest deals Murdoch has closed since he and his family resolved a $3.3-billion dispute last year. The conflict centered on the future of the family’s media empire, which includes Fox News, The New York Post and The Wall Street Journal. In the settlement, James Murdoch received roughly $1 billion and his elder brother, Lachlan, assumed power over the family’s assets.

Before the legal blowout, Murdoch previously served as the chief executive of major global media companies like 21st Century Fox and Europe’s Sky Group.

The billionaire told the New York Times that, with this new acquisition, he didn’t want a “daily news business.” He wanted “longer-form, thoughtful journalism that can really speak to the culture.”

The players’ campaign, which began in late 2025, is being spearheaded by former WTA chairman and chief executive Larry Scott.

The American will be in Paris on Friday for a meeting with French Open tournament director Amelie Mauresmo and FFT president Gilles Moretton.

Meetings are also planned with representatives of the All England Club (AELTC) and the US Tennis Association later in the fortnight.

The players’ action is designed to put pressure on the AELTC, with prize money for Wimbledon not due to be announced for another three weeks.

Last year, the Wimbledon prize fund rose by 7% to £53.5m – double the amount on offer a decade earlier.

Players look enviously, however, at the revenues generated by the Grand Slams and feel entitled to a larger slice of the cake.

The AELTC’s financial statement for the year to July 2025 showed revenue of £427m and profit after tax of £39.7m.

Players have asked the Slams to pay 22% of their revenue in prize money by 2030.

They are also asking that tens of millions of dollars are paid towards pension, healthcare and maternity benefits, and that they are consulted more widely on scheduling and other key decisions.

At this month’s Italian Open, world number one Aryna Sabalenka said she believes players will “at some point” boycott one of the majors.

World number three Iga Swiatek felt that would be a “bit extreme”, but defending French Open champion Coco Gauff said she would support strike action “if everyone were to move as one and collaborate”.

Men’s world number one Jannik Sinner also claimed players are not getting the respect they deserve when it comes to prize money at the majors.

An FFT statement on Wednesday read: “We regret the players’ decision, which impacts all of the tournament’s stakeholders: the media, broadcasters, the FFT and the entire tennis community, all of whom follow each edition of Roland Garros with great enthusiasm.

“The French Tennis Federation recognises the importance of the players’ contribution to the tournament’s success, and wishes to maintain close ties with them.”

The French Open takes place from 24 May to 7 June.

Hampton’s career has been far from smooth sailing, with the ex-Birmingham City goalkeeper hitting headlines when she was dropped from the England squad in 2022 shortly after their first Euros triumph.

Reports said it was a result of her behaviour and she had to wait until March 2023 for a recall, when manager Sarina Wiegman said Hampton had “sorted out personal issues”.

Speaking about that time, Hampton said the stories were “hurtful” and she later revealed on the Fozcast podcast she had considered quitting football.

In November, Mary Earps – her former England team-mate and predecessor as number one – released an autobiography which heavily criticised Hampton.

Earps claimed she told Wiegman she was rewarding “bad behaviour” by recalling Hampton, who had previously been dropped for being “disruptive and unreliable”.

Hampton, who kept eight clean sheets in 19 WSL appearances this season, says goalkeepers need to support each other.

“I think goalkeepers hold a unique pressure that really only goalkeepers truly understand,” added Hampton.

“When I see other goalkeepers making worldie saves, it pushes me and drives me. The women’s game, and goalkeepers especially, are getting to those standards that we hold ourselves to so highly.

“We’re a group, a union. If we can’t rely on each other, then we can’t rely on anyone.”

Charlton Athletic goalkeeper Sophie Whitehouse, a former team-mate of Hampton’s at Birmingham, won the WSL 2 Golden Glove award on Monday.

Hampton says Whitehouse “deserves more credit” and believes she will play a star role in Saturday’s play-off match against Leicester City (12:30 BST).

“Seeing the growth of where she’s got to right now isn’t spoken about enough,” said Hampton.

“She was always pushing herself to reach high standards at the Blues. I’m sure she will make a lot more worldie saves to make sure Charlton get to the WSL and we’ll be competing with each other next season.”

LEE Andrews has made a change to his social media platforms after leaving his wife Katie Price furious by failing to come over to the UK.

The self-proclaimed millionaire has said he will be flying over any day now but has not kept his word.

Now Lee has turned off all the comments sections on his recent social media posts so he can’t receive messages from fans.

Lee failed to arrive in the UK in time to accompany Katie on Good Morning Britain, but praised her online for doing such a “fantastic” job on her own.

Katie then reposted the video online, insisting to fans that her man was indeed still on the way.

However, the former model and TV personality now seems to be questioning herself and whether what Lee has been saying is true.

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Speaking on her podcast The Katie Price show, she said: “I’ve said to him, he needs to make it to the UK, because if he doesn’t, then it’s obviously something not right going on.”

She then admitted to confronting Lee over the situation, and said: “It’s the fact you keep saying you’re coming and then don’t come.

“Of course, everyone is going to flag up. Even I’ve flagged it up to him.

“Big time I’ve flagged it up now. I said, ‘Don’t do that to me again. Me having to go on live TV without you and make me look stupid and a d***.

“No wonder everyone’s saying, ‘You’re this, you’re that’, because they’ve got a reason to say it. I agree with everyone.”

Lee’s ex Alana Percival has also claimed that he made up excuses for “missing” his flights while they were dating.

They were in a relationship for nine months until late last year, with Lee even proposing to her in a identical proposal to the one he did for Katie.

Taking to her Instagram stories, she expressed: “Another time he ‘pretended’ to be coming to the UK to come and see me.

“Wearing his cap so facial recognition doesn’t get him hahaha lies lies and more lies… delusional is a understatement.

“This excuse was one of soooooo many but a ‘flight risk’ if this one. He went all the way to the airport to lie when he cannot travel lol.”

Fake online advertisements and social media groups are luring people in Jordan with promises of “quick profits” from cheap gold with sellers disappearing once funds have been transferred or customers defrauded with counterfeit and substandard metals, Jordanians tell Al Jazeera.

Mohammed Nassar said he was quoted a price for gold lower than local market rates due to an “online store” claiming it was exempt from manufacturing fees, government licensing costs or shop rents.

The Jordanian shopper transferred the money to secure what he thought was a bargain before the website disappeared and Nassar realised he had become the victim of a scam.

In another case, a young woman named Tala Al-Habashneh told Al Jazeera that she bought gold through a social media platform after agreeing with the seller and transferring the promised amount.

On closer examination of the product, she found that her gold was counterfeit, mixed with other metals and lacking any official stamps or invoices to prove its origin or carat.

Tala immediately filed a complaint with the Cybercrime Directorate of Jordan’s Public Security Directorate. The case is pending.

Government monitoring

Wafaa Al-Momani, assistant director general for Regulatory Affairs and director of the Jewelry Directorate at the Jordan Standards and Metrology Organisation (JSMO), told Al Jazeera that the institution is the only entity in the kingdom responsible for monitoring precious metal jewellery – such as gold, silver and platinum – and overseeing jewellery trading.

All imported jewellery is examined and stamped by the JSMO before being released onto the market, she said, while local workshops are also required to submit jewellery for inspection and verification before it can be sold.

Al-Momani said her organisation has received some complaints about companies, websites and social media groups engaged in fraud by “promoting the buying and selling of gold, especially broken gold [used or damaged], through unlicensed individuals”.

The JSMO is monitoring sellers engaged in fraud in coordination with security authorities to prevent jewellery from being sold outside licensed shops.

Al-Momani said the JSMO is tightening oversight of gold shops and sellers in the kingdom and said any store found selling unstamped jewellery or violating legal standards will face legal penalties but also warned Jordanians that buying gold through unofficial channels “does not guarantee that the jewellery conforms to legal standards or carats”.

Adornment and treasure

Rabhi Allan, the head of the Jordanian Association of Jewelry and Goldsmiths, explained that gold remains a traditional means of saving and investment for Jordanians as well as an accessory, quoting the popular saying: “Gold is an adornment and a treasure.”

However, he described the sale of gold through social media as “alien to Jordanian society” and stressed that transactions of this “cash commodity” should only take place via official shops with invoices clearly stating the weight, carat and labour costs of the product.

He said the association had filed complaints with the Cybercrime Directorate against unlicensed and anonymous sites, noting that these pages “appear and disappear without warning”, a situation that leaves victims without the ability to secure their consumer rights.

The association has documented numerous complaints and court cases resulting from gold sales conducted through social media platforms that often use edited or fabricated images and fake offers to attract buyers.

Others offer gold at prices significantly below market value to lure buyers, but the product sold is often counterfeit, nonexistent or contains far less of the precious metal than advertised.

He urged citizens to buy gold only via licensed and accredited shops that display official prices and issue proper invoices to protect buyers’ rights.

While questions have been raised about whether some gold sales conducted through social media could be linked to illegal activities, Allan said the cases monitored so far appear to be “individual incidents that do not amount to money laundering”.

Security warning

The Cybercrime Unit of the Public Security Directorate also warned citizens against buying gold through social media advertisements and confirmed that the body has received multiple complaints of fraud linked to the trade.

Colonel Amer Al-Sartawi, Public Security Directorate spokesperson, told Al Jazeera that the grievances ranged from cases where money was wired to fraudsters who subsequently disappeared without delivering the promised gold to incidents in which buyers received counterfeit pieces made from other less valuable metals, such as copper or iron.

Al-Sartawi urged citizens not to deal with such pages and to buy gold exclusively from licensed and accredited shops.

When Kevin Hart announced in January that he’d licensed his name to Authentic Brands Group, the popular comedian was silent on a key detail: the future of his namesake media company.

Hart sold some ownership and oversight of his brand in exchange for an undisclosed sum of money and a stake in Authentic, a New York-based firm that manages the likenesses of Marilyn Monroe, Muhammad Ali, Shaquille O’Neal and David Beckham.

Hart used the partnership with Authentic to reset his relationship with the people around him and his company, according to six current and former employees. Hart’s employees say they worry that this deal marks the beginning of the end of Hartbeat, the comedian’s namesake media company that produces films, owns a network of short-form video channels and handles marketing for brands.

Though the announcement made no mention of Hartbeat, the agreement gave Hart money to buy out his private equity partner in the company over time and regain control of the use of his name, image and likeness. Hart’s endorsement deals, which had been a pillar of Hartbeat business, will now be handled by Authentic.

Once valued at about $650 million, Hartbeat has shriveled over the past few years. The company enacted its latest round of job cuts in December, firing the heads of its scripted TV division, as well as employees working across marketing, social media and brand partnerships, said the people. Earlier this year it let go the leaders of its podcast division and later sued them for breach of contract.

Hart has withdrawn from the company, leaving day-to-day management in the hands of a small group of executives. Staff meetings have been canceled. The development of new film and TV projects has slowed. A slate of new podcasts was pitched but never produced.

Hartbeat’s struggles reflected the challenging environment for many Hollywood production companies as media giants merge and cut spending. The company is also a cautionary tale in this age of the celebrity media mogul. Financial firms have plowed money into media companies led by high-profile figures, believing they could use their notoriety to build valuable businesses. Yet even seemingly successful ones have had a hard time.

Hartbeat, like many of its peers, has suffered from mismanagement and grappled with the tension between the needs of the star and his company. Hart, one of the hardest-working people in Hollywood, tired of subsidizing a company that relied so much on him

Hart declined to comment for this story, which is based on conversations with several current and former employees. On Sunday night, Hart, who hosted the widely viewed roast of NFL great Tom Brady two years ago, was the subject of his own roast on Netflix.

Building a Billion-Dollar Business

One of the most successful stand-up comedians and actors of his generation, Hart, 46, has always been entrepreneurial. In 2017, he started Laugh Out Loud, an online video comedy business that later grew to include branded entertainment. He also operated his own production company, Hartbeat Productions, that made programs for streaming services like Peacock, Quibi and Netflix Inc.

With Hollywood in the midst of a production boom, Hart watched his fellow celebrities get rich from their media enterprises. Reese Witherspoon sold her media company, Hello Sunshine, in a deal that valued it at as much as $900 million. Hart’s friend LeBron James raised money for his company, SpringHill, at a valuation of $725 million. Hart believed he could be next.

In late 2022, Hart merged his business interests under the Hartbeat banner and raised money by selling a 15% stake to the private equity firm Abry Partners. The deal valued the company at about $650 million.

The new business was predicated on three pillars: film and TV, short-form video and advertising. Hartbeat had a deal to produce movies for Netflix, a slate of podcasts for SiriusXM Holdings Inc. and original audio series for Audible. Hartbeat also developed relationships with advertisers such as Lyft Inc., Procter & Gamble Co. and DraftKings Inc.

While Hart would star in Hartbeat projects, the goal of the company was to develop projects and new business that didn’t involve its namesake founder. The company could leverage Hart to sell projects and secure broad programming partnerships. Hart would ask that Hartbeat be involved in producing his movies and any advertising campaign for which he was a spokesperson. His fees as a producer and brand ambassador would help pay the bills. The hope was he’d convince other celebrities to use Hartbeat as well. Thai Randolph, who had been running Laugh Out Loud, was named chief executive officer.

Hartbeat opened offices in New York and Atlanta and took over a 40,000-square-foot West Hollywood office once occupied by Oprah Winfrey. Hart redesigned the space and installed a world-class art collection.

The upper-level lobby featured a work by Ghanaian artist Serge Attukwei Clottey, while the conference room had a sculpture by Zimbabwean artist Moffat Takadiwa made of computer keyboard keys. A portrait of Kobe Bryant by Julian Pace hung outside a podcast studio.

Hart’s own office featured a dressing room, a series of paintings by South African artist Feni Chulumanco, multiple TVs and a desk from a prominent French designer. “He really has almost a full-service apartment in his suite,” Kai Williamson, who worked with Hart on the project, told Architectural Digest. Hart was interviewed for a story and also filmed an episode of the design magazine’s “Open Door” video series.

While Hartbeat expanded, Hollywood entered a recession. Economic uncertainty, rising interest rates and growing skepticism about the profitability of streaming caused major media companies to fire staff and pull back on buying new projects. Hartbeat was a little more insulated than most because talent like Hart could usually still get a project made. Still, producing projects without Hart in a starring role became more difficult.

Randolph left the company in late 2023 and was replaced by Jay Levine, who had spent much of his career at Warner Bros. Discovery Inc. Levine brought in a couple of other senior leaders with experience at major media companies.

A contingent of executives pushed Hart to scale back some ambitions, the people said. The company couldn’t afford to be working in so many different businesses at the same time, especially as areas like free, advertising-supported online video, and podcasts got more competitive. Hart was one of the most prolific and productive creative people in the world, starring in and producing movies, TV shows, comedy, short-form videos and advertisements. The point of the company was to relieve the stress on him, not add to it.

While Hartbeat closed its New York office, Hart was reluctant to scale back his vision or replace some long-time lieutenants. Levine negotiated his exit at the end of 2024 and was followed out the door by the company’s chief financial officer and chief content officer. Days before Thanksgiving, Hartbeat laid off about 20 people, nearly one quarter of its work force.

A year of chaos and conflict

In January 2025, Hart announced he would be the new CEO of Hartbeat and pledged to outline the firm’s strategy in the coming weeks. Instead, Hart went weeks and sometimes months without visiting the office, the people said, and empowered Jeff Clanagan and CFO Eric Stoneburner to run the company day to day. (Hart was on set to shoot at least a couple movies last year, in addition to his other work.)

A former concert promoter and movie producer, Clanagan had helped make Hart a major star. He had partnered with Hart to bring his stand-up specials to the big screen, producing shows such as 2013’s Kevin Hart: Let Me Explain, which grossed $32 million at the box office. Clanagan produced some of these specials under the banner of his own company, Codeblack Films, which helps promote, market and distribute video from Black creators.

Clanagan continued to operate Codeblack while serving in a senior capacity at Hartbeat, said the people. He pushed employees at Hartbeat to post its videos to the Codeblack channels as well, saying they could use the additional reach to raise awareness. The videos generated advertising sales for Codeblack.

Clanagan had employees at Hartbeat oversee Codeblack’s social media pages and asked to get those channels loaded into Hartbeat’s content management system. That gave Codeblack’s YouTube channels advantages over others because of Hart’s prominence and his company’s designation with YouTube. Employees raised concerns with human resources and the company’s lawyer.

Clanagan also became increasingly interested in video generated by artificial intelligence. He started a new app called Blktopia, a streaming service for Black viewers programmed with content from online creators and often made by AI. He urged employees to work on it, the people said. Clanagan initially responded to a request for comment and then retracted the text message.

Meanwhile, many of Hartbeat’s main businesses languished. Sales from the company’s YouTube channels fell and investment in new film and TV projects slowed. Hartbeat, once profitable, started to bleed cash. Hartbeat had hired Eric Eddings and Lesley Gwam to produce audio shows that didn’t involve Hart. While the pair developed a slate of projects, they never got approval to make them.

In mid-December, Hartbeat fired about a dozen employees, including some of those who were supposed to develop the podcasts. Eddings and Gwam then decided to start their own company and began trying to raise money. When Clanagan found out, Hartbeat fired them and sued for alleged theft of trade secrets and breach of contract.

A court approved a temporary restraining order but then rejected a preliminary injunction, saying Hartbeat had not demonstrated Eddings and Gwam had used proprietary information or trade secrets. The court said the request was “vague, ambiguous, and overly broad.” The case is ongoing.

Hartbeat also fired the heads of its TV division, Tiffany Brown and Mike Stein, who were in the middle of producing a TV show based on the film Barbershop for Amazon.com Inc. and a second season of the animated series Lil Kev.

The company made no official announcement explaining the cuts. The following week, senior leadership arranged a Zoom meeting. Hart remained off camera until it was his time to speak. He talked for a few minutes about changes at the company and took no questions. Hart changed his phone number in the weeks following the layoffs. (Some of his advisors had suggested he do this years earlier so that he wasn’t so available.)

A few weeks later, Hart announced the deal with Authentic Brands Group. Hart used some of the proceeds to buy out Abry Partners, freeing him to steer his brand deals to Authentic and outside of Hartbeat. A few of his employees and his publicist joined him at Authentic.

“This is a turning point for Hartbeat,” the company wrote in a subsequent email to employees, explaining that the deal would free Hart up to focus on what he does best, while allowing Hartbeat to stand on its own and grow beyond him.

“I know the past few months have been tough,” Hart wrote, adding that for too long the company had been too dependent on him. The email was said to be from “Kevin AKA Boss Man.” It was sent by Hart’s assistant.

Shaw writes for Bloomberg.

May 10 (UPI) — Iran has communicated its response Sunday through a mediator to a proposal by the United States to end the war, its state media reports.

The Islamic Republic News Agency reported Sunday that Iran’s response has been sent through Pakistan, which has mediated talks between Iran and the United States. IRNA did not share details about what the response was.

“According to the proposed plan, negotiations at this stage will focus on the issue of ending the war in the region,” IRNA said.

The war has centered on the blockade of the Strait of Hormuz, with U.S. and Iranian forces continuing to exchange fire in the Persian Gulf region as recently as Saturday.

“We will never bow our heads before the enemy, and if talk of dialogue or negotiation arises, it does not mean surrender or retreat,” Iranian president Masoud Pezeshkian posted on social media Sunday. “Rather, the goal is to uphold the rights of the Iranian nation and to defend national interests with resolute strength.”

Mike Waltz, U.S. ambassador to the United Nations, said on Fox News on Sunday that he expects President Donald Trump to remain firm that Iran must abandon its nuclear program.

“We’ll see what the Iranians just came back with overnight in terms of their response to our very clear red line,” Waltz said.

Niger’s military government has banned many local and foreign reporters since seizing power in 2023.

Media watchdog Reporters Without Borders (RSF) has condemned Niger’s suspension of nine French media publications as the military government continues to crack down on journalists.

Niger announced the suspension on Friday, citing “repeated dissemination of content likely to seriously jeopardise public order, national unity, social cohesion, and the stability of the institutions of the Republic”.

The suspended organisations are France 24, RFI (Radio France Internationale), France Afrique Media, LSI Africa, AFP (Agence France-Presse), TV5 Monde, TF1 Info, Jeune Afrique and Mediapart, according to a TV statement from the National Communication Observatory (ONC).

It added that the decision was “immediate” and it included “satellite packages, cable networks, digital platforms, websites and mobile applications”.

RSF described the decision as “abusive”.

“RSF condemns a coordinated strategy to repress press freedom within the AES [Alliance of Sahel States] and calls for the immediate reversal of this abusive decision,” said a statement posted on X, referring to Niger and allies Mali and Burkina Faso, all ruled by military governments.

Niger’s military seized power in July 2023, toppling the democratically elected government of President Mohamed Bazoum and detaining him.

The government has since targeted local and foreign media outlets, particularly those critical of its policies, by issuing bans or suspensions.

RFI and France 24 were suspended a few days after the coup, and the BBC from Britain was suspended in December 2024.

The targeting of French and other foreign media comes as Niger’s military government has largely severed ties with its former colonial power, France, and turned away from Western allies.

In late 2023, Niger asked leaders in Paris to withdraw thousands of troops involved in missions against armed groups operating in Niger, neighbouring Mali and Burkina Faso.

The three AES states have since secured defence partnerships with other countries, notably Russia.

All three have regularly denounced France’s “imperialism”, saying they want to assert their “sovereignty”. French media and other foreign outlets have similarly been suspended or banned by the governments in Bamako and Ouagadougou.

Local journalists have also been affected. Two Nigerien journalists, Gazali Abdou, a correspondent for German broadcaster Deutsche Welle, and Hassane Zada, a regional newspaper editor, were released this week after being detained for months.

In 2024, leaders in the capital Niamey strengthened a law that criminalises the digital dissemination of “data likely to disturb public order”.

The United Nations said in November that 13 journalists were arrested in Niger and urged the government to release them. Local media organisations say six journalists are detained for allegedly “undermining national defence” and for “conspiracy against the authority of the state”.

According to AFP, Niger suspended nearly 3,000 local and foreign NGOs in 2025, accusing them of lacking transparency and supporting “terrorists” and armed groups.

Niger dropped 37 places in this year’s RSF World Press Freedom Index and now ranks 120th out of 180 countries. RSF and Amnesty International have repeatedly voiced concerns about the “decline” in press freedom in Niger.

The CPJ says the ‘lack of concrete progress’ in the FBI investigation represents a failure by the US government.

The Committee to Protect Journalists (CPJ) has demanded a “public progress update” from United States authorities on the FBI probe into the Israeli military’s killing of Palestinian-American Al Jazeera journalist Shireen Abu Akleh, 51, who was shot dead in the occupied West Bank in 2022.

In an open letter to the Department of Justice (DOJ) and FBI chief Kash Patel, the CPJ said on Thursday evening that “the effectively stagnant status of this case is inconsistent with ensuring the security of US citizens anywhere in the world.”

It said the “lack of concrete progress” represents a failure by the US government to respond to the “killing of one of its citizens by a foreign military”.

It noted that there had been no formal interviews with witnesses, “despite the willingness of multiple witnesses to cooperate”, and no signs of FBI activity to gather evidence in Israel or Palestine.

Longtime TV correspondent for Al Jazeera Arabic, Abu Akleh, was covering Israeli army raids in the West Bank city of Jenin when she was killed by Israeli forces on May 11, 2022. She was wearing a clearly marked press vest when she was shot dead.

Israel initially accused Palestinian fighters of her death, but the Israeli military later released a statement saying “it is not possible to unequivocally determine the source of the gunfire which hit” Abu Akleh. It added that there was a “high possibility” that she was hit by Israeli gunfire.

Many independent investigations conducted by CNN, The Associated Press news agency, and The Washington Post concluded that Abu Akleh was deliberately targeted, the CPJ letter noted.

‘Justice remains elusive’

The CPJ asked for a public update on the status of the investigation, a commitment to a timeline for the investigation, and the public release of its findings. It also said the investigation needs to be “impartial and independent, free from political considerations”.

Abu Akleh’s family said in a statement on Thursday, “despite the passage of time, justice remains elusive,” adding that the lack of justice “sends a dangerous message that journalists can be targeted without consequence”.

Abu Akleh’s death became a symbol of the wider Palestinian struggle. Murals of her have adorned the cities of the occupied territory as people remember her for her fearless reporting.

Since her killing, Israel has killed 258 journalists and media workers, the CPJ reported. Israel has acknowledged killing a number of journalists, alleging they had links to armed groups, accusations their employers deny and the CPJ calls “deadly smears”.

“The prevailing culture of complete impunity enjoyed by Israel is a direct factor in the continued targeting of journalists without deterrence,” said Sara Qudah, CPJ’s regional director. “Without an independent investigation and real accountability, such attacks will only continue to escalate, emboldening those who seek to silence the truth through violence.”

“We don’t go in for that kind of crap that you have back in New York–of being obliged to print both sides. We’re going to beat this son of a bitch Sinclair any way we can. . . . We’re going to kill him.”

The speaker: Kyle Palmer, Los Angeles Times political editor, to Turner Catledge of the New York Times.

The time: 1934, when socialist writer Upton Sinclair, who had just swept the Democratic primary for governor of California, threatened to beat handily the GOP candidate, Frank Merriam, in the November election.

Kyle Palmer, the pope of Southern California right-wing politics, was neither kidding nor exaggerating. Nor was he exceptional in his venom toward Upton Sinclair and his mass movement, End Poverty in California (EPIC). According to Greg Mitchell in his fascinating and valuable study, EPIC “was nothing less than a roundabout route to socialism.” On this point, “Political pundits, financial columnists, and White House aides, for once, agreed: Sinclair’s victory represented the high tide of radicalism in the United States.” This tide had to be pushed back, or California would suffocate under the weight of Sinclair’s “maggot-like horde” of supporters, as the Los Angeles Times called EPICers.

In 1934, a year racked by general strikes and epidemic unemployment, the maverick pamphleteer-novelist Sinclair–author of muckraking tracts like “The Jungle” and the most widely translated American writer abroad–was a menace not only to the so-called Vested Interests. Down deep, he embodied a revulsion felt by many Californians toward the capitalist system. EPIC’s program of production-for-use-not-profit, land colonies, barter exchanges and cooperation versus competition was a potentially deadly blow to the American Dream. It was subversive because it spoke to the misery of desperate, Depression-ruined Americans yearning for relief from the day-to-day savagery of a skewed, inefficient system that seemed to be failing everybody but the very rich. At its height, EPIC enrolled 100,000 members from San Diego to Sacramento, and its newspaper sold 2 million copies.

In “The Campaign of the Century,” Greg Mitchell has chosen to focus not on EPIC itself but “on the cataclysmic response to Sinclair’s emergence as the Democratic nominee.” Thus we learn relatively little about EPIC or about Sinclair, but a lot about the nuts and bolts of the “most astonishing . . . smear campaign ever directed against a major candidate.” Our present-day “media politics” with its emphasis on image over substance, was born in the ferocious, fraudulent anti-Sinclair campaign, says Mitchell.

A subtext of Mitchell’s book is how strongly adherents felt about Sinclair and EPIC. They “came from every strata, although nearly all were white. It was not . . . a poor people’s movement. Most of the activists were middle-class and middle-aged . . . Many were down-on-their-luck businessmen.” Any given EPIC club might include “Utopians, technocrats, Townsendites, progressive Republicans, New Deal Democrats, ex-Socialists and secret Communists, all united by a belief in a perfectible society.” No EPIC, aside from clerical staff, earned a cent from the movement. “Members paid a dollar, penny, or a collar button” to join; “Some EPICs hocked the gold fillings in their teeth to raise money.” Although broad-based and decentralized, “EPIC was far from democratic” and indifferent to unions. And Sinclair’s portrait occupied a holy place in many homes.

In any other state, EPIC might never have flown. But California’s populist tradition, open-mindedness (or wackiness), absence of party bosses or deep ethnic loyalties meant that a challenge to established authority was as relatively easy to mount as it was difficult to organize a counter-revolution. At first, the state’s wealthy were so rattled that their political representatives were caught completely off balance by Sinclair’s spectacular rise. Only loonies had expected him to win the primary, and nobody had been crazy enough to predict he would outpoll all six of his opponents together.

But like a great octopus, California’s Republicans and conservative Democrats, equally terrified of EPIC, slowly thrashed up from the murk of politics-as-usual to deal with the “enemy within.” “The prospect of a socialist governing the nation’s most volatile state,” says Mitchell, “sparked nothing less than a revolution in American politics.”

Spurred by “fear and desperation,” ad men like Albert Lasker and especially Clem Whittaker, hired conservative guns, broke the old rules and “virtually invented the modern media campaign.” Whittaker and his associate Leone Baxter introduced the radical idea that free-lance outsiders like themselves, not party chiefs, would “handle every aspect of a political campaign.” Whittaker’s “cozy relationship” with California’s 700 newspaper publishers meant that local editors were happy to run his press releases “as news stories–even as editorials.” The anti-Sinclair “lie factory” twisted and distorted; but worst of all, his enemies quoted from Upton Sinclair’s own works, in which he had attacked everything from wedded bliss (“marriage plus prostitution”) to religion (“a mighty fortress of graft”) and the Boy Scouts. After his defeat, Sinclair confessed wearily and with justice, “I talk too much. I write too much, too.”

By most accounts, Sinclair was a decent, generous, puritanical man of genuine sweetness. What his blurted half-jokes and honest indiscretions failed to supply, Hollywood and Madison Avenue concocted by way of movie propaganda and, probably even more effectively, radio shots–like an anti-Sinclair “One Man’s Family”-type series. Film studio bosses, alarmed by Sinclair’s not-very-serious threat to socialize movie production, colluded with what a Scripps-Howard reporter called a “reign of unreason bordering on hysteria.” Big-time screenwriters like Carey Wilson and directors like Felix Feist (later of “Peyton Place” fame) were enlisted or dragooned to produce Goebbelsesque films, often using faked footage, that drilled home the message: EPIC equals Armageddon. Studio workers were forced to contribute to Frank Merriam’s campaign. Very few Hollywood stars had the guts to refuse. (Holdouts included James Cagney and Jean Harlow.)

Law ‘n’ order also came to the rescue of the anti-Sinclair forces. Election officials, GOP activists and local district attorneys intimidated EPIC supporters away from the polls by challenging the credentials of at least 150,000 voters and threatening to arrest them. All across the state preachers thundered, “Go and Sinclair no more!” and Aimee Semple McPherson, hungry for respectability after her recent kidnaping hoax, turned against Sinclair, despite the pro-EPIC sympathies of her flock.

Finally, the Democrats themselves carved up EPIC. At first friendly to Sinclair, President Roosevelt, needing conservative support for his faltering New Deal, cut a deal with the Republicans. In return for Frank Merriam converting to a pallid form of New Dealism, the party dumped the divisive Sinclair. Frightened Democrats and “third party” anti-EPICers formed around a candidate named Haight, who may have drawn off enough votes to beat the insurgent–but not by all that much. Final results: Merriam 1,100,000; Sinclair 900,000; Haight 300,000. In defeat, Sinclair received twice as many votes as any previous Democratic candidate for governor.

EPIC soon disappeared in a backlash of internal Red-baiting. (The communists and socialists opposed EPIC, but the Communist Party also tried to take it over.) Sinclair stopped muckraking to write the “Lanny Budd” series of best-sellers. Waves of fright and self-interest quickly covered over EPIC’s writing in the sand. Today, who remembers it?

Later, Sinclair insisted that the EPIC campaign had “changed the whole reactionary tone of the state.” EPIC was “the acorn from which evolved the tree of whatever liberalism we have in California,” claimed state Supreme Court justice Stanley Mosk, a Sinclair supporter in ’34. And as a direct result of EPIC and the studio bosses’ much-resented bullying, “politics in Hollywood moved steadily to the left over the next few years.”

Of course, the Right learned, too. “A number of men who would become legends in California politics, on both sides of the ideological fence, virtually cut their teeth on the ’34 campaign,” writes Mitchell. These included Earl Warren (Merriam’s campaign manager), Asa Call, Edmund G. (Pat) Brown (sending what encoded messages to his son today?), Murray Chotiner, Augustus Hawkins, Cuthbert Olson–a whole generation of pols whose experience taught them just how powerful the rich, who own the media, can be when aroused.

Lessons for liberals are harder to come by in this sizzling, rambunctiously useful book. If we take note of this nation’s recent rash of insurgencies–from Carol Moseley Braun to Ross Perot–maybe one lesson is that nothing good ever completely dies, it just goes to sleep for a while.

BOOK MARK: For an excerpt from “The Campaign of the Century,” see the Opinion section, Page 6.

Kyle Loftis, who started filming street racing with a point-and-shoot camera and went on to become a pioneer in car culture media, has died, his company confirmed Wednesday. He was 43.

“We are extremely saddened to share that Kyle Loftis, the founder of 1320video, passed away last night,” the company wrote in a statement posted on social media. “We are in a state of shock.”

No cause of death has been disclosed.

The Sarpy County Sheriff’s Office and Gretna Fire Department in Nebraska responded to Loftis’ home Tuesday night, a spokesperson for the sheriff’s office said in a statement emailed to The Times.

“Loftis was declared deceased; his death is not suspicious,” the spokesperson wrote. “Out of respect for privacy, we will not be releasing further details.”

According to his LinkedIn page, Loftis attended the University of Nebraska at Omaha from 2000-2005 and earned a bachelor’s degree in management of information systems.

It was there, Loftis said in a 2023 video on his company’s YouTube channel, that his interests in car stereos and photography evolved into a passion for street racing — in particular, capturing races in still photos and on video and making that media available to fans.

“I’m a hardcore ‘car nut’ that’s taken his love for cars and turned it into the most amazing ‘job’ of my life,” Loftis wrote on LinkedIn. “Through my business, 1320Video, I’m able to experience the craziest & best automotive events (fitting my tastes) and share them with millions of people around the world!”

Back in the early days, Loftis posted his work on message boards and sold it on DVDs. For nearly 10 years after college, he worked for PayPal while building his motorsports media business on his own time. He dedicated himself to 1320Video full time starting in January 2015.

Currently, 1320Video has nearly 4 million subscribers on YouTube, more than 6 million followers on Facebook and nearly 3 million followers on Instagram.

“Kyle’s passion for motorsports inspired millions of people around the world and we will never forget what he has done to grow our beloved sport,” 1320Video wrote. “Kyle was a beam of light at every gathering… his enthusiasm, kindness, and creativeness was contagious.

“Let us pray that Kyle is in a better place.”

Garrett Mitchell — the YouTuber and stock car racer known as Cleetus McFarland — posted a tribute to his longtime friend on Facebook.

“Completely shocked about the loss of Kyle,” Mitchell wrote. “The most influential person on my life. We’re crushed. Please pray for his Mother and close friends, they need it most.”

Ted Turner, the brash media mogul who created CNN and revolutionized how Americans watched television, and who wielded his media empire and wealth to pursue liberal global causes and land conservation, has died. He was 87.

Turner died Wednesday, according to his family.

In 2018, he revealed he had been diagnosed with Lewy body dementia, a neurodegenerative disease, which had been progressing in recent years.

Turner’s outsized public persona — some called him the “Mouth from the South” for his free-wheeling trash talk — matched the Georgian’s influence on news, politics, sports and entertainment in the late 20th century. Turner repeatedly shook up established industries by invading quickly and expanding options for consumers, while railing against monolithic competitors who were less daring or nimble than his maverick Turner Broadcasting System.

Turner created the cable stations TBS and Turner Classic Movies; he owned the Atlanta Braves baseball team, the Atlanta Hawks basketball team and revitalized professional wrestling with World Championship Wrestling.

Turner was one of the first adopters of cable and satellite broadcasting technology, and for many rural Americans living beyond the tower signals of major cities, he was the first person to bring them interesting TV.

The media baron constantly generated headlines. He had a Clark Gable pencil mustache, raced sailboats, cavorted with the late communist leader Fidel Castro in Cuba, and at one point married Academy Award-winning actress and activist Jane Fonda. His wealth enabled him to become one of the largest private landowners and wealthiest philanthropists in the U.S.

July 1990 image of Ted Turner with Jane Fonda.

(Tony Duffy/Getty Images)

His crowning cultural achievement was the creation of the Cable News Network in 1980, which created the model for today’s cable news titans. The 24-hour news channel was not widely expected to be a success. All-night broadcasting had not been proven as a business model in an industry dominated nationally by corporate monoliths like ABC, NBC and CBS, where news programming was something that happened on a set schedule. And CNN’s headquarters weren’t in media centers like New York or Los Angeles, but Atlanta.

But Turner believed that “over-the-air networks would decline as audiences turned to videos and other outlets for entertainment on demand,” wrote the late journalist Daniel Schorr in a 2001 memoir.

“The network future belonged to whoever would deliver what was happening now — live news and live sports. That was why he wanted to be the first to deliver all news, all sports, all the time,” wrote Schorr, whom Turner courted to join CNN.

Within two years, CNN had more than 9 million subscribers. By the 2000s, Turner’s once far-flung idea for an around-the-clock news service had become so successful that it had attracted imitators like MSNBC (now called MS NOW) and Fox News.

“We not only became profitable, but also changed the nature of news — from watching something that happened to watching it as it happened,” Turner said of CNN in 2004. “If we needed more money for [broadcasting from] Kosovo or Baghdad, we’d find it. If we had to bust the budget, we busted the budget. We put journalism first, and that’s how we built CNN into something the world wanted to watch.”

Fox Corp. Chairman Emeritus Rupert Murdoch, who was both a rival and friend of Turner, said his “vision for 24-hour cable news transformed the media industry and gave viewers everywhere a front seat to witness history unfold. His impact as a trailblazer has left an indelible mark on our cultural landscape.”

Turner recognized the value of global distribution long before his rivals, launching CNN’s international business in the mid-1980s. He bought his first western property, The Bar-None Ranch in Montana, and would eventually become one of the nation’s largest individual landowners with nearly 2 million acres, which provide habitat for threatened species and his beloved American bison.

“Ted’s entrepreneurial spirit, creative ambition and willingness to take risks changed the media industry forever,” David Zaslav, chief executive of Warner Bros. Discovery, which owns CNN, said Wednesday in a note to employees. “He believed deeply in the power of ideas, in doing things differently and in building platforms that could inform, inspire and connect people around the world.”

Robert Edward Turner III was born in Cincinnati on Nov. 19, 1938, and raised in Georgia. A mischievous child — who later became a mischievous adult despite attending the Georgia Military Academy — he had a tough childhood at the hands of his alcoholic father, Ed.

“Ninety percent of the arguments I had with Ed were over his beating Ted too hard,” Ted’s mother, Florence Turner, recalled later.

“My dad ran an old-fashioned household and he insisted that pretty much everything had to be his way,” Ted Turner said in a 2008 memoir. “My father and I had a complex relationship but I loved him.”

The younger Turner attended Brown University but dropped out before graduating. His savings had run out, his father had stopped financially supporting his tuition, and in his final days on campus, he was suspended for bringing a woman to his dorm room, according to his memoir.

He soon joined his father’s expanding billboard advertising company, Turner Advertising, where he had been working off and on for years since childhood.

He inherited the business at the age of 24 after his father died by suicide. By then, Turner had already had years of experience , and he worked furiously to reverse his father’s recent sale of part of the company to a competitor and paid down its daunting debt, an act that presaged the empire-building to come.

While growing the business, Turner also pursued his passion for competitive sailing, which is how he met his first wife, Judy Nye, in college. It’s also how their marriage ended. Turner intentionally hit his wife’s boat during a 1963 race to keep her from passing him, and the pair, who had two children, split immediately afterward.

It was to be the first of three divorces. . “My problem is I love every woman I meet,” Turner has said. He would go on to win the America’s Cup in 1977 while expanding his father’s company into a modern multimedia conglomerate.

Leveraging the billboard business, Turner started buying local radio stations across the South in the late 1960s. In 1970, he bought the Channel 17 television station in Atlanta, competing with local network affiliates by airing old movies whose rights were affordable and picking up programming dropped by the less nimble competition. He didn’t like putting news on prime time back then — too negative — and soon picked up broadcast rights for the Braves, Hawks and other local sports.

Oct. 1998 photo of former President Jimmy Carter, right, and Atlanta Braves team owner Ted Turner, during Game 6 of the National League Championship Series in Atlanta.

(PAT SULLIVAN/AP)

The Braves were a ratings hit, and when the team flailed and went up for sale, Turner’s company became its owner in 1976. The team continued to flail but Turner boosted its profile with gimmicks such as sewing “Channel 17” on the back of a pitcher’s jersey and dressing up as the team’s batboy and manager, to the league’s disdain. Turner bought the Hawks shortly after.

Facing entrenched local network affiliates, Turner expanded his independent station’s reach across the South and then the U.S. by embracing the new technologies of cable and satellite broadcasting. Channel 17 became nationally known as the “SuperStation,” with call letters WTBS, later shortened to TBS.

The quirky Atlanta station’s local broadcasts of old movies and sports games had become national broadcasts.

Still hungry for more, Turner finally turned his attention to news programming. He launched CNN in 1980 in a desperate bid to create a national 24-hour news channel before the broadcast titans ABC, NBC and CBS — and their gargantuan budgets — could beat him to it.

“The 24/7 genre started with Ted Turner,” veteran CNN journalist Christiane Amanpour said Wednesday on CNN. “He was the original, and he made us all proud, and he made us all hopeful, and he made us all strive for his vision of a better world.”

There were some lean early years. But the nascent channel fended off an attempt by ABC to create a competitor, and critics could see the value of an ever-present news channel, even if quality was a little thin at times.

“Non-viewers of CNN are missing a lot. There are so many reasons to watch,” Los Angeles Times critic Howard Rosenberg wrote in 1986, hailing the 6-year-old channel as an “institution.” “It’s not always good, but it’s always there.”

In 1986, CNN was the only broadcaster running live coverage when the Challenger shuttle liftoff ended in disaster. In 1991, the network gave Americans a live and uninterrupted look at the invasion of Iraq. American officials held news conferences knowing that Iraqi leader Saddam Hussein was watching them on CNN.

Americans had seen images of war before, but not broadcast nonstop into their homes.

“CNN seeks to be a stethoscope attached to the hypothetical heart of the war, and to present us with its hypothetical pulse,” the French theorist Jean Baudrillard wrote, critiquing the conflict as a media spectacle. Media scholars began to wonder whether a “CNN effect” was influencing government policy. Officials found that they now had to respond much more quickly to crises unfolding on live television.

Turner was not adversarial to communist countries of the era and even tried his own version of the Olympics, called the Goodwill Games, a bit of private-sector peace-craft that brought the Soviet Union and the U.S. out of their respective Olympic boycotts and back into direct competition in the 1989s. All on television, of course.

Turner also saw professional wrestling as part of his sports portfolio, at one point trying to pit his World Championship Wrestling program against competitor Vince McMahon’s wrestling empire, then called the World Wrestling Federation. Turner similarly tried to take a bite out of MTV with the Cable Music Channel, with a promise “to stay away from the excessive, violent or degrading clips to women that MTV is so fond of putting on.”

Moralism was a Turner hallmark. Turner had started his life as a conservative — Turner had met his second wife, Jane Smith, at a 1964 fundraiser for Republican presidential candidate Barry Goldwater — and turned toward more liberal-leaning causes, such as world peace, nuclear nonproliferation and fighting climate change, later in life.

At the 1990 American Humanist Assn.’s annual convention, Turner presented his “Ten Voluntary Initiatives” — his atheistic version of the Ten Commandments — which included pledges to world peace, environmentalism, nonviolence and “to have no more than two children, or no more than my nation suggests.” He would become a major private donor to the United Nations, pledging $1 billion and launching the United Nations Foundation nonprofit.

In 1991, a year marked by the collapse of the Soviet Union, the first U.S. war against Iraq and the confirmation hearings of Supreme Court Justice Clarence Thomas, Time magazine named Turner its “Man of the Year” for his “visionary” creation of CNN, which covered those events live. He also married Fonda that year (the ceremony was reported by CNN) and his Braves narrowly lost the World Series.

Time’s honorific was also a nice bit of corporate synergy. The magazine’s parent company, Time Warner, owned about 20% of Turner Broadcasting System stock.

Turner launched the Cartoon Network in 1992, which helped introduce his then-newly acquired Hanna-Barbera characters — including Fred Flintstone, Yogi Bear and Scooby-Doo — to a new generation of viewers.

Adversaries thought that Turner’s ventures could be reckless and impulsive. Far-seeing accomplishments in national broadcasting and the creation of CNN were also paired with several expensive misadventures, including a failed attempt to buy CBS.

Turner had to unwind a purchase of the MGM film studio less than a year after buying it, though he held onto one valuable asset: The studio’s film library, which became the foundation of the Turner Classic Movies channel and, later, jewels in the Burbank-based Warner Bros. studio vault.

In 1996, Turner Broadcasting merged with Time Warner to form the world’s largest media company, marking the beginning of the end of Turner’s apex in corporate media. Time Warner’s 2000 merger with budding internet giant AOL, then the largest-ever corporate merger, ended in disaster. Turner, who had not been a key player in the negotiations and had made no secret of his disdain for that deal, was fired as an executive.

“Ted Turner was one of the rare leaders who truly changed the trajectory of an industry,” Versant Media Chief Executive Mark Lazarus, a former Turner underling, said in a statement. “I saw firsthand his willingness to take risks and his belief that media could be something bigger and more impactful.”

CNN Worldwide Chairman Mark Thompson added: “He was and always will be the presiding spirit of CNN. Ted is the giant on whose shoulders we stand.”

Turner resigned from the AOL Time Warner board in 2003, and in 2007, announced he had sold his company shares. In his later days, one of his best-known ventures was his Ted’s Montana Grill restaurant chain. His philanthropy and land conservation efforts and protection of the American bison became guide posts during his retirement years.

While CNN maintains influence in the U.S. and abroad, its TV ratings have declined in recent years — a casualty of changing consumer behavior, the rise of social media, derision from President Trump — and several ownership changes.

During the past decade, CNN has had three different corporate owners. The company is poised to be sold again, this time to billionaire David Ellison’s Paramount Skydance. That proposed merger would bring CNN under the same roof as CBS News.

“I’ve often considered and joked about what I might want written on my tombstone,” Turner said in a 2008 memoir. “At one point, when I felt like I could get out of the way of the press, ‘You Can’t Interview Me Here’ was a leading candidate. … These days, I’m leaning toward, ‘I Have Nothing More to Say.’”

Turner is survived by his five children — Laura Turner Seydel (Rutherford), Robert Edward “Teddy” Turner IV (Blair), Rhett Turner, Beau Turner, Jennie Turner Garlington (Peek) — 14 grandchildren and a great granddaughter. The family plans a private and public service at a later date.

Pearce is a former Times reporter. Times Staff Writer Stephen Battaglio contributed to this report.

SACRAMENTO — State elections officials warned voters Tuesday to send their mail-in ballots in early following changes at the U.S. Postal Service that has led to slower mail service throughout California.

Atty. General Rob Bonta and Secretary of State Shirley Weber said vote-by-mail ballots should be put in the mail at least a week before the June 2 election.

The officials also cast skepticism about social media posts that urges Democrats to vote “late” and to rally around one candidate in order to ensure a Republican doesn’t win. The posts are similar in wording and have spread on Facebook in the last week.

Bonta said the posts, which were brought up by the Times at a news conference in Sacramento, could be “misinformation” or “disinformation” and “potentially unlawful.”

“Get your ballot in the mail at least a week early,” he said. “You want to make sure your vote is counted. And the misinformation that you’re referencing is the misinformation we’re trying to combat.”

Voters using the postal service to mail their ballot within a week of the election should go inside the post office and ask that their ballot be postmarked, or can drop off their ballot at a secure voter box, officials said.

The new guidance follows sweeping changes made at the United States Postal Services last year that has reduced the number of trips to pick up mail at post offices in mostly rural areas in the country, including California.

A Times analysis of last year’s November special election found that there was a significantly higher number of mail-in ballots that arrived too late to be counted compared to the 2024 election.

Rural counties saw some of the biggest increase in rejected ballots because they came in too late, The Times found.

The changes to the postal service are nationwide, but are particularly relevant in California because the vast majority of people vote in the state using mail-in ballots.

Voters who mail a ballot on election day, or even two days before, may not see their vote counted because it will arrive too late, Bonta told reporters.

“You want your vote to be counted, I want your vote to be counted,” Bonta said. “If you vote earlier, you maximize that possibility that it will.”

Vote-by-mail ballots are considered late if they are not postmarked on or ahead of election day or if the postmarked ballots do not arrive within seven days of the election.

Weber’s office also said it would look into a recent trend of social posts that urge California Democrats to “vote late” in the June 2 election.

The posts, which have appeared on Facebook and Instagram, are similar in wording, and tell Democrats to hold off from voting early to ensure that two Republican don’t make the two top spots, and to rally around one Democrat.

California’s primary election system allows the two candidates who received the most votes to advance to the November election, regardless of party.

With many Democrats crowding the ballot this year, some Democratic leaders have expressed concern fear that two Republicans — businessman Steve Hilton and Riverside County Sheriff Chad Bianco — will take the top two spots because Democratic voters will be splintered among the party’s top seven candidates.

The validity of the social media posts are under scrutiny.

One post on Facebook last week, for instance, purports to be written by historian Heather Cox Richardson. The post warned voters not to vote until after all the debates in California have concluded and the front-runner is clear.

Richardson told the Times she’s not connected to the post. “I didn’t write it and we can’t figure out who did,” she said in an email. “I haven’t— and won’t— take any position in a primary.”

The last statewide election in California was closely watched after the U.S. Department of Justice said would monitor polling sites in some California counties following a request by California Republican Party officials.

However, the election proceeded without any incident.

Gov. Gavin Newsom on Monday sent a letter to elections officials in the state’s 58 counties that highlighted recent legislation mandating that California ballots be counted within 13 days, instead of 30 days. Newsom thanked the elections staff for their work and urged a speedy vote count.

“We must acknowledge that the longer the voting count takes,” Newsom wrote, “the more mis- and disinformation spreads.”

Raducanu last played a match in Indian Wells on 8 March, and has since missed the Miami Open and clay-court events in Linz and Madrid because of her post-viral symptoms.

However, the 23-year-old has been practising in recent weeks at the National Tennis Centre in London and at the Ferrer Academy near Benidorm.

She had been accompanied in Rome by Jane O’Donoghue, a friend and former LTA national coach, and physio Emma Stewart, who perhaps tellingly was with Raducanu during her interviews.

“Coming on to the clay courts is much more physically demanding than potentially other surfaces but I want to come back 100% ready,” Raducanu said.

“I have been building my way up slowly and looking forward to when I get out there.”

We now know she will not be getting out there in Rome this week.

Raducanu has one last chance to play a WTA event before the French Open in either Strasbourg or Rabat in two weeks’ time.

But if she misses the entire clay swing, then Raducanu will have been absent for three months by the time the grass-court season begins.

Even if Raducanu is fit to compete at Roland Garros, which begins on 24 May, she will do so as an unseeded player.

The 2021 US Open champion is currently 30 in the world rankings but only 32 players are seeded – and she will drop several places now she is no longer able to defend the points she earned from a fourth-round run in Rome last year.