New York Times

Wordle, the addictive digital puzzle game offered daily by the New York Times, could soon be coming to television.

NBC has ordered a pilot based on Wordle, according to people familiar with the project who were not authorized to comment publicly.

“Today” co-host Savannah Guthrie, an obsessive player of the game herself, serves as the emcee in the TV version.

The test program will be used to determine whether the project, which is not yet officially titled, gets ordered for a series. A representative for NBC declined comment.

NBC’s Savannah Guthrie is seen at Rockefeller Center in New York in 2021.

(Jesse Dittmar / For The Times)

The Wordle project is being produced by “Tonight” host Jimmy Fallon’s company Electric Hot Dog, which already has two prime-time game shows on the air at the network, “That’s My Jam” and “On Brand.” Fallon is also a producer on NBC’s version of the classic game show “Password,” which has been ordered for a third season.

As many millions of the game’s fans know, the daily Wordle asks players to guess a five-letter word in six chances through a process of eliminating letters. An individual player’s performance in the game can be posted online without revealing the answer, as the colored tiles are shown without the letters.

Wordle was created by Brooklyn, N.Y.-based software engineer Josh Wardle in 2021. After it became an immediate hit online, the New York Times purchased it for a price reported to be in the low-seven-figure range.

Offered as part of a subscription to a bundle of puzzles on the New York Times web site and app, Wordle has been a major driver of digital revenue for the company. The game was played 5.3 billion times in 2024.

The Times is a production partner on the TV version with Electric Hot Dog.

Jimmy Fallon, left, Keke Palmer and Jon Hamm in “Password” on NBC.

(Jordin Althaus / NBC)

The idea of a TV version had been explored by the Times for awhile, and the company’s timing is fortunate. Game shows have become a staple on broadcast networks such as NBC in recent years as viewers have increasingly made streaming platforms their first stop for scripted comedies and dramas.

Game shows are cheaper to produce than scripted shows. They also appeal to traditional TV viewers with an appetite for programming they can turn on and enjoy without requiring any binge-watching to catch up on plot points.

The acting U.S. attorney in Sacramento has said she was fired after telling the Border Patrol chief in charge of immigration raids in California that his agents were not allowed to arrest people without probable cause in the Central Valley.

Michele Beckwith, a career prosecutor who was made the acting U.S. attorney in the Eastern District of California earlier this year, told the New York Times that she was let go after she warned Gregory Bovino, chief of the Border Patrol’s El Centro Sector, that a court injunction blocked him from carrying out indiscriminate immigration raids in Sacramento.

Beckwith did not respond to a request for comment from the L.A. Times, but told the New York Times that “we have to stand up and insist the laws be followed.”

The U.S. attorney’s office in Sacramento declined to comment. The Department of Homeland Security did not respond to a request for comment Friday evening.

Bovino presided over a series of raids in Los Angeles starting in June in which agents spent weeks pursuing Latino-looking workers outside of Home Depots, car washes, bus stops and other areas. The agents often wore masks and used unmarked vehicles.

But such indiscriminate tactics were not allowed in California’s Eastern District after the American Civil Liberties Union and United Farm Workers filed suit against the Border Patrol earlier in the year and won an injunction.

The suit followed a January operation in Kern County called “Operation Return to Sender,” in which agents swarmed a Home Depot and Latino market, among other areas frequented by laborers. In April, a federal district court judge ruled that the Border Patrol likely violated the Constitution’s protections against unreasonable search and seizure.

As Beckwith described it to New York Times reporters, she received a phone call from Bovino on July 14 in which he said he was bringing agents to Sacramento.

She said she told him that the injunction filed after the Kern County raid meant he could not stop people indiscriminately in the Eastern District. The next day, she wrote him an email in which, as quoted in the New York Times, she stressed the need for “compliance with court orders and the Constitution.”

Shortly thereafter her work cell phone and her work computer stopped working. A bit before 5 p.m. she received an email informing her that her employment was being terminated effective immediately.

It was the end of a 15-year career in in the Department of Justice in which she had served as the office’s Criminal Division Chief and First Assistant and prosecuted members of the Aryan Brotherhood, suspected terrorists, and fentanyl traffickers.

Two days later on July 17, Bovino and his agents moved into Sacramento, conducting a raid at a Home Depot south of downtown.

In an interview with Fox News that day, Bovino said the raids were targeted and based on intelligence. “Everything we do is targeted,” he said. “We did have prior intelligence that there were targets that we were interested in and around that Home Depot, as well as other targeted enforcement packages in and around the Sacramento area.”

He also said that his operations would not slow down. “There is no sanctuary anywhere,” he said. “We’re here to stay. We’re not going anywhere. We’re going to affect this mission and secure the homeland.”

Beckwith is one of a number of top prosecutors who have quit or been fired as the Trump administration pushes the Department of Justice to aggressively carry out his policies, including investigating people who have been the president’s political targets.

In March, a federal prosecutor in Los Angeles was fired after lawyers for a fast-food executive he was prosecuting pushed officials in Washington to drop all charges against him, according to multiple sources.

In July, Maurene Comey, a federal prosecutor in Manhattan and the daughter of former FBI director James Comey, was fired by the Trump administration, according to the New York Times.

And just last week, a U. S. attorney in Virginia was pushed out after he had determined there was insufficient evidence to prosecute James B. Comey. A new prosecutor this week won a grand jury indictment against Comey on one count of making a false statement and one count of obstruction of a congressional proceeding.

ST. PETERSBURG, Fla.  — A Florida federal judge on Friday tossed out a $15-billion defamation lawsuit filed by President Trump against The New York Times.

U.S. District Judge Steven Merryday ruled that Trump’s 85-page lawsuit was overly long and full of “tedious and burdensome” language that had no bearing on the legal case.

“A complaint is not a megaphone for public relations or a podium for a passionate oration at a political rally,” Merryday wrote in a four-page order. “This action will begin, will continue, and will end in accord with the rules of procedure and in a professional and dignified manner.”

The judge gave Trump 28 days to file an amended complaint that should not exceed 40 pages.

The lawsuit named four Times journalists and cited a book and three articles published within a two-month period before the last election.

The Times had said it was meritless and an attempt to discourage independent reporting. “We welcome the judge’s quick ruling, which recognized that the complaint was a political document rather than a serious legal filing,” spokesman Charlie Stadtlander said Friday.

Merryday noted that the lawsuit did not get to the first defamation count until page 80. The lawsuit delves into Trump’s work on “The Apprentice” TV show and an “extensive list” of Trump’s other media appearances.

“As every lawyer knows (or is presumed to know), a complaint is not a public forum for vituperation and invective — not a protected platform to rage against an adversary,” wrote Merryday, an appointment of former President George H.W. Bush. “Although lawyers receive a modicum of expressive latitude in pleading the claim of a client, the complaint in this action extends far beyond the outer bound of that latitude.”

The lawsuit named a book and an article written by Times reporters Russ Buettner and Susanne Craig that focuses on Trump’s finances and his pre-presidency role in “The Apprentice.”

Trump said in the lawsuit that they “maliciously peddled the fact-free narrative” that television producer Mark Burnett turned Trump into a celebrity — “even though at and prior to the time of publications defendants knew that President Trump was already a mega-celebrity and an enormous success in business.”

The lawsuit also attacked claims the reporters made about Trump’s early business dealings and his father, Fred.

Trump also cited an article by Peter Baker last Oct. 20 headlined “For Trump, a Lifetime of Scandals Heads Toward a Moment of Judgment.” He also sued Michael S. Schmidt for a piece two days later featuring an interview with Trump’s first-term chief of staff, John Kelly, headlined “As Election Nears, Kelly Warns Trump Would Rule Like a Dictator.”

Trump has also sued ABC News and CBS News’ “60 Minutes,” both of which were settled out of court by the news organizations’ parent companies. Trump also sued The Wall Street Journal and media mogul Rupert Murdoch in July after the newspaper published a story reporting on his ties to wealthy financier and convicted sex offender Jeffrey Epstein.

Anderson writes for the Associated Press.

Far be it from me to tell anyone how to direct their career, but can I just say how glad I am to learn that Jason Bateman, who spent four seasons in the darkness of “Ozark,” is making a comedy again. (A “dark comedy,” but still.) That’s not the series he’s starring in at the moment for Netflix, however, but something called “DTF St. Louis,” for HBO, from “Patriot” creator Steve Conrad, which isn’t arriving until next year. Fingers crossed, we’ll all be around to see it.

In the eight-episode miniseries “Black Rabbit,” which premieres Thursday, Bateman and Jude Law play brothers Vince and Jake Friedkin, respectively, who long before the story begins were partners in a rock band, the Black Rabbits — successful enough that Vince is recognized in a bar (but not so successful that the fans can remember his name, or the name of the band). More recently, they had been partners in a far downtown Manhattan restaurant, also called Black Rabbit, though Vince’s level of current participation is muddy. (At one time, he ran the upstairs bar.) It isn’t a comedy, in spite of Vince’s Michael Bluth-like habit of dropping ironic quips into stressful situations.

The setting brings to mind “The Bear” — which is a comedy — as does its young genius chef, Roxie (Amaka Okafor); the New York Times is planning a review and New York magazine is putting her on the cover. We see that the restaurant, which has a VIP floor upstairs for horrible rich jerks, is a hit because the place is packed, and because there’s a lot of shouting in the barely pictured kitchen, but food, barely shown or talked about, is not really on the menu here. Jake is more interested in property and expansion — he has an inside track to lease the Pool Room, a real-life space in New York’s fabled Four Seasons Hotel, and he wants Roxie to run the kitchen and Estelle (Cleopatra Coleman), who is in a relationship with his old friend Wes (Ṣọpẹ́ Dìrísù) — now a mega successful musician, a co-owner of the Black Rabbit and a jealous guy — to design it. From camera angles and cutting, it’s clear that Vince and Estelle are attracted to one another, but as Law and Coleman have no particular chemistry, it feels more stated than felt. But it’s important.

Ṣọpẹ́ Dìrísù as Wes, a co-owner of the Black Rabbit, and Amaka Okafor as Roxie, the head chef.

(Netflix)

Vince, meanwhile, is living out west, looking like he’s ready to audition for a late-life Dennis Wilson biopic and trying to sell some valuable old coins. When he’s set up and robbed in his car, he winds up running over one of the thieves — twice. Whether by writerly intention or inattention, this will be no more of an emotional issue for Vince than it will have anything to do with the rest of the story, apart from sending him back to NYC, where he is $140,000 in the hole over gambling debts. Whenever he’s not in actual danger (which is a lot of the time), he’s weirdly happy-go-lucky.

Jake has a well-to-do ex-wife, Val (Dagmara Dominczyk), who seems nice, and a son, Hunter (Michael Cash), taking dancing lessons. They all get along fine, though Jake battles that most common of TV paternal ailments, Busy Dad Syndrome. (He does better than most.) Vince has an adult daughter, tattoo artist Gen (Odessa Young), who is not especially glad to see him back in town. Their safety will become a chip in the series’ central business, which sets Vince, and ultimately Jake, against vaguely defined mobster Joe Mancuso (Oscar-winning deaf actor Troy Kotsur, from the film “CODA,” in one of the series’ more layered performances); his sweaty idiot caricature of a wannabe tough guy son, Junior (Forrest Weber); and Junior’s less-than-efficient minder, Babbitt (Chris Coy), who is occasionally sort of likable, albeit one feels bad for sort of liking him. In the small world these characters inhabit, Mancuso was close to the brothers’ dysfunctional family back in Coney Island. But business is business.

Like most every streaming drama nowadays, “Black Rabbit” opens with a flash forward to a more exciting part of the story — here, a robbery and shooting at a crowded party — before dialing back to a calmer chronological beginning. This lets the viewer know that, though there is going to be exposition for a while, things will get crazy eventually. And they very much do, including sexual assault, murder and bad management.

Junior (Forrest Weber), Babbitt (Chris Coy) and Vince (Jason Bateman), who owes them lots of money.

(Netflix)

Jake, chasing his Pool Room dream, has his own money troubles, and the brothers’ needs will clash as one scheme after another to set things right goes wrong and their relationship rockets between heated arguments and brotherly reminiscence. It’s too easy to stop listening to the arguments, which tend to go long and not lead anywhere, but there is some relief (and nice writing) as regards the reminiscence. Still, though later episodes will reveal an early event that might explain something about Vince, it’s not enough to make one care especially what happens to them, except to worry which innocent bystanders, including the Black Rabbit staff, will be hit by shrapnel when things go boom.

A large secondary and sometimes confusing cast comes in and out to propel and complicate matters, but it’s really all about the brothers. As Vince, Bateman — who also directed the first two episodes, efficiently, with “Ozark” co-star Laura Linney helming the second two — leavens an exasperating character with his innate likability. He’s a fine actor, but he’s also Jason Bateman, America’s sweetheart. By contrast, as the tense, excitable Jake, Law doesn’t generate much warmth, or make you believe he’s actually capable of opening a high-class midtown restaurant. (The funky but chic Black Rabbit was Vince’s vision.) That may be the idea, of course. And he does love his brother.

There are only so many ways this story can go, and it does indeed go to one of them, though it’s so likely by the time we get there that it doesn’t deliver much of an emotional charge. An epilogical montage, in a complete tonal turnaround, plays like an homage to the opening of Woody Allen’s “Manhattan,” cut to Rodgers and Hart’s “I’ll Take Manhattan”; its only purpose seems to be to make you less bad than you might have otherwise felt. (Hey, Katz’s Delicatessen!) So … thanks?

Meanwhile — “DTF St. Louis!” See you next year! Knock wood.

NEW YORK — President Donald Trump filed a $15-billion defamation lawsuit against The New York Times and four of its journalists on Monday, according to court documents.

The lawsuit filed in U.S. District Court in Florida names several articles and one book written by two of the publication’s journalists and published in the lead up to the 2024 election, saying they are “part of a decades-long pattern by the New York Times of intentional and malicious defamation against President Trump.”

“Defendants published such statements negligently, with knowledge of the falsity of the statements, and/or with reckless disregard of their truth or falsity,” the lawsuit says.

The New York Times did not immediately respond to an email requesting comment early Tuesday.

In a Truth Social post announcing the lawsuit, Trump accused The New York Times of lying about him and defaming him, saying it has become “a virtual ‘mouthpiece’ for the Radical Left Democrat Party.”

Trump has gone after other media outlets, including filing a $10-billion defamation lawsuit against the The Wall Street Journal and media mogul Rupert Murdoch in July after the newspaper published a story reporting on his ties to wealthy financier Jeffrey Epstein.

NEW YORK — Gov. Kathy Hochul on Sunday urged New Yorkers to vote for Zohran Mamdani for mayor of New York City, giving the Democratic nominee one of his most significant endorsements to date in the contest to lead the nation’s biggest city.

Writing in the New York Times’ opinion section, Hochul said that while she and Mamdani diverged on some issues, they came together on the importance of addressing the affordability crisis in the city and across the state.

“But in our conversations, I heard a leader who shares my commitment to a New York where children can grow up safe in their neighborhoods and where opportunity is within reach for every family,” wrote Hochul, a fellow Democrat. “I heard a leader who is focused on making New York City affordable — a goal I enthusiastically support.”

The stunning success of Mamdani, a 33-year-old democratic socialist, in the race for New York City mayor has exposed divisions within the Democratic Party as it struggles to repair its brand more than half a year into Donald Trump’s presidency. Hochul’s endorsement is the latest sign that Democratic leaders who had been skeptical of Mamdani’s left-leaning views are beginning to consolidate around him.

Mamdani thanked Hochul for the boost, saying it’s a sign that “our movement is growing stronger.”

“Governor Hochul has made affordability the centerpiece of her work. I look forward to fighting alongside her to continue her track record of putting money back in New Yorkers’ pockets and building a safer and stronger New York City where no one is forced to leave just so they can afford to raise a family,” Mamdani said in a statement Sunday night. “I’m grateful to the Governor for her support in unifying our party — as well as the work she’s done standing up to President Trump, securing free lunch meals for our kids, and expanding access to childcare.”

In recent weeks, the other candidates in the race — former Gov. Andrew Cuomo, incumbent Mayor Eric Adams and Republican Curtis Sliwa — have intensified their criticism of Mamdani over his platform and past statements ahead of the city’s general election in November.

U.S. House Republican Leadership Chair Elise Stefanik, a New York congresswoman, said Hochul’s endorsement is a sign that the governor is moving left to shore up falling poll numbers.

“At the exact moment when New Yorkers are looking for strong leadership from their Governor with a majority opposing Zohran Mamdani, Kathy Hochul embraces this raging Communist who will destroy New York making it less affordable and more dangerous — once again putting criminals and communists first, and New Yorkers LAST,” Stefanik said in a Sunday statement.

Mamdani soundly defeated Cuomo in the Democratic primary. Cuomo has since relaunched his campaign as an independent. Adams, a Democrat, skipped the primary to run as an independent in November. Sliwa ran unopposed in the Republican primary.

Hochul served as lieutenant governor to Cuomo and replaced him after he stepped down in 2021 following a barrage of sexual harassment allegations. He denied wrongdoing during the campaign, maintaining that the scandal was driven by politics.

New York — It was a quiet, while not quite silent, morning for the “Table of Silence Project” Thursday, on the plaza of Lincoln Center and in front of David Geffen Hall, home of the New York Philharmonic. Commemorating the 24th anniversary of 9/11, white-robed members of the Buglisi Dance Theatre circled the plaza, a few with megaphones for chants, an occasional violin joining in, mellowing even the sounds of background traffic roaring down busy Broadway.

On this solemn but beautiful New York day and after more than two years in waiting, Gustavo Dudamel took charge, at least in practice, of the New York Philharmonic. Six decades ago, during the Leonard Bernstein era, America’s oldest and most celebrated orchestra had the city’s (and much of the nation’s) full attention in a way it hasn’t since. Could that happen again?

When Dudamel announced in early February 2023 that he would leave the Los Angeles Philharmonic to become music and artistic director of the New York Philharmonic in the fall of 2026, he became instant celebrity news here. A New York Philharmonic player gives Dudamel a cheesecake, and the New York Times writes a story.

This season Dudamel gains his first official title: music and artistic director designate. But the orchestra is basically his baby now. His photo is plastered on the orchestra’s posters and publicity. And on Thursday night, Dudamel, for the first time, opened the New York Philharmonic’s new season. After two weeks this month, he will have a sizable presence later winter and in spring, while also closing out his last L.A. Phil season with major programs.

Dudamel arrived in New York on Tuesday, having spent two weeks conducting the Simon Bolivar Orchestra of Venezuela, his homeland orchestra, to open Coldplay’s concerts at Glastonbury in England, just as the newly named U.S. Department of War immediately began to live up to its name by sending warships to Dudamel’s native Venezuela and threatening regime change.

But here in New York, Dudamel paid tribute to a new city in his life with Bartók’s Piano Concerto No. 3 and Charles Ives’ Symphony No. 2. In 1945, Bartók, having fled Nazi-invaded Hungary, wrote his final piano concerto in a New York apartment on 57th Street, a block west of Carnegie Hall. Bernstein led the New York Philharmonic premiere of Ives’ Second — the first great American symphony — at Carnegie, then the New York Philharmonic’s home, six years later.

Still, the first orchestral sounds that emanated from the Dudamel designated directorship turned out to be barely heard, while not silent, percussion stirrings. Following a season-opening tradition he began when he became music director of the L.A. Phil, Dudamel began the program with a world premiere.

For this, he directed New Yorkers’ attention westward. In “of light and stone,” Leilehua Lanzilotti sets the sonic stage for an evocation of Hawaii, where she resides, before statehood. She makes references to King Kalakaua, Queen Lili’uokalani and other Hawaiian nobility few in a mainland audience are likely to know. There are fragments of Hawaiian song, a dance of the wind.

Nothing settles in this four-part, 15-minute song of a land, a score that falls somewhere between history lesson and color-field sonic landscape. A whisp of a canorous clarinet or a rumbling rattle is all it takes for a kind of instant transport to a far-off time and place. New York Philharmonic audiences can be cool, but they’ve demonstratively taken to Dudamel at Geffen, and an ethereal performance appeared to open ears.

The young Korean pianist, Yunchan Lim, who became instantly hot after winning the Van Cliburn competition three years ago, was soloist in Bartók’s Third Piano Concerto. Lim will be a soloist with Dudamel and the L.A. Phil this season as well as give a solo recital in Walt Disney Concert Hall. He is an exceptional pianist. He too opens ears and can transport a listener to a distant land. And Lim’s case is far more distant or far less knowable than Hawaii.

Lim’s Bartók exists in a world of the pianist’s own. Every phrase is for him an oddity, as if he had found some weird object in an imaginary world and was figuring out what he might do with it. His tools were rhythm, accents and dynamics, each a quirky new toy. The New York Philharmonic produced beauty and excitement, but Lim went his own way that wasn’t quite imaginative enough to improve on Bartók. Here we go again with an exceptional young soloist being pushed into the limelight too soon.

The New York Philharmonic owns Ives’ Second. Written in the first decade of the 20th century, the symphony offered a whole new way of thinking about American and European music and it sat dormant for some four decades before Bernstein premiered it. But that 1951 performance had a huge effect on how to transform folk music, popular music, Beethoven’s Fifth Symphony and what-not, twisted, transformed and tacked together. Bernstein later recorded it twice with the New York Philharmonic. The first time full of beans that revived it for good. The second time in 1987 as a glorious spiritual exercise. Hearing that performance live left me in a state of rapture.

Dudamel has made a specialty of the symphony himself, conducting it with the Vienna Philharmonic, recording it with the L.A. Phil and now going to the source. His performance Thursday night did not try to follow in Bernstein’s footsteps or necessarily Dudamel’s own. The performance flowed with exquisite lyricism and mustered a thrilling finale.

In Vienna, Dudamel was more robust. At Disney, Dudamel found exceptional expression in every little detail. That was the Dudamel that we last saw at the Hollywood Bowl this summer when he conducted Mahler’s First more vividly than ever.

That is not, quite yet, the Dudamel for New York. Here his Ives seemed to be laying the groundwork, letting his new orchestra show him what it can do before he begins, as he surely will, digging deeper.

It took a once controversial effort for Bernstein to transform an uptight virtuosic New York Philharmonic into a tight but electric one. Now it’s Dudamel’s turn for transmogrification, and he’s made a promising beginning.

NEW YORK — President Trump on Friday dismissed Curtis Sliwa — his own party’s New York City mayoral candidate — as “not exactly prime time” and even disparaged his affinity for cats, as pressure mounts for Democratic candidate Zohran Mamdani ‘s rivals to drop out of the race.

Trump has warned that Mamdani, a 33-year-old state lawmaker and democratic socialist, will likely cruise to victory over Sliwa, Mayor Eric Adams and former Gov. Andrew Cuomo on Nov. 4 unless two of those candidates dropped out. The New York-born Republican thinks Cuomo could have a chance in a one-on-one race.

On a Friday appearance on “Fox & Friends”, he threw cold water on Sliwa’s mayoral hopes, even taking a shot at the red beret-wearing candidate’s vow to fill the official residence of the New York City mayor with rescue cats if he does win.

“I’m a Republican, but Curtis is not exactly prime time,” Trump said bluntly.

“He wants cats to be in Gracie Mansion,” the president added. “We don’t need thousands of cats.”

Mamdani became the presumed favorite in the race after winning the Democratic primary over Cuomo, who is now running as an independent in the general election. Adams, a Democrat, skipped the primary due to his campaign being sidelined by a now-dismissed federal bribery case.

Two polls conducted in early September, one by the New York Times and Siena University, the other by Quinnipiac University, each showed likely voters favoring Mamdani over Cuomo, with Adams and Sliwa behind Cuomo.

The Quinnipiac poll suggested the gap between Mamdani and Cuomo could narrow if Adams dropped out. The Times/Siena poll suggested that if both Adams and Sliwa withdrew, Mamdani’s advantage over Cuomo could shrink even further.

A campaign spokesperson on Friday stressed that Adams has no intention of stepping down from office or abandoning his reelection bid — though confirmed he is commissioning a poll to gauge his support.

“He just wants to look at all factors,” said Todd Shapiro said. “There’s nothing on the table right now. He’s looking at polls just like he’s doing everything else.”

The mayor, he added, would have more to say on the polling itself next week.

“He’s still very popular,” Shapiro said. “He’s running on a record of success.”

Adams in recent weeks has sought to rebuff questions of whether he might accept an alternate job offer amid reports that he had been approached about potentially taking a role with the federal government.

In a radio interview Friday, Sliwa — the founder of New York’s Guardian Angels anti-crime patrol group — said Trump seems to be responding “to what people are telling him about me without really knowing much about me of late.”

“I would hope the president would revisit my history, not only with him but in this city,” Sliwa said on 710 WOR.

The outspoken New Yorkers both rose to prominence in the late 1970s, but Sliwa has said they haven’t spoken in years, possibly because he’d been critical of Trump at times, both on his long-running radio show and as a candidate.

In a follow up email, Sliwa also defended his love of cats, adding that “animal welfare” is among the issues “New Yorkers care about” that he hopes to focus on, if elected.

“New Yorkers care for people and for animals, and so do I,” he said. “I am proud of my wife, Nancy, who has devoted her life to fostering, caring for, and saving animals, and fighting for them when no one else would.”

Sliwa has sheltered a large collection of rescue cats in his Manhattan apartment and has noted that Gracie Mansion is far more spacious.

“We’ll be able to house unwanted cats and dogs right in the lawn, the great lawn they have,” he said recently on his radio show.

Marcelo writes for the Associated Press.

Tristan Rogers, the Australian actor behind the magnetic Robert Scorpio on “General Hospital,” died Friday after a battle with lung cancer, according to his manager. He was 79.

In an email to The Times, Rogers’ manager Meryl Soodak said his client was “a family man” who is survived by his wife, two children and a grandson.

“[He was] loyal, kind and loved his role of Scorpio,” Soodak said.

Rogers’ signature commanding voice and poised bravado made Scorpio a fan favorite on the long-running soap opera, and became his most recognizable role. As the enemy-turned-close-friend of star character Luke Spencer (played by Anthony Geary), Rogers appeared in some of the most memorable moments of the show’s run.

In November 1981, Scorpio stood by as Luke and fellow star character Laura wed in front of 30 million viewers, still the highest-rated hour in American soap opera history.

In true soap opera fashion, Scorpio would allegedly die a dramatic and fiery death in an explosion in South America in 1992, only to return alive for a short stint in 2006.

Through every iteration of his “General Hospital” career, Rogers embraced Scorpio’s status as an ‘80s TV icon.

“I think this character will follow me to my grave,” Rogers told the New York Times in 2006.

Rogers was born June 3, 1946, in Melbourne, Australia. Out of high school, he played in a rock band with friends and began taking up modeling roles, he recalled in an interview. For “extra money,” he acted in small TV and soap opera roles in Australia in the late ‘60s and ‘70s, including stints in the shows “Bellbird,” “Number 96” and “The Box.”

Early in his career, his Australian accent deterred casting directors from booking him for American shows, Rogers recalled in a 2022 interview. However, in 1980, he found himself auditioning for what was supposed to be a small, single-episode role on “General Hospital.”

This caught the eye of Gloria Monty, the show’s visionary producer, who asked Rogers to stay on as a recurring character.

Rogers was key to shaping the character of Scorpio, from his name to his risk-taking bravery, on what would eventually become the longest-running daytime soap opera in American television history, according to Guinness World Records.

“I started in earnest, I had a feeling that I had done something right. I had evolved into the character. [Scorpio] took everyone by surprise, he looked different, he sounded different, he conducted himself in a different way and the public latched onto this right away. And so all of a sudden, away we went,” Rogers said in a radio interview earlier this year.

While the show was set in a New York hospital, the late 80s saw it shift focus into an action adventure storyline that heavily featured Scorpio as an agent of the fictional World Security Bureau, or WSB.

Broadcaster ABC notes that the change kept the attention of viewers and contributed to the continuation of the show’s success, as spies and agents created complex and popular mystery storylines within the “General Hospital” universe.

According to the New York Times, the second week after Rogers’ character was revived in 2006, “General Hospital” was the No. 1 daytime drama among young women, drawing larger-than-average audiences back to the show.

Rogers also acted in the series “The Young and the Restless,” “The Bay,” and “Studio City,” as well as voice-acting in the Disney animated film “The Rescuers Down Under.”

Genie Francis, who played Laura Spencer in “General Hospital,” said of Rogers on X, “My heart is heavy. Goodbye my spectacular friend. My deepest condolences to his wife Teresa and their children. Tristan Rogers was a very bright light, as an actor and a person. I was so lucky to have known him.”

Kin Shriner, also an actor on the show, added in a video posted on X, “I met Tristan 44 years ago at the Luke and Laura wedding. We were stashed in a trailer and I was taken by his Australian charm. Over the years we’ve worked together … we always had fun. I will miss Tristan very much.”

In one of his last interviews, Rogers reflected on the joy of his acting career.

“I’ve had a good time of it,” he said.

Billy Joel’s life is awash in revelations these days — some bad, some worse.

Last month, the “Only the Good Die Young” singer-songwriter canceled all his upcoming concerts, revealing he was struggling with a brain disorder that causes a potentially reversible kind of dementia. Then last week, he divulged that he attempted suicide twice in his 20s after falling in love with his bandmate’s wife and causing the downfall of the band itself.

“I felt very, very guilty about it. They had a child. I felt like a homewrecker,” Joel says (via People) in the first half of the two-part documentary “Billy Joel: And So It Goes,” which premiered last Wednesday and hits HBO Max in July. “I was just in love with a woman and I got punched in the nose, which I deserved.”

Joel said both he and his friend and Attila bandmate, Jon Small, were upset by what happened while Joel was living with Small and Small’s then-wife, Elizabeth Weber. So upset that Attila — a Led Zeppelin-inspired metal band, according to the New York Times — broke up and Joel started boozing, which sent him into a tailspin.

“I had no place to live,” Joel says in the documentary. “I was sleeping in laundromats, and I was depressed, I think to the point of almost being psychotic. So I figured, ‘That’s it. I don’t want to live anymore.’”

He tried twice to end his life in the early 1970s, according to the documentary. First, he took the entire lot of sleeping pills that his sister, then a medical assistant, had given him to help him sleep. That put him in the hospital.

“He was in a coma for days and days and days,” Judy Molinari says in the program. She thought she had killed her brother.

Joel says in the doc that he woke up in the hospital still suicidal, hoping to do it “right” the next time. His sister said he wound up drinking “lemon Pledge” furniture polish. That time, an unlikely person took him to the hospital: Small, his then-estranged best friend.

“Eventually,” Small says in the documentary, “I forgave him.”

As for those impulses to harm himself, they wound up paying off for Joel after he checked out of a facility he had checked himself into after the second suicide attempt.

“I got out of the observation ward and I thought to myself, you can utilize all those emotions to channel that stuff into music.”

Joel reconnected with Weber about a year after that, wrote about her in the 1973 song “Piano Man,” and married her from then until 1982. Marriages to Christie Brinkley, Katie Lee and current wife Alexis Roderick would follow.

The first part of the documentary covers Joel’s childhood and runs through his 1982 motorcycle accident, according to the New York Times. He doesn’t meet his “Uptown Girl,” Brinkley, until Part 2.