new york

Carl Erik Rinsch, the director of the 2013 Keanu Reeves action film “47 Ronin,” will serve more than two years in federal prison for defrauding Netflix of $11 million.

U.S. District Judge Jed S. Rakoff on Monday sentenced 48-year-old Rinsch to 30 months in prison, the U.S. Attorney’s Office, Southern District of New York, announced. Federal prosecutors convicted Rinsch in December of wire fraud, money laundering and other counts. A legal representative for Rinsch did not immediately respond to a request for comment on Tuesday.

Federal prosecutors indicted Rinsch in March 2025, alleging the $11 million went into Rinsch’s personal accounts. The filmmaker “quickly transferred” the money from the Rinsch Co. account, where it had been deposited March 6, 2020, by Netflix, through additional accounts until about $10.5 million wound up weeks later in a personal brokerage account. He lost more than half of that money in less than two months via risky investments in the stock market, the indictment said.

Though Rinsch told the streamer that his sci-fi show “White Horse” was progressing nicely, the filmmaker allegedly moved the remaining money into cryptocurrency and profited from crypto speculation over the next couple of years. The streamer had invested around $44 million in the show. Rinsch was accused of spending around $10 million on five Rolls-Royces, a Ferrari, watches, clothing, luxury bedding and linens, credit card bills, attorneys to sue Netflix for more money, and lawyers to work on his divorce.

He was arrested in West Hollywood and released the same day after agreeing to post a $100,000 bond to guarantee his appearance in a New York federal court.

Rinsch never finished the Netflix show.

During his sentencing, Rinsch and his legal team told the court his behavior was a result of mental health struggles and medication problems and they are working to address those issues with a new care provider, the Associated Press reported.

“I failed to recognize the danger of the state I was in,” Rinsch said, though his mental issues were not described in court, and his attorneys declined to provide further detail.

Ahead of the sentencing, Reeves — the star of Rinsch’s most notable project to date — penned a letter in May requesting “leniency and mercy as well as justice” in the filmmaker’s sentencing.

In addition to prison time, Rinsch must serve three years of supervised release, forfeit the $11 million and pay $700 in mandatory special assessments, according to Monday’s announcement. U.S. Attorney Jay Clayton said in the announcement: “Today’s sentence sends a deterrent message: fraud will not be tolerated.”

The Associated Press and former Times assistant editor Christie D’Zurilla contributed to this report.

NEW YORK — The Trump administration on Tuesday said it would freeze federal funding for New York’s Medicaid Fraud Control Unit, a state agency responsible for investigating and prosecuting fraud in the safety-net government healthcare program.

In a letter sent to New York officials, U.S. Department of Health and Human Services Inspector General Thomas March Bell accused the state of not securing enough criminal indictments and said millions of dollars in funding would be suspended through at least Sept. 30.

The move is the second suspension of a state Medicaid fraud unit this year by the Republican Trump administration, and part of a barrage of anti-fraud actions it has aggressively promoted in the healthcare sector. They have included the creation of a new task force, targeted investigations, funding deferrals and demands for revalidation of healthcare providers that have touched all states but are focused largely on Democratic ones.

The pulled funding also comes after the administration admitted a glaring error in figures meant to help justify a fraud inquiry into New York’s Medicaid program this year, a mistake critics said revealed a Trumpian tendency to attack first and verify the facts later.

New York Atty. Gen. Letitia James, a Democrat, immediately vowed to fight Tuesday’s funding freeze.

“During my time as Attorney General, my office has recovered over $627 million for Medicaid and was recognized by this very administration for leading the nation in anti-fraud efforts,” she wrote. “We are considering all legal options to stop this outrageous action.”

Letter accuses New York of low performance compared to other states

Bell’s letter to James and New York Medicare Fraud Control Unit Director Amy Held argues that the unit is moving too slowly on cases and amassing too few indictments and convictions for wrongdoing in the Medicaid system. It notes that compared with four similarly sized units in other states, it secured the lowest number of criminal fraud convictions between 2023 and 2025.

The letter acknowledges that one reason the state has fewer criminal convictions than others is that it made a deliberate choice to focus on “high impact, complex fraud cases” rather than smaller-scale individual cases, but says that trade-off didn’t produce sufficient results.

“Enough is enough,” Bell wrote. “The New York MFCU has failed to comply with the terms and conditions of its MFCU grant award.”

Bell said in the letter that the funding suspension could be lifted before Sept. 30 if New York takes corrective action, “showing it has remediated concerns that formed the basis for this suspension.” He said if the state doesn’t fix the problems, the freeze will continue.

New York officials dispute the Trump administration’s claims

New York’s attorney general’s office said in a statement that it has “long been recognized as a national leader in effectively investigating and prosecuting Medicaid fraud schemes,” including by the Health and Human Services inspector general’s office. A 2025 report from the office notes that New York is one of four states that made up half the total civil recoveries in that year.

A spokesperson for the attorney general’s office said most of the unit’s criminal convictions focus on company owners, executives and corporations that would return large amounts to Medicaid.

“This administration’s unprecedented attack on New York is another political distraction,” James said in a statement.

The funding cutoff follows a similar move in Hawaii. In early June, Bell told Hawaii officials that Medicaid fraud funding would be cut off there, saying that it had a three-year stretch without a Medicaid fraud indictment or conviction.

Joan Alker, executive director and co-founder of Georgetown University’s Center for Children and Families, said there’s an irony in the federal government cutting off money intended for prosecuting fraud when its stated goal is to do just that.

“If you want to fight fraud, don’t take away money from states’ fraud control units,” she said. “I chalk this up to more political theater to distract voters from historic Medicaid cuts before the midterms.”

Move follows months of federal warnings and deferrals

For months, the Trump administration has contended that states — especially some Democratic-led ones — have been lax about fraud in social safety-net programs, including Medicaid.

It has demanded that at least five states, four of them governed by Democrats, share information about how they identify, prevent and address Medicaid fraud.

The federal government has also withheld some Medicaid funding from Minnesota and California over fraud concerns. Minnesota Gov. Tim Walz, a Democrat who was Kamala Harris’ 2024 running mate, accused President Trump of making cuts because of retribution.

The fraud-busting efforts have also targeted Medicare programs. Dr. Mehmet Oz, who leads the federal Centers for Medicare and Medicaid Services, announced a six-month moratorium on new enrollments for providers of hospice and home care nationally.

Swenson and Mulvihill write for the Associated Press. Mulvihill reported from Haddonfield, N.J. AP writer Anthony Izaguirre contributed to this report.

EVENT staff were seen rolling out a pink carpet at Madison Square Garden ahead of Taylor Swift and Travis Kelce’s rumored wedding celebrations.

The A-list couple are reportedly tying the knot this week and hosting a lavish multi-day bash, with a huge event at the iconic New York City venue.

Reports suggest 1,000 people have been invited to the festivities from July 2 to July 4, including an intimate 100-person gathering.

Photos and video footage obtained exclusively by The U.S. Sun show the hustle and bustle had already begun outside of MSG in the sweltering summer heat.

On Tuesday afternoon, a team of construction workers were seen rolling out a salmon-pink carpet down a series of steps at the VIP South Entrance as passers-by gathered to watch.

More than a dozen workers spent time making sure the entrance was fit for royalty as they smoothed down the carpet and trimmed the edges.

NAME GAME

Taylor Swift and Travis Kelce’s wedding guest list – who’s in and who’s OUT

One of the staffers was seen wearing a T-shirt from Flemington Department Store in Raritan Township, New Jersey.

Asked what the carpet was for, one of the workers said, “A wedding.”

Another told The U.S. Sun that Taylor was hosting an event on Friday, although the ceremony was on another day.

According to Page Six, the carpet was later ripped off the stairs because it wasn’t meant to be rolled out yet.

A truck from Printhead Studio was also seen pulling up outside the venue.

The company produces seamless fabric backdrops up to 16 feet high for events, suggesting large curtains or decorative draping could be part of the setup.

Some event staff appeared to have flown in from Los Angeles, including stagehands, and said they were “excited” to be part of the celebrations, even if it meant working in the heat.

Manufactured white backer, often used as a structural foundation for temporary event installations, was also seen arriving at a separate entrance.

The U.S. Sun also spotted a worker wearing a T-shirt for Disco Pixel Productions, an New York-based technology design firm specializing in video and projection support for Broadway, touring theater, and live events.

Instagram photographs show the business was involved in the production of Wicked The Musical.

City permits have also been filed to close sections of West 31st Street and West 33rd Street around Madison Square Garden during the celebrations.

According to multiple reports, both vehicles and pedestrians will be barred from the affected areas while tents and canopies are erected to shield guests arriving at the venue.

Reported attendees will include Ed Sheeran, Gigi Hadid, Karlie Kloss, Zoe Kravitz, the Haim sisters, Suki Waterhouse and members of the Kansas City Chiefs organization, while Stevie Nicks and Tim McGraw have reportedly been lined up to perform.

Several of Travis’ Kansas City Chiefs teammates are also said to have booked rooms around this time at the Marriott Marquis in Times Square.

Additionally, Amtrak police officers who typically patrol the station beneath the arena have reportedly been warned that the celebrity couple’s nuptials will be held at the venue.

The New York Times also reported that people who work for Taylor have been spotted at Rock Lititz, a production company in Lancaster County, Pennsylvania, which constructs major concert sets.

Thousands will also flock to New York and New Jersey for the FIFA World Cup game on July 5 at MetLife Stadium, adding to the city’s already overcrowded streets.

Some fans believe that the lovebirds could host a smaller celebration at a different venue before that, but clues have already sent them on a wild goose chase over where the nuptials might be.

Taylor and Travis were originally thought to get married in a fairytale wedding in Rhode Island on June 13.

TORONTO — Marina Mabrey matched the WNBA scoring record with 53 points to help the Toronto Tempo rout the Sparks 125-97 on Thursday night.

Mabrey tied the mark set by Liz Cambage for Dallas against New York on July 17, 2018, and by A’ja Wilson for Las Vegas at Atlanta on Aug. 22, 2023.

Mabrey was 17 of 28 from the field, hitting nine of 18 three-pointers, and made 10 of 12 free throws.

The Tempo opened a nine-game homestand.

Julius Randle is headed back to New York, although he will be playing in a different borough this time around.

The Brooklyn Nets acquired the 12-year veteran after he spent the past two seasons with the Minnesota Timberwolves, multiple media outlets reported Monday night.

As part of the three-team deal, Minnesota will send Randle and the 28th pick in Tuesday’s draft to Brooklyn in exchange for the Nets’ No. 33 overall pick. In addition, Brooklyn will send veteran center Nic Claxton to the Chicago Bulls. The Timberwolves will receive Mo Gueye from Chicago but are expected to waive the third-year forward.

For Minnesota, the trade creates a $33 million trade exception as well as financial flexibility to seek free agents to play alongside superstar Anthony Edwards. Later on Monday, the Timberwolves came to terms with guard Ayo Dosunmu on a five-year, $112 million deal to remain with the team after being acquired from Chicago at the trade deadline.

Randle goes from a team that won 49 games in each of the last two seasons and three playoff series during that stretch to one that won just 20 games last year and a combined 78 over the last three seasons.

The Nets, who haven’t had a representative in the All-Star Game since Kevin Durant in 2022, will continue rebuilding with the No. 6 overall pick in the 2026 draft to go with the first-rounder they received from Minnesota.

The Lakers drafted Randle at No. 7 overall in 2014, with his first two NBA seasons coinciding with the final two of Lakers legend Kobe Bryant. After becoming a free agent in 2018, Randle played one season with the New Orleans Pelicans before becoming a three-time All-Star during five seasons with the New York Knicks.

In October 2024, Randle went to Minnesota as part of the deal that brought Karl-Anthony Towns to New York. Towns was a key member of the Knicks team that defeated the San Antonio Spurs in the NBA Finals and celebrated with a championship parade in Lower Manhattan last week.

During the 2025 postseason, Randle shook his reputation for fading in the playoffs, crediting his perseverance to a mentality instilled in him many years earlier by Bryant.

“I had a great mentor in Kobe that didn’t necessarily let me pout or get down on myself,” Randle said after scoring a career playoff high of 31 points during a conference semifinal game against Golden State. “His thing was always, ‘All right, what’s next? How can you get better? How can you improve?’ So I always just kind of took that mentality with me.”

While Randle hasn’t publicly commented on the trade, his wife Kendra posted a video to her Instagram Story of 9-year-old son Kyden, the oldest of their three children, stating that he’s “so excited” and “so happy” to be returning to New York.

“@brooklynnets fans he really wanted to make this,” Kendra Randle wrote as a caption to the video.

The Associated Press contributed to this report.

Paul Avery, a journeyman actor best known for his role on “All My Children,” and his wife, Sheila, have died following a house fire. He was 81 and she was 77.

The couple’s death was confirmed by their daughters Parker Sanchez and Kyle Avery, who said the fire broke out in their home in Blairstown, N.J., early last Tuesday morning. While firefighters were able to reach Paul and Sheila inside the Mohican Road home, the couple succumbed to smoke inhalation.

The cause of the fire is under investigation.

Paul had a recurring role playing Hughie the bartender at Foxy’s on the ABC daytime soap “All My Children” for 12 years. He also acted in the 1978 film “Superman,” “Three’s Company,” “Soap,” and appeared in more than 300 commercials. He also acted in theater productions and produced plays in both New York and Los Angeles.

According to his daughters, the actor joked that his “elastic face” landed him multiple national commercials that ran concurrently. Casting directors looking for a “Paul Avery type” would turn the actor away because he was in too many commercials.

“He had a teeny tiny part — one line in Superman — but boy did he make a meal out of that,” Sanchez joked.

Kyle Avery added that at the Oscars, they played a clip from “Superman” that featured Paul reciting his line.

“His good friend ran into the kitchen and made him an Oscar out of tinfoil and handed it to him,” she said. “But I think the thing that he was proudest of was that he could make a living as an actor.”

Paul Avery was born Oct. 8, 1941; and Sheila Avery was born May 22, 1949. Paul was raised in Indianapolis, served in the Vietnam War in his 20s and moved to Los Angeles and then New York by his late 20s to try to make it as an actor. Sheila was raised in Kansas City, Mo., and moved to New York where she worked as a registered nurse but also had a background in theater.

She studied the craft in college, performed on a USO tour in Vietnam and worked as a costume mistress.

According to the couple’s daughters, the two brought their Midwest charm and sensibilities to the East Coast.

The couple met while living in an apartment building filled with other journeymen actors in the late 1970s.

“They were all part of this theater community, people who would go from regional theater to regional theater with the season,” Kyle Avery said. “They were a whole troupe of people who’d be in New York for part of the year, but then they’d go and be in Lakewood, Ohio, or Kansas City or Chicago, just following the theater.”

Sheila was previously married to John Quincy Bruce Jr., also an actor in the New York theater community and the father of Sanchez. Sheila and Paul got together in 1982 and married in 1984. They celebrated their 42nd wedding anniversary in April.

Paul was a jack-of-all-trades and master of many. He was a small plane pilot who often flew into a tiny airport in Blairstown, N.J., which is how the couple discovered the town they’d call home. There, they opened a bookstore, Cabbages and Kings. Paul also launched a magazine: the Warren County Companion. According to the couple’s daughters, Paul was the first internet service provider in town. He also penned film reviews for the New Jersey Herald and some for the New York Times as well.

Sheila found what her daughters called the “perfect job,” which brought together her work as a registered nurse and background in theater: speaking in schools about domestic violence and sexual assault. She also became a counselor who worked with survivors, and a trainer who worked with volunteers, teaching them how to interact with victims.

“People who took her training 20 years ago have been contacting us and saying, ‘Your mother changed the way I thought about the world, she is the basis for my feminism,’” Sanchez said. “It’s been so fascinating to hear the ripple effects of young women who took that training from her, and who are now middle-aged women who are still thinking about her.”

The daughters said that their parents were community icons who were dedicated to service. “They had a sense of duty to the people around them,” Kyle Avery said.

“They loved to throw parties,” Sanchez said. “They hosted an annual event called Faux Giving and they would have these insane traditions, like we would have a head-measuring contest and measure the circumference of people’s heads, and then a winner gets to eat their pie first, and a badge.

“Whoever had the smallest head, everyone there would shout, ‘Pin head! Pin head!’ at this person, and it was the silliest thing in the world, but everyone who attended that event, even if they came one time, would talk about it forever.”

Kyle Avery added, “They were incredibly memorable.”

“They were community builders, they were people who wanted to nourish you in every way, and they were so good at it.”

They are survived by their children: Kyle Avery; Parker Sanchez and her husband, Pablo; Paul Avery’s son from a previous relationship, Stuart Sutherland; and their grandchildren, Avery, Duncan and Liana.

WASHINGTON — In congressional races across the country, a new crop of super PACs is taking to the air with millions of dollars worth of advertisements to sway voters.

“President Trump said it best, ‘Celeste Maloy will never let you down,’” says one advertisement supporting the Utah Republican representative in her upcoming primary election.

“Standing up to big pharma, fighting for local jobs, Val Hoyle doesn’t back down,” says an ad backing the Oregon Democratic representative ahead of her primary victory last month.

The super PACs have nondescript names — such as Jobs and Democracy PAC and American Mission — and the text is so generic that it almost seems to have been created by artificial intelligence.

That isn’t so far off the mark. The AI industry has funded the ads.

One network of super PACs is linked to Anthropic, maker of the popular AI tool Claude, and the other to Open AI, maker of ChatGPT.

They have been among the most prolific political spenders so far in the 2026 midterm elections, splashing out more than $37 million to date to influence races across the country and making the groups among the biggest outside spenders so far in congressional races. That number could grow exponentially as campaign season heats up closer to the November election — and as the Silicon Valley giants prepare initial pubic offerings that are poised to raise billions of dollars for the companies and their executives.

The AI political spending boom comes as emerging technology companies have become increasingly “comfortable with using their power to achieve a political goal,” said Adam Kovacevich, a former Google public policy executive and founder of Chamber of Progress, a technology trade group with a progressive orientation.

The leading AI companies have a history.

Anthropic was formed by former OpenAI employees who were concerned that the company was less focused on its original mission to safely harness the power of AI.

The companies are now the leading drivers of the burgeoning AI industry, and their competing views about how the technology should be regulated are playing out in a wide-ranging political ad spending war that has targeted congressional races in big cities and rural areas alike.

OpenAI thinks AI should be regulated solely at the federal level.

Anthropic calls for more stringent regulation and supports efforts by states such as New York and California that have passed more aggressive AI laws.

The groups spending in these races are super PACs, which are able to raise and spend unlimited amounts of money in federal races thanks to the 2010 Citizens United Supreme Court decision.

In some races, the AI-backed political groups have spent more than the candidates they are backing.

“There was no way as a grassroots person that I could compete with that kind of money,” said Al Olszewski, whose opponent in a Montana Republican congressional primary beat him by 30 points after getting a boost from $877,000 in ads from a super PAC backed by OpenAI’s co-founder. “I got crushed.”

The AI behemoths have emphasized that they are independent from the political groups.

One group counts $25 million in support from OpenAI co-founder Greg Brockman and his wife, Anna, alongside $100 million tied to one of Silicon Valley’s biggest venture capital firms, which holds a large stake in OpenAI. The global policy chief for OpenAI was reportedly involved in conceiving the group.

The other side has gotten $20 million from Anthropic and millions more from donors whose identities are not public.

This anonymous political cash is commonly known as dark money, and its prevalence is growing.

(Los Angeles Times photo illustration; source photos courtesy of the Tech Oversight Project)

“This has become very normalized now,” said Brendan Glavin, director of insights at OpenSecrets, which tracks campaign spending. “In 2024, we tracked over $1 billion in dark money.”

That total was $350 million higher than the previous presidential election.

The crypto playbook

The political activity of these AI companies and executives reflects a dramatic shift from how emerging technology companies have historically engaged with politics.

Google, for example, didn’t hire its first in-house Washington lobbyist until after the company had gone public in 2005.

“I think that for a long time, the tech industry lobbying strategy was just ‘leave us alone,’” Kovacevich said.

He sees the spending by these AI-linked super PACs as following the recent playbook developed by the cryptocurrency industry, which has funded the only network of political groups that has spent more on congressional races this year than those linked to OpenAI.

“I think what the crypto industry realized was that there’s no substitute for building up political power,” Kovacevich said.

The political stakes for these technology companies are significant.

“AI policy is far from settled,” said Asad Ramzanali, the former deputy director for strategy in the White House Office of Science and Technology Policy during the Biden administration and the director of artificial intelligence and technology policy at the Vanderbilt Policy Accelerator.

Earlier this month, the Trump administration banned foreign nationals from using the most powerful AI model developed by Anthropic — and even banned the company’s own employees from it — which forced the company to restrict access for all users.

Manhattan matchup

The two super PAC networks have largely shied away from producing ads that mention AI and have mostly chosen to avoid competing against each other in the same races.

There’s one big exception.

In the marquee Manhattan Democratic congressional primary to replace retiring Rep. Jerry Nadler (D-N.Y.), each side has spent millions of dollars.

While the field includes Kennedy scion and social media star Jake Schlossberg and former Republican turned Trump critic George Conway, the target of all the AI-backed spending has been Alex Bores, a former Palantir data scientist who now serves in the New York state Assembly.

New York congressional candidate sponsored a state measure Bores requiring major AI companies to be transparent about their safety protocols and promptly report safety incidents.

(Yuki Iwamura / Associated Press)

That’s because Bores sponsored a state bill, known as the RAISE Act, that requires major AI companies to be transparent about their safety protocols and promptly report safety incidents. The bill was signed into law in December 2025.

The ads sponsored by the group tied to OpenAI, which has spent more than $7.5 million in the race, paint Bores as someone who can’t be trusted.

They cite his support from other tech billionaires, including former crypto mogul and convicted financial fraudster Sam Bankman-Fried, whose super PAC spent $100,000 to support Bores in 2022 when he first ran for New York Assembly.

“Is that really who should be shaping AI safety for our kids?” one ad asks.

An ad sponsored by the Anthropic-backed network, which has also spent more than $7.5 million supporting Bores, makes the case that the bill he sponsored is exactly why he should be elected.

“As a computer engineer, Alex Bores saw how dangerous unregulated AI could be and he wrote New York’s RAISE Act to put real safeguards on A.I. and hold big tech accountable,” the ad says.

The AI ad barrage in New York has even included what might be considered a kumbaya moment in the ad wars — another super PAC created to support Bores is most heavily backed by both an employee of Anthropic and an employee of OpenAI, who both focus on AI safety.

The group, Dream NYC, has spent more than $1.7 million supporting Bores.

Bores and fellow New York State Assemblymember Micah Lasher have been atop the most recent polls in the race ahead of the June 23 primary.

A general view of businesses in St. George, Utah, on Wednesday.

(Ian Maule / For The Times)

Rural Republicans

For voters in many parts of the country, the debate over AI policy has played out locally as a debate over the massive data centers required to power the technology.

In Utah, a proposed data center in Box Elder County, backed by “Shark Tank” television personality Kevin O’Leary, has generated controversy because of questions about its impact on resources in the drought-prone state and its environmental effect on the nearby Great Salt Lake.

In the state’s most competitive Republican congressional primary — the vast, newly drawn 3rd Congressional District — both candidates expressed concerns about how the project has been developed and called for greater transparency in this plan and for future data centers in the state.

Utah congressional candidates Phil Lyman and Celeste Maloy in a debate on June 1. A super PAC backed by Anthropic has spent more than $920,000 to support Maloy.

(Rick Egan / Pool / The Salt Lake Tribune Via Associated Press)

Despite their similar position on the project, a super PAC backed by Anthropic has spent more than $950,000 to support Maloy, who is running in the new district after the boundaries of her old district changed.

“It’s a lot of money to throw at a race,” said her opponent, Phil Lyman, a former conservative Republican state Representative who ran to the right of Utah Republican Gov. Spencer Cox in an unsuccessful primary challenge in 2024.

Lyman insists he is no AI skeptic.

“I’m not anti data centers, I’m pro-transparency,” he said. “I think the future is bright with AI.”

The group said it is backing Maloy because it sees her as “someone who’s worked the issue” of AI regulation and who “has demonstrated leadership” with Republicans in Congress.

Maloy’s campaign didn’t respond to request for comment.

Utah congressional candidate Phil Lyman speaks during a Cottage Meeting at the SunRiver Community Center Ballroom in St. George, Utah, on Wednesday.

(Ian Maule / For The Times)

But Lyman suspects the group’s support for Maloy ahead of their June 23 primary has more to do with old-fashioned politics than any emerging technology.

One of the two co-founders of the political group is Chris Stewart, Maloy’s predecessor in Congress.

“Everything that they’re doing feels very coordinated,” Lyman said. “It makes you wonder if he’s still really controlling that seat.”

NEW YORK — It was bedlam on Broadway as the New York Knicks won their first NBA championship in 53 years on Saturday night, with exuberant celebrations marred by mayhem and violence, including a shooting in Times Square.

Outside Madison Square Garden, a crowd watching on a big screen roared as the Knicks rallied from a 16-point deficit to beat the Spurs in San Antonio in Game 5 of the NBA Finals.

Soon after, tens of thousands of people filled the streets and the rowdiest among them were clashing with police, smashing windshields, scaling scaffolding, light poles and a statue, climbing into and atop school buses in Times Square and trying to hitch a ride on a moving fire truck.

Around 2 a.m., a 17-year-old was shot near 42nd Street and Broadway, police said. Bystander video captured the sound of at least seven shots and showed people crouching and running for cover. Police took the victim to the hospital because an ambulance could not get through the crowds, police said. A gun was recovered and three people were taken into custody.

Four people were stabbed or slashed, and one of the school buses, which was being used for World Cup transportation, was set on fire and engulfed in flames, police said. Other buses and five police cars were also damaged, police said.

In all, 63 people were arrested, with charges including assault on a police officer, criminal possession of a weapon, criminal mischief and disorderly conduct.

Knicks owner James Dolan, speaking in San Antonio after the game, urged fans to stay calm.

“We need to tell everybody in New York that we know that they’re celebrating, we want them to have a great time,” said Dolan, interrupting guard Josh Hart’s news conference. “Please be safe. Don’t get hurt; don’t hurt anybody.”

The city will officially celebrate the Knicks on Thursday with a parade and City Hall ceremony.

As the clock ticked to the final buzzer on Saturday night, anxiety that had dominated the game’s first three quarters gave way to euphoria. An orange-and-blue-tinted fever dream that started with the Knicks’ first playoff game two months ago ended in the third title in their 80-year history.

Fireworks boomed over Brooklyn and Central Park. Fans flocked to Times Square and ran through the streets. Outside the Garden, they sang the team’s anthem: “Go New York, Go New York, Go!”

Police officers and ambulance workers shouted, “Let’s go Knicks!” over loudspeakers in Brooklyn. Strangers shook hands and hugged. In the Lincoln Tunnel, where people were riding buses back from the World Cup at MetLife Stadium in New Jersey, drivers honked their horns in celebration.

“I’m so overwhelmed. I’m so happy,” said Mathieu Ogno of Long Island, who fought back tears as he soaked in the victory at a team-sanctioned watch party at Wollman Rink in Central Park.

Ogno wore the jersey of Knicks captain Jalen Brunson, whose 45 points propelled his team to victory and him to the NBA Finals MVP. Brunson’s gritty determination and chip-on-his-shoulder style have made him a fan favorite, embodying New York’s working-class ethos.

The Knicks’ championship — 19,392 days since their last — capped an extraordinary postseason for a franchise that hadn’t been to the NBA Finals since losing to the Spurs in 1999. Since April 23, the team has won 15 of 16 games, with its lone loss coming Monday in Game 3.

Their last title, in 1973, was also won on the road in a Game 5. Their first, in 1970, was won at home in a Game 7 thriller. Neither was celebrated with a parade.

“I’m happy to see my Knicks finally make it over the hump,” said Shawn Muoneke, 26. “I’ve seen them knock on the door. They were knocking on the door the past few years. But they finally made it over the hump, and I’m so happy to see it and I’m so happy I’m in the city to experience it.”

Muoneke, born a year after the Knicks’ last trip to the NBA Finals, started rooting for them when he was 10. He drove from Maryland to be in the city for Game 5 at the team’s Central Park watch party.

“I saw the ups, the downs and I watched the team come back up, and I was so happy to see them finally reach the highest echelon of stardom as a team,” Muoneke said.

After the Knicks’ win, he said, the vibes in the city “are the highest they’ve ever been.”

President Trump, a longtime Knicks fan who attended Game 3 at the Garden with Dolan, congratulated the team in a post on social media.

“What a year it has been but, even more so, what incredible playoff wins we have all witnessed, especially the last four — Maybe the greatest in the history of basketball,” Trump wrote.

With Brunson’s clutch performance, he added, “a superstar was born.”

After several dozen arrests throughout the playoffs and violence after Games 3 and 4 in New York that left officers injured and a teen in a coma, police girded for unrest as Saturday turned to Sunday.

“As we celebrate, be responsible, look out for one another, stay safe, be smart, and make this a night that reflects the very best of our city,” Mayor Zohran Mamdani said on social media. “Let’s go Knicks.”

Sisak and Lum write for the Associated Press. AP writer Emily Wang Fujiyama contributed to this report.

SAN ANTONIO — Jalen Brunson and the Comeback Knicks did it again. And now they’re the Champion Knicks.

For the first time in 53 years, New York rules the NBA. Brunson scored 45 points, including 13 straight for New York in the fourth quarter, and the Knicks beat the San Antonio Spurs 94-90 in Game 5 of the NBA Finals on Saturday night.

The Knicks won the series 4-1, rallying from double-digit deficits in all four of those victories. The deficit was 16 on Saturday night. Brunson and the Knicks were never fazed.

“I have no words,” Brunson said during the on-court celebration. “It’s everything I ever dreamed of.”

New York guard Jalen Brunson drives in front of San Antonio center Luke Kornet during the second half of the Knicks’ 94-90 win Saturday.

(Darren Abate / Associated Press)

Brunson, fittingly, closed with a flourish. He set a Knicks record for points in a finals game; it had been 38 by Willis Reed against the Lakers in Game 3 of the 1970 series. It now belongs to the left-handed point guard who changed the franchise’s fortunes when he arrived four years ago.

Mikal Bridges and Josh Hart — the other two parts of the “Nova Knicks” trio that also includes Brunson, three players who were NCAA champions at Villanova and teamed up in New York to try to do the same — combined to score 27 points. Bridges had 14, Hart 13.

“I don’t know what I’m feeling,” Brunson said. “I’m in awe. Whenever someone counted us out, we found a way to come back and do something about it.”

New York Knicks center Karl-Anthony Towns, right, hugs forward Og Anunoby after defeating the San Antonio Spurs for the NBA title on Saturday.

(Darren Abate / Associated Press)

Dylan Harper scored 25 for the Spurs, who got 19 points, 14 rebounds and five blocked shots from Victor Wembanyama.

The Knicks improved to 4-0 in closeout opportunities this season, winning them all on the road. It didn’t feel like the road, though — not with thousands of New York faithful having made the trip to Texas to see a moment 53 years in the making.

New York got to the brink of this title by rallying from 29 points down in Game 4 to win 107-106 on OG Anunoby’s tip-in with 1.2 seconds left on Wednesday night. It was the largest comeback in NBA Finals history and the biggest comeback in any game this season, regular season or playoffs.

By comparison, then, a 16-point rally in this one seemed easy.

The game followed the same script in the opening minutes as all the others in the series, with the Spurs taking a double-digit lead in the first quarter and then frittering most of it away in the second quarter.

The Spurs became the first team in the play-by-play era, which started in the 1996-97 season, to lead five finals games by 10 points or more in first quarters.

The Knicks simply could not make a shot, missing on 16 of their first 18 tries and each of their first 11 two-point attempts. There even was a point in the second quarter when Wembanyama had more blocked shots (five) than the Knicks had made shots (four). San Antonio’s lead was as many as 10 in the first quarter, as many as 16 in the second.

Of course, none of it mattered much. As always, the Knicks came back.

New York Knicks fans react in New York after the team’s title-clinching win over the Spurs on Saturday night.

(Heather Khalifa / Associated Press)

A 22-9 run in the second quarter got New York within three, before Devin Vassell scored just before the halftime buzzer to give San Antonio a 42-37 edge at the break.

And that capped an opening 24 minutes of either offensive ineptitude or defensive prowess, depending on perspective. The 79 combined points in the first half were the lowest in a finals game since Game 7 of Lakers-Celtics in 2010, and the combined 31.8% field goals shooting by the Knicks and Spurs was the lowest in the first half of a finals game in the play-by-play era.

Brunson won NCAA crowns twice with Villanova — both in Texas, the 2016 one in Houston and the 2018 one in San Antonio, just a few miles away from the arena that the Spurs call home.

A Texas three-step of titles, and this one was surely the sweetest of all.

More than any other artist in the 20th century, David Hockney defined Los Angeles in the public imagination. When he first arrived in January 1964, age 26, his mental image of the city had been forged not by art but by Hollywood movies, which he had watched as a young boy in Yorkshire, England. In later life, he often recollected the sharp-edged shadows cast by the Californian sunlight in movies such as Laurel and Hardy’s “Big Business.

Before he ever went to L.A., Hockney — who died Thursday at 88 — knew that he would love it. Writing about his first descent into the city, he recalled how “as I flew over San Bernardino and looked down — and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I’ve ever been arriving at any other city, including New York.” By this time, the glamour of Hollywood had been compounded by other influences, including the homoerotic magazines that an American friend had given him at the Royal College of Art in London. Titles such as Physique Pictorial, published in L.A. by the pioneering “beefcake” photographer Bob Mizer, held out a promise of California as a paradise of rippling men and permanent sunshine. A darker, no less thrilling image of the city had arisen from Hockney’s reading of “City of Night,” the 1963 novel by John Rechy that tells the story of a hustler in the gay underworld of downtown L.A.

Los Angeles itself felt young to Hockney. He loved the light, the architecture, the sense of space and the sense of possibility — not least the possibility of greater sexual freedom. West Hollywood boasted a large gay bar, the Red Raven on Melrose Avenue, that was unlike anything he had found in London or New York. There was also the lure of the beach, with its pageant of sculpted physiques. Venice Beach struck him as a more body-beautiful version of London’s Portobello Road.

Before long, his work shifted from generic fantasies of the city (a young man showering in Beverly Hills, for instance) to vivid portrayals of its real-life pools, palm trees, architecture and people. American artists such as Edward Ruscha and Edward Kienholz were producing their own canonical images of L.A. in these years, but for Hockney, there were no artistic precedents — “no ghosts,” as he later put it — to live up to. “People then didn’t even know what it looked like,” he once said. “And when I was there, they were still finishing up some of the big freeways.… I suddenly thought: ‘My God, this place needs its Piranesi, Los Angeles could have a Piranesi, so here I am!’ ”

He was true to his word, even if his luminous, serene images of the city were a far cry from Giovanni Battista Piranesi’s feverish visions of Baroque Rome. “Beverly Hills Housewife” (1966), a portrait of a pink-dressed collector in her modernist home, marked the onset of a realist style that would define Hockney’s work for the next decade. This era gave rise to paintings that became icons of their time and place. Among them were “A Bigger Splash” (1967), which was based on a magazine cover that he came across on a newsstand, and “Christopher Isherwood and Don Bachardy” (1968, sold last year at Christie’s New York for $44.3 million). Inspired by Hans Holbein, this portrait of the English novelist and his artist partner was one of the first celebratory portrayals of a gay couple. Hockney would later recount how Isherwood proclaimed: “Oh David, we’ve so much in common; we love California, we love American boys, and we’re both from the north of England.” Hockney’s beloved American boy at this time was Peter Schlesinger, a young artist he had met while teaching at UCLA in the summer 1966 — and a recurring presence in the early L.A. pictures.

According to Norman Rosenthal, who curated a major survey of Hockney’s art at the Fondation Louis Vuitton in Paris last year: “It is astonishing that a boy from a poor family in Bradford became the person — partly because of his gayness, but also his talent — who defined what everybody now thinks of as California. L.A. had no real image in the world before then, unlike New York.”

Despite his enchantment with Los Angeles, Hockney didn’t settle there until 1978, after a decade of bouncing between America and Europe. In the summer of 1979 he moved into a house in the Hollywood Hills, and soon adorned its pool with swishing strokes of blue paint. In the early 1980s, he converted the paddle tennis court into a studio. The meandering routes and Mediterranean scenery of the Hills were a fresh source of amazement, giving rise to monumental depictions of Mulholland Drive and Nichols Canyon in a newly abstract style.

By this time, the city was deeply familiar — a second home — and he had a close circle of friends around him who included the patron Betty Freeman (subject of “Beverly Hills Housewife”), the designer Gregory Evans, the gallery owner Nicholas Wilder and the film producer Joe Simon. “L.A. had represented a whole new world for him,” says Simon, who remained in regular contact with the artist until his final days. “He just loved the light. He was like a kid in a candy store when he first came. But David was all about the work. Everything came back to that.”

In recent decades, Hockney’s name had become synonymous with the landscapes of his native Yorkshire, which he began painting prolifically in the early 2000s. But Los Angeles never lost its newness and promise. His house in the Hills remained a sanctuary until his final years, when he was too frail to travel. L.A. was where he had come of age, and it remained an indelible part of his life and psyche — not least in terms of its egalitarian spirit and its tendency toward the horizontal. “The great thing about Hockney was that he spoke to everybody,” says Rosenthal. “Few artists of his world and his generation could do that.”

James Cahill, a novelist and an art critic, is the author of, among other books, “David Hockney” and the forthcoming “The Beverly Hills Housewife: Hockney’s Californian Muse and the World Beyond the Pool.”

David Hockney, the innovative and prolific British artist who arrived in Los Angeles in 1964, soon celebrating its sun-drenched life and landscapes in colorful, wildly popular paintings, has died.

He was 88.

Calling himself “an English Los Angeleno,” Hockney immortalized the city’s sparkling swimming pools, palm trees and beautiful young men, then went on to experiment with intricate photo collages, portrait suites, painted and filmed images of Yorkshire landscapes, iPad drawings and more.

Since his Pop Art paintings in the early ‘60s at London’s Royal College of Art, Hockney was rarely out of the limelight and, more important, rarely out of fresh ideas for how to draw, paint, film, print, photograph or otherwise express his creativity. The David Hockney Foundation owns more than 8,000 of his works, including about 200 sketchbooks, more than 230 self-portraits, opera designs and portraits of family and friends.

Hockney loved Hollywood — the people and the place — and liked to say he was brought up in England and Hollywood because of the time he spent at the movies. His peroxide blonde hair reportedly was inspired when he was a student and saw Clairol TV ads claiming “blondes have more fun.” But it was his interest in everything from Elvis Presley to the Hubble Space Telescope and his sense of humor that set him apart. Time Magazine art critic Robert Hughes once called him “the Cole Porter of modern art.”

He was open about being gay, even when homosexuality was outlawed in Britain. His early love affair with artist Peter Schlesinger, a younger man he met when teaching a summer drawing class at UCLA in 1966, inspired Hockney’s monumental 1972 painting “Portrait of an Artist (Pool with Two Figures),” a centerpiece of Jack Hazan’s 1974 film “A Bigger Splash.” The painting’s 2018 auction at Christie’s drew a record $90 million for a living artist.

He was a dedicated reader and student of art, paying homage in his work to Picasso and Cubism as well as to Monet, Matisse, Van Gogh and Cezanne. A lover of opera, he often had it playing loudly in the studio and enjoyed taking visitors on curated car trips through the Hollywood Hills or Malibu while listening to Wagner. He designed sets for major companies in Los Angeles, Chicago, New York, London and elsewhere over the years, and some of his set models were later shown in museums.

David Hockney’s work “Gregory in the Pool (Paper Pool 4)” is part of his solo exhibition “David Hockney: Perspective Should Be Reversed” at the Palm Springs Art Museum in Palm Springs. (Courtesy of the Palm Springs Art Museum)

(Courtesy of the Palm Springs Art Museum)

His solo shows drew enormous crowds to the Los Angeles County Museum of Art as early as 1988. In 2017 a major retrospective of his work, keyed to his 80^th birthday, was presented at New York’s Metropolitan Museum of Art, Paris’ Centre Pompidou and London’s Tate Modern. Chronicling Hockney’s arrival as an important artist in the “ravishing” Met retrospective, the New Yorker writer Andrea K. Scott called it “a revelation.” It was, she wrote, “a retort to all the eye-rollers,” including herself, who dismissed his work “as, at best, a guilty pleasure.”

In 2012 he received the coveted Order of Merit, which Queen Elizabeth II presented to him at Buckingham Palace.

David Hockney was born the fourth of five children to a working-class family in Bradford, Yorkshire, on July 9, 1937. He has said he started “making marks on paper” at 8 and received private painting lessons before moving on to Bradford School of Art in 1953. The first painting he sold was a portrait of his father in 1955. He attended the Royal College of Art in London from 1959 until his graduation in 1962 and received the school’s Gold Medal.

After college he did not slack off, noted his biographer Christopher Simon Sykes. In his 2014 book, “Hockney: The Biography,” Sykes pointed out that the artist’s first flat had a chest of drawers near the bed on which he had painted, in large capital letters, the words “get up and work immediately.”

David Hockney in 2017.

(Catherine Opie, Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong and Seoul.)

Hockney lived by that command for the rest of his life, turning out canvas after canvas, photo after photo. In the ‘80s came his extraordinary multi-image photographic collages of friends including writer Christopher Isherwood and artist Don Bachardy and such landmarks as the Brooklyn Bridge, Grand Canyon and Pearblossom Highway.

“The Polaroids started oddly enough when I’d just finished a long period of work in the theater, which is of course playing with perspective and illusion,” he once told The Times. “People say, ‘You are a painter, and photography is a sideline.’ But nothing is a sideline for me.”

That included his continuing fascination with technology. The artist’s long career swept in artworks made not only on cameras and canvases, but on such things as fax machines and photocopiers. Hockney liked to experiment, whether it was with state-of-the-art printing devices or centuries old painting techniques. He went several times to a show of portraits by Jean Auguste Dominique Ingres at London’s National Gallery in 1999 and was greatly taken with the photographic’ quality of Ingres’ 19th century drawings. Certain that Ingres had used something optical to achieve that quality, Hockney bought himself a camera lucida, a small device that works like a prism. He then applied Ingres’ methods–as Hockney imagined them–to his own portraits of friends and family, and in 2001, he published “Secret Knowledge,” exploring his theories on early artistic uses of optical devices.

His death was confirmed by the Associated Press and New York Times.

Isenberg is a former Times staff writer

WASHINGTON — President Trump said Thursday that he plans to nominate Jay Clayton, the U.S. attorney for the Southern District of New York and a former Securities and Exchange Commission chairman, as director of national intelligence.

Trump announced the nomination on social media amid pressure from Congress to name a permanent replacement for Tulsi Gabbard, who resigned last month. Trump faced intense pushback over his decision to name Bill Pulte, head of the Federal Housing Finance Agency, as acting director.

The situation has led to a standoff in Congress as Democrats said they would refuse to renew foreign intelligence powers unless Trump pulled Pulte’s nomination and named a permanent nominee.

“Few people anywhere in the Legal Community are respected at the level of Jay,” Trump wrote. “I encourage the United States Senate to confirm Jay as soon as possible.”

DUBAI — The U.S. military said Tuesday it has begun strikes against Iran following the crash of a U.S. Army Apache helicopter off the coast of Oman that President Trump blamed on the Islamic Republic.

In a statement posted to social media, U.S. Central Command said the strikes would be “a proportional response to unjustified Iranian aggression.” It comes after Trump blamed Iran for downing the helicopter and vowed that the U.S. would respond.

Iranian state media reported that explosions were heard on an Iranian island in the Strait of Hormuz.

Trump had blamed Iran for shooting down a helicopter close to the Strait of Hormuz and said the United States must respond. Iran’s top diplomat said foreign military forces near the country’s territory “are at constant risk.”

The Apache helicopter that crashed went down after colliding with an Iranian drone, according to a U.S. official, who spoke on condition of anonymity to discuss an ongoing investigation.

It wasn’t clear whether the collision was intentional, and official statements only said the crash is under investigation. CNN, CBS News and other outlets earlier reported the Iranian drone collision.

Trump said Iran shot down the aircraft while it was on patrol over the Strait of Hormuz and declared that the U.S. “must, of necessity, respond to this attack,” in a post to social media.

The U.S. military later announced that it had begun strikes against Iran.

In the first known operation of its kind by the American military, a drone boat rescued the two aviators who were aboard the Apache attack helicopter when it went down near the critical shipping lane that Iran has effectively closed during its war with the U.S. and Israel.

Trump said in a social media post that military officials told him “the Iranians shot down one of our highly sophisticated Apache Helicopters.” Both service members “are safe and uninjured,” he added.

“Nevertheless, the United States must, of necessity, respond to this attack,” Trump wrote.

A woman walks past a mural depicting a U.S. aircraft carrier under missile attack in downtown Tehran, Iran on Monday.

(Vahid Salemi / Associated Press)

Soon after Trump made his accusation, Iranian Foreign Minister Seyed Abbas Araghchi said in a social media post that the strait is “thousands of miles away from U.S. shores.”

“Foreign forces in proximity to our territory are at constant risk on account of their own human errors, plain accidents, or potentially being caught in crossfire,” Araghchi wrote. “To reduce risk, best solution is for them to leave.”

The downing of the helicopter further strained a two-month ceasefire a day after Iran and Israel exchanged fire for the first time since the fragile truce took effect. Iranian state television said Tuesday that the Israeli attacks killed at least two members of the country’s air-defense units.

Since the U.S. and Israel began striking Iran on Feb. 28, the war has shaken the global economy, driven up energy prices around the world and made many basics, including food, more expensive.

Officials have been unable to turn the April ceasefire into a deal to permanently end the conflict, particularly as Israel intensifies and expands its military campaign in Lebanon against the Iranian-backed militia Hezbollah.

Army crew members picked up by drone boat

The Army aviators were rescued at 3:30 a.m. local time Tuesday, about two hours after their helicopter went down during a patrol off the coast of Oman, U.S. Central Command said.

The U.S. service members were spotted and picked up by a drone boat that took them to another location on the water, where they were picked up by a helicopter, said Capt. Tim Hawkins, a spokesman for U.S. Central Command. Hawkins initially said the drone took the two to shore, and he did not elaborate on the updated timeline.

It was the first known drone rescue at sea by the U.S. military, Hawkins said.

AH-64 Apache helicopters have been a key asset for the American military as it enforces a blockade on Iranian crude oil shipments and tankers, seeking to pressure Tehran into a deal. The helicopters have also been used by the United Arab Emirates to shoot down Iranian drones.

The drone used to perform the rescue was a 24-foot vessel called a Corsair, Hawkins said. It’s manufactured by Saronic Technologies.

The drone was assigned to the Navy’s Task Force 59, established in 2021 as the Navy’s first uncrewed and artificial intelligence unit that focuses on maritime security in the Middle East, including the Strait of Hormuz and the Suez Canal.

Trump insists an Iran deal is coming

Before he accused Iran of downing the U.S. helicopter, Trump had expressed renewed optimism over negotiations with Iran.

“We have a good chance” of signing a deal in “two or three days,” Trump said late Monday. But he did not provide any details on why there was reason for new optimism. In the two months since the U.S. and Iran agreed to an initial ceasefire, Trump has repeatedly predicted that a deal is near.

“We’re very close to having a very, very good, strong, powerful deal,” the president said.

Mediators, led predominantly by Pakistan, have been trying for weeks to get a deal across the line. However, both Iran and the U.S. have taken hard-line positions.

The U.S. wants to see Iran give up its stockpile of highly enriched uranium, which is believed to be entombed in the aftermath of American airstrikes that happened during the 12-day war in 2025. But Iran is refusing that and demanding relief from sanctions. It also wants the release of frozen assets even before a final agreement is in place, something rejected by Trump.

Before Trump’s comments on negotiations, Qalibaf said Monday that Trump’s remarks so far on a possible deal “contradicted the agreed-upon sections,” showing that the U.S. is “neither seeking a ceasefire nor dialogue.”

The continued fighting between Israel and Hezbollah is still a top Iranian priority as well. Lebanon’s army chief, Gen. Rodolphe Haykal, traveled to Pakistan on Tuesday. There, he met Pakistan’s army chief, Field Marshal Asim Munir, who has been a key figure in the Iran-U.S. talks.

Haykal’s visit comes as Lebanon’s government takes an increasingly hard line on Hezbollah but remains unable to disarm the powerful militia. Hezbollah thanked Iran on Tuesday for attacking Israel “in defense of our Lebanese people,” suggesting that Lebanon’s government should take this opportunity to improve relations with Tehran.

Israel issues a warning for Tyre, Lebanon

Meanwhile, the Israeli military issued an evacuation warning for Lebanon’s southern port city of Tyre, including the Christian quarter, which has so far been spared from airstrikes on the city.

Last week, Israel warned the Christian neighborhoods in Tyre that it believed Hezbollah members were among them. Many Lebanese Shiite Muslims fled to those areas as Israeli strikes hammered the Mediterranean coastal area over the past two weeks.

After last week’s warning, the Lebanese army deployed to the Christian district of Tyre in an effort to prevent Israeli attacks there and to show that Hezbollah has no armed presence in the area. But Avichay Adraee, the Israeli military’s Arabic-language spokesperson, posted on X on Monday that the Israeli military “will have to act against their terrorist activities in the neighborhood soon.”

Gambrell, Superville and Toropin write for the Associated Press. Superville and Toropin reported from Washington. AP writers Michelle L. Price in New York, Will Weissert in Washington, Bassem Mroue in Beirut, Munir Ahmed in Islamabad and Russ Bynum in Savannah, Ga., contributed to this report.

NEW YORK — Donald Trump is set to be the first sitting U.S. president to attend an NBA Finals game, bringing strict security measures that will require New York Knicks fans to navigate an extensive safety perimeter around Madison Square Garden and an expected lengthy wait to get inside the building.

The security for Game 3 between the Knicks and San Antonio Spurs and the scene around the arena more closely resembled New Year’s Eve in Times Square, and for fans, it might seem more akin to a trip to the airport. They were asked to get to the game two hours early and will be required to provide a ticket to get past various checkpoints along with passing through a TSA-style magnetometer.

Trump’s appearance led the New York Police Department and Secret Service to establish a multi-block security perimeter around the arena, cancel a watch party outside and institute a no-bag policy for ticket-holders. Fans had gathered around the Garden to watch games during this playoff run, during which the Knicks have won 13 games in a row to reach the final for the first time since 1999 and move two victories from their first NBA title since 1973.

“The NYPD in coordination with the Secret Service made the decision for Game 3, where we have a presidential visit, that we could not support watch parties right outside of the Garden,” Police Commissioner Jessica Tisch said at a news conference Monday. “We are looking forward to bringing back watch parties for Game 4. But I think New Yorkers are used to presidents coming to town, and they understand that that generally means lockdowns of areas and that’s what you’re going to see tonight at the Garden.”

Trump has attended several major sporting events in his time as president, and the security measures have created major hassles for fans.

Thousands of fans missed the start of last year’s U.S. Open men’s singles final between Carlos Alcaraz and Jannik Sinner because of lengthy security lines. Even though the U.S. Tennis Association pushed back the start of the match by a half-hour, many fans still couldn’t get in because added measures meant that they had to go through screening not only when they arrived at the Billie Jean King National Tennis Center but again in front of the steps into Arthur Ashe Stadium, where Trump watched from a suite.

Asked his thoughts on Trump attending, Knicks center Mitchell Robinson said: “Cool, I guess. We can still get out there and play (no matter) who’s here and who’s not.”

Mayor Zohran Mamdani and other dignitaries are also expected to be at the game Monday night.

It was already hard enough for Knicks fans to get inside Madison Square Garden because of astronomical ticket prices. The get-in price for a ticket is higher than the average cost of monthly rent in New York, surging over $6,000. The best seats are tens of thousands of dollars. Mamdani said he bought his ticket for about $1,000 directly from Madison Square Garden.

The difficulty of seeing the game in-person has prompted fans to crowd bars, streets and watch parties all over the city. The watch party near the Garden has become a major event all through the playoffs, but with Trump attending, that event will be moved a few blocks away outside the security perimeter, at Bryant Park.

“We improvise,” said Knicks guard Jose Alvarado, who is a New York native. “We’re New Yorkers. We’re going to find a way to watch a game, and that’s what we’re doing.”

Whyno writes for the Associated Press. AP writer Brian Mahoney contributed to this report.

It was a strange year on Broadway, but then it’s been strange everywhere. Our world at times seems downright unrecognizable, with politicians acting like mob bosses, AI transforming not just the internet but potentially the entire economy, the cost of living leaving only the super rich able to keep up, and I won’t even mention the climate crisis, but the forecast calls for more doom and gloom.

Good work, however, won’t be denied, even if Broadway producers have perhaps overlearned the lesson of last year’s sleeper, Cole Escola’s “Oh, Mary!” Parody with a heavy dose of camp has become all the rage in a theatrical season in which the best musical winner, “Schmigadoon!,” is an affectionate sendup of golden age classics by Rodgers and Hammerstein, Lerner and Loewe and their inspired descendants.

If Broadway is changing faster than the old guard can keep pace, the same is true for the culture in general. The economics of producing have scrambled the old playbooks. Unusual risk has occasionally brought unexpected rewards. “Schmigadoon!” fended off the competition to take the night’s top prize along with awards for both its book and score by Cinco Paul.

Michael Arden’s spectacular production of “The Lost Boys” — the staging won awards for Dane Laffrey’s scenic design and Jen Schriever and Arden’s lighting — enriched the 1980s cult film on which the show is based with human substance and high-flying showmanship. Shoshana Bean’s win for her featured performance as a persevering single mom, is a testament to the musical’s capacious heart. Ali Louis Bourzgui’s somewhat unexpected yet eminently worthy triumph for his featured performance as the vampire with front-man magnetism, catalyzed the production’s thrilling virtuosity. But few would describe this year’s ragtag selection of new musicals as robust.

The only overriding lesson may be that there are no overriding lessons. Two-time Oscar winner Adrien Brody made his Broadway debut in “The Fear of 13,” reprising his acclaimed Olivier-nominated London performance. But he didn’t even receive a nomination for his work — a snub that I found unaccountable.

Spoofs like best musical nominee “Titanique,” a zany burlesque of James Cameron’s “Titanic” and all things Celine Dion, found new respectability on Broadway. And “Two Strangers (Carry a Cake Across New York”), the two-person British musical by Jim Barne and Kit Buchan, endeared itself to audiences (if not so much to Tony voters) with its rom-com appeal. But what does it say about a season in which musical revivals upstaged new work?

“Ragtime,” the Lincoln Center Theatre production directed by Lear deBessonet that originated at New York City Center, was not only the most operatic offering of the season but was all the most emotionally stirring and dramatically ambitious. The show, which justly received the Tony for best musical revival contained perhaps the season’s most seismic tour de force. Joshua Henry’s Tony-winning lead performance as Coalhouse Walker Jr., the path-breaking pianist tragically ahead of his time, was astonishing in both its theatrical might and its generosity, which allowed everyone around him to shine, especially Caissie Levy, who picked up a Tony for her lead performance as a white matriarch whose political consciousness courageously awakens.

“Cats: The Jellicle Ball” pulled off the seemingly impossible by making Andrew Lloyd Webber’s megamusical look cool on Broadway. The production’s radical concept brings the queer audacity of Harlem Ballroom culture to these feline proceedings. For their imaginative daring, co-directors Zhailon Levingston and Bill Rauch were justly honored as were costume designer Qween Jean and choreographers Omari Wiles and Arturo Lyons, among the production’s notable awards.

“Chess,” which was strangely overlooked in the best musical revival category (“The Rocky Horror Show” strutted in instead), may not have managed to overcome the challenge of this over-elaborate geopolitical tale, even with a puckish new book. But the production made Nicholas Christopher a likely future Tony winner star.

What was old was new again on Broadway, but let’s hope that producers can still believe that the best is ahead of us.

At the recent glitzy PEN America Literary Gala at the Natural History Museum in New York City the evening’s MC, B.J. Novak, declared that the crowd was there to celebrate more than just freedom of speech — they were there for “literary glamour.”

“Writing is glamorous,” he declared. “Reading is glamorous.”

For Novak, bestselling novelist Ann Patchett — who has also worked tirelessly on behalf of independent booksellers and in support of her fellow writers, and was one of the event’s honored guests — epitomizes that allure. “I think it’s great that Ann Patchett is a smoke show. She doesn’t have to be,” he quipped. “It’s just cool that she is.”

With “Whistler,” Patchett’s 10th novel, she definitively proves that the “smoke show” moniker, if at all relevant, is icing on the cake. This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love. It’s also an ode to New York City itself.

“Whistler” is narrated by protagonist Daphne Fuller, a 54-year-old English teacher married to Jonathan, a restlessly retired doctor and hospital administrator who dotes on his wife and whom he regards as “extraordinary.” When we first encounter the couple, they’re roaming the Metropolitan Museum of Art — which, one gets the sense, they know by heart. As Daphne ponders the sculpture “Two Horses,” by Charles Ray, Jonathan spots an elderly stranger eyeing his wife, casting glances in her direction. The stranger follows them from room to room fixated on Daphne. Jonathan’s curiosity is piqued, and he slips away from his wife’s side to get to the bottom of why they’re being followed — which is revealed to be the novel’s inciting incident.

Turns out that stranger is no stranger at all. He is Eddie Triplett, a long-lost stepfather whose divorce from Daphne’s mother, Abigail, remains an unhealed wound. Running into Eddie now for the first time in more than four decades, Daphne is startled by the rush of emotion she feels: “I hadn’t known there was something in me to break,” she reflects, “but there it was and break it did. I stepped into an open crack in time and fell backwards.”

Eddie, as it happens, is but one of Daphne and her sister, Leda’s, three dads. By the time Abigail marries her third husband, mild-mannered Lucas, and the couple go on to have three sons, Daphne has grown a protective shell. These facts are narrated with detachment by the protagonist herself. As she and Eddie gently unspool their memories and together fill in the blanks, their bond deepens. The “falling backwards” Daphne experiences in Eddie’s company — traversing time — soothes, softens and delights her.

As the novel unfolds, what becomes ever clearer is that Daphne and her author are undeniably similar, though Patchett has observed: “I am normally careful to make sure there is a big wall between my life and my fiction.” In “Whistler,” she throws that caution to the wind. Easter eggs are scattered throughout. Like Daphne, Patchett is married to an older man — also a doctor — whom she adores. She too had three dads, as she chronicled in a 2020 New Yorker piece aptly titled “My Three Fathers.” Patchett and her heroine also appear to share this enviable trait: They navigate life with grace, generosity and utter competence. IRL, Patchett returns emails on the day she receives them, is an outspoken advocate for free expression, is generally renowned for her good deeds. She’s also widely known for her many devoted friendships, though she doesn’t suffer fools. You’d want to be her ride or die. As you would … Daphne’s.

In an interview 10 years ago, Patchett observed that it wasn’t until she read a piece by Jonathan Franzen, “in which he insisted that the novelist had to do what scares him most, and for him, that had been writing about his family,” that she considered following that path in her fiction. “I thought ‘oh nothing would scare me more. I would happily ride down the Amazon in a canoe and deal with snakes’ ” (as she did for “State of Wonder”) “ ‘than face my family.’ ” In 2016 she wrote “Commonwealth,” which drew on her personal experience of divorce and dysfunction, themes she revisits in “Whistler.” But in “Whistler,” it’s as if Patchett herself is in the reader’s ear. (And, by the way, should you pick up the audio version of the book, she narrates and is literally in your ear.)

Patchett has said she had an ulterior motive for writing “Whistler.” She’d been in the midst of writing a different book, a novel about a Wyoming rancher and her horse, Whistler, but it wasn’t clicking. As she pressed on over the better part of a year, a second idea came to her “like a fever dream.” She immediately filed away the messy work-in-progress and began writing a fictional ode to a cherished friend, former publishing executive Jim Fox, to whom “Whistler” is dedicated. Fox had died two years before, on his 85th birthday, and Patchett was still grieving. Her aim, with “Whistler,” she has said, is to put down on paper how much they loved each other. Fox is reborn as Eddie Triplett in the book, a charming and erudite book editor who radiates joie de vivre and is among the loves of his stepdaughter Daphne’s life.

Patchett’s literary style isn’t of the show-offy variety packed with dazzling sentences and edge-of-your-seat cliffhangers. The drama is quiet. Her words accrue and gain power through their spareness and clarity, and a level of character development that forges an easy intimacy with the reader. There’s also a sly wit and sagacity that have become Patchett signatures, honed to perfection in “Whistler,” whether wrestling with the legacy of family trauma, or the human struggle to accept the transitory nature of it all. Or, as Patchett’s mother once admonished after the failure of her daughter’s first marriage: “Stop trying to make everything permanent. It doesn’t work.”

While Patchett has clearly drawn on actual events and individuals to produce this luminous work, she exhibits the expert novelist’s knack for following a plot where the imagination takes it. I don’t recommend consuming “Whistler” in one enormous gulp. I dipped in and out, savoring scenes, reflecting on them, occasionally shedding a tear. In other words, I didn’t want it to end.

Haber is a writer, editor and publishing strategist and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

NEW YORK — The World Cup, a 48-team, 104-match behemoth kicking off this week in Los Angeles and across 15 other cities in the United States, Mexico and Canada, presents an unprecedented security challenge, with more countries, games and a larger footprint than ever before.

It also comes against the backdrop of the U.S. and Israel’s war with Iran, mounting political violence in President Trump’s orbit and growing fears of artificial intelligence-fueled disruptions, creating a complex threat environment for authorities.

Overseeing the sprawling security apparatus is a legion of federal agencies, state and local police departments and private entities. Their responsibilities range from securing stadiums and fan zones to escorting teams and protecting dignitaries.

Their tools include hunter drones that can shoot nets over objects in restricted airspace, bag-inspecting robot dogs, giant X-ray trucks and thousands of AI-powered cameras trained on public spaces soon to be thronged by fans.

In the U.S., it’s “78 Super Bowls over 39 days,” said Andrew Giuliani, executive director of Trump’s World Cup task force, which is overseeing the multiagency effort.

“There’s never been a summer like this in American history from a security angle,” said Giuliani, son of former New York City Mayor Rudolph W. Giuliani. “We’re as prepared as we can be.”

Collaborative effort

The tournament has the same high-level federal security designation as the Super Bowl, just below a presidential inauguration or a national political convention, ensuring federal, state and local coordination. It coincides with other major events linked to the 250th anniversary of America’s founding.

So far, Giuliani said, there are no credible threats.

The Department of Homeland Security, focused on Trump’s immigration enforcement crackdown and with a funding lapse only recently resolved, estimates that as many as 7 million people will visit the United States for the World Cup.

The U.S. Secret Service, under scrutiny after security breaches and attempts on Trump’s life, is in charge of protecting world leaders who show up to cheer on their countries. Trump has expressed interest in attending a match.

“I feel very comfortable where we’re at, and we feel like we have a zero-fail mission,” Homeland Security Secretary Markwayne Mullin told Congress last week, noting that the Secret Service was understaffed by about 860 agents. “But it’s going to be complicated.”

Officials have indicated they are confident they can keep Trump safe because they will be integrating his usual security into the robust World Cup plan on days he may watch a match.

The FBI has spent two years developing its security plan, incorporating lessons from other major events such as the Macy’s Thanksgiving Day Parade and New Year’s Eve ball drop in New York and testing them at smaller ones, including last weekend’s Israel Day parade in the city.

“We prepare for the worst day,” FBI Special Agent in Charge Amit Kachhia-Patel in New York told the Associated Press. “And that’s how we go into any single event.”

To help cover security costs, the Federal Emergency Management Agency has distributed $625 million to the 11 U.S. host cities. An additional $250 million is being directed toward tracking and neutralizing suspect drones.

The disbursement of those funds was held up by the department’s funding delay in Congress, which the Trump administration has argued hindered security planning.

Others involved in the planning effort said the federal government could have played a more hands-on role even before the partial shutdown.

John Cohen, a former senior Homeland Security official who has been briefing state leaders before the matches, said the government was largely absent from planning meetings last year and did not begin sharing threat intelligence with host regions until recently.

“With an event of this magnitude, one would expect the federal government would’ve played a more active role,” Cohen said. “It felt like a missed opportunity to showcase that collaboration.”

Evolving threats from drones and AI

In January, thousands of officials involved in World Cup security gathered for exercises simulating crowd surges, vehicle attacks and mass shootings.

A month later, the U.S. and Israel launched a war with Iran.

“The security picture fundamentally changed,” said Stefano Ritondale, chief intelligence officer at Artorias, a defense intelligence company not involved in the security preparations. “There’s a major difference in preparing for a lone-wolf radical who rams his car into a public place and a terrorist who is bankrolled by a foreign country we’re at war with.”

Among the greatest concerns are drones.

Since the last World Cup in Qatar in 2022, drones have become a prominent weapon in conflicts including Russia’s war in Ukraine and Hamas’ attack on Israel on Oct. 7, 2023.

“If there is one threat that keeps me up at night, it is from drones,” said New York City Police Commissioner Jessica Tisch, whose department is partnering with the FBI on drone mitigation.

Drones are prohibited over stadiums and fan zones, and Kachhia-Patel said the FBI has a “full suite of options” to thwart incursions. They include agents monitoring the sky and a “variety of means” to safely down the devices, he said without elaborating.

Before this year’s World Cup, the growing sophistication of AI videos was a particular concern, with officials warning that state actors can harness the technology to sow misinformation and panic.

On match days, the FBI will activate joint operations centers in each host city, bringing together local, state and federal law enforcement agencies to monitor and investigate threats.

“If there’s a video that shows an explosion going off at a site, and it’s AI-generated, we have people on the ground who can validate whether or not that’s true,” Kachhia-Patel said.

Opportunity for private tech

Some AI companies have pitched themselves to police departments in host cities, promising to comb through data and surveillance on game days to prevent threats, including unruly fan behavior.

“We know sports fanaticism around here in terms of the NFL and baseball to some extent, but nothing like international soccer,” said Jake Becchina, a police spokesperson in Kansas City, Mo., which is hosting six matches.

The department has contracted with Peregrine Technologies, which promises to sift through police data and publicly available information such as team practice locations and the country affiliation of popular bars, to get ahead of possible conflict.

In Dallas, a recent $120-million tech upgrade will give local police body cameras capable of real-time translations, helping law enforcement communicate with international visitors soon to descend on the region.

Several drone detection and mitigation companies are joining efforts to help federal agencies secure the skies.

One of those companies, Fortem, has claimed to have signed a multimillion-dollar contract with the Department of Homeland Security before the World Cup for an unusual drone mitigation strategy: quadcopters that can shoot nets at encroaching drones to trap them in midair. A Homeland Security spokesman declined to discuss the contract.

Just as the teams will aim to perform their best on the pitch, Giuliani said the security planning was a unique chance to “show off American exceptionalism.”

“If we do our job right,” Giuliani added, “nobody will be talking about security at the World Cup.”

Offenhartz, Sisak and Santana write for the Associated Press. Offenhartz and Sisak reported from New York, Santana from Washington. AP writer Alanna Durkin Richer in Washington contributed to this report.

In this week’s episode of The Envelope podcast, “Love Story” stars Paul Anthony Kelly and Sarah Pidgeon open up about inhabiting John F. Kennedy Jr. and Carolyn Bessette — and creating a cultural moment of their own.

Kelvin Washington: Welcome to the next episode of The Envelope, Kelvin Washington alongside Yvonne Villarreal; we got Mark Olsen as usual. And so you, my friend, had a chance to speak with stars of “Love Story” — Ryan Murphy, of course, tackling love with this. So it got me thinking, give me some real-life love stories that you’d like to see portrayed, maybe next season. Some love stories you always found interesting.

Villarreal: This one doesn’t have a tragic ending, and that’s why I want it. And that is Ina and Jeffrey Garten. “Barefoot Contessa”!

Olsen: I didn’t know that there was a great romance in her life.

Villarreal: Mark. You’ve never heard of Jeffrey? You don’t know Ina and Jeffrey. OK, this is why we need it. That man adores Ina and anything that she makes. Chicken, anything. This is a love story I need to see get the full display. I’ve read it in her book, but I need —

Olsen: So like “Julie & Julia.” Julia Child and her husband.

Villarreal: But cuter, sweeter, more adoring.

Washington: Loving the food theme here.

Villarreal: She’ll make anything and he thinks it’s delicious, and she laughs at everything he says, and I just want more of it, and I’m very curious what a Ryan Murphy take on Ina and Jeffrey would be.

Olsen: But see, that’s the thing. A Ryan Murphy take on that would ruin it for you.

Washington: That would be dramatic and spicy. Salacious.

Villarreal: Nothing could ruin it for me.

Washington: You got one?

Villarreal: Yeah, what’s yours?

Olsen: Well, I have two. One is because the sort of the ’90s vibes of “Love Story.” So you would obviously do Kurt Cobain and Courtney Love. And that one would be very exciting and dramatic and very ’90s-ish. But I think for more of a torn-from-the-headlines [version], Taylor Swift and Travis Kelce.

Villarreal: It’s too current.

Olsen: That’s why though.

Villarreal: How about you?

Washington: So I’m gonna stay with your ’90s. Instead of the pop grunge. I’m going to go R&B pop. I’m going to go Bobby and Whitney.

Olsen: I mean, that’s gold right there.

Washington: I’m just saying. You got love, you got fame, you got tragedy. You’ve got stuff that we didn’t know about behind the scenes.

Villarreal: Maybe he could hire us as head writers for each of these seasons and we can all have our say.

Washington: We can all have our own season. So as I mentioned, Yvonne, you had a chance to sit down with Paul Anthony Kelly and Sarah Pidgeon of “Love Story.” How’d that chat go?

Villarreal: They play John F. Kennedy Jr. and Carolyn Bessette, respectively, and it sort of looks at this seven-year tumultuous relationship and what they both endured navigating the spotlight and what that did to them, how they each felt about it. So it was interesting to get the take from Paul and Sarah about how they’re also navigating the spotlight, because I feel like social media fame is quite different than what John and Carolyn were navigating back then. And I was curious to see what it was like for them. So yeah, it was an interesting conversation.

Washington: All right, let’s get into that conversation now.

Sarah Pidgeon and Paul Anthony Kelly, the breakout stars of FX’s “Love Story.”

(Jason Armond / Los Angeles Times)

Villarreal: I imagine doing this series has been a sort of singular experience. What do you want to remember about this moment that you’re in?

Kelly: All of it’s so fun, it’s exciting. It’s definitely, for me, a new muscle that I’m learning to use and explore and stretch and flex. And I get to hang out with her a little bit more. It was wonderful.

Pidgeon: I think it’s just really hard to contextualize what this [is] — [to Kelly] I don’t know if you feel this way too — because there hasn’t been a ton of space from even the show having all the episodes come out. I don’t think I totally understand how this fits into the story of my life. I recognize that we’re experiencing something very exciting. And I think I speak for both of us that we feel really grateful and so honored to have taken on these roles and that it’s resonated and has excited people. But being out and about in New York and someone stops you and says, like, “Are you that girl from that show?” … When you’re making something, it can feel so insular. I remember when I started, I had a freak out sort of midway through like, “Oh, this is actually going to come out. It’s not just about the making of it. People will see it.” I had a huge heat rash. [To Kelly] Remember when we were in Hyannis Port? I just haven’t totally had that perspective. It’s just been very full-on in the most exciting, lovely, happy way.

Kelly: It’s all unfolded in succession. There’s been no period of time to really process. I can’t believe I did it, still. It’s out and it’s exactly the same thing … people are like, “Hey, you’re the guy in that thing, right?” I’m like, “Yeah.”

Villarreal: Has it happened in an awkward way?

Kelly: No, no, it’s all been overwhelmingly positive. I guess that’s best-case scenario, but I still try to walk around with a mustache and glasses and a hat and they’re still like, “Hey …!”

Villarreal: You didn’t try to go to the [JFK Jr.] look-alike contest in New York?

Kelly: Oh, my gosh, no.

Pidgeon: He would have won. That wouldn’t have been fair.

Kelly: It’s too many people. I got the show, so I think I already won.

Villarreal: A big theme of the series is exploring the heavy ramifications of fame on privacy. And aside from the great opportunities that come with doing the press or other things that come along with this, what has it been like adjusting your life to this experience?

Pidgeon: That idea was on both of our minds when we were filming. And we were filming in New York, so apart from the scenes and subject material we were exploring, we actually experienced it in real life as well. You have even more characters in a scene when you’re shooting on the streets of Tribeca and people stop and watch. And there was a lot of interest from the public while we were filming. I’ve been marinating on that idea. Maybe not marinating, but meditating. [Or] a little bit of both. Through our characterization of Carolyn and John, I think we felt those extremes. I haven’t felt anywhere close to that. But I don’t know about you [Kelly], but I feel like I’ve been quite busy going different places, coming on podcasts and things like that where my downtime hasn’t really been spent walking the streets so much. It’s been kind of going home and taking a shower and going to sleep.

Kelly: Same. I haven’t really had much time to go out and just be in the public, which I think has been kind of a gift. I recently had a child, so I have no time between the show and being dad. It’s been really great to live within that little privacy bubble I have at the moment. I’m going to New York for the first time in a little while tomorrow.

Villarreal: Has living in their story made you more conscious of what types of boundaries you do want to set?

Kelly: Absolutely. That was a really great gift of the show. And exploring the exponential setting of what privacy means to people, certainly those two individuals. But now I’ve adopted that within my own life, and it’s like, “OK, yeah, I like to be a private person.”

Villarreal: What about you, Sarah?

Pidgeon: So much, at least for Carolyn, was she was constantly battling this sense of how she was being perceived. And I really admire her ability, whether or not she felt the pressure [to do so] — she never spoke on the record and never had to correct the record despite, in my mind, a lot of those allegations being false in the stories about her. That sense of sort of self-possession is quite admirable and, again, this is so new for the both of us. Being able to embody her, that approach and attitude towards it, is something that’s quite interesting to me. And I mean, it definitely has a lot of self-restraint attached to it, so who knows if I possess that as well.

Villarreal: The love story between John and Carolyn, as well as their fateful flight, generated a lot of media attention. And I know you, Sarah, were a toddler, at the time of their deaths; and you, Paul, were a young boy — and you’re a Canadian. What was your image of them in terms of the lore that surrounded them before making the series?

Kelly: Growing up in Canada, I was familiar with who he was. I became even more familiar with them after living in the States for a while. I was a model before, and I had been told I looked like him, so after being told that, you kind of do a little bit of research. Who is this guy? And I was like, “I don’t look anything like JFK.” But then I realized [they meant] JFK Jr. “OK, maybe; yeah, I do look like him a little bit.” So I became more aware of them after that. But growing up, it definitely wasn’t in my cultural zeitgeist, whatever you want to call it.

Pidgeon: I knew that Carolyn worked at Calvin Klein. I knew they were married. I knew their story. I was such a young child when they passed, but they remained so in the cultural conversation because, especially in 1999, they represented such hope in politics. And they’re such a modern couple, sort of breaking the rules of what those norms are, especially coming from such a storied family that has such legacy in the States.

Villarreal: There’s an overwhelming amount of source material from the Kennedy side, but less so on Carolyn. What proved to be most useful to you? What were the things that you turned to to study or figure out who she was?

Pidgeon: That was such a mystery. [I was] taking these still photographs, mainly paparazzi images — and now that I’ve had a few photos taken of myself, you hold yourself differently when you know someone’s taking a photo of you that you also don’t know. That plus videos of her, very few in which she was speaking. And some of the candid photos, mainly from when she was younger. I sort of laid those on top of each other and then used as many books that I could find and interviews that people would give who knew her. But there’s scarcity in terms of that information. That at times felt arresting, but at other times … there’s a lot of freedom in that. And I think that’s what was so interesting about playing this character that is so well known and yet very enigmatic. Finding her walk and thinking about how that changes over the course of nine episodes and six-and-a-half, seven years. How this woman with so much freedom and anonymity — 26 years old, living in New York City, barreling down these streets in the East Village — then changes when she’s the most photographed woman in America. How that perception changes you physically.

Villarreal: Her walk was very striking for me, because I’m like, I can’t move that way.

Pidgeon: Yes you can. You can get a pair of Manolos.

Villarreal: It won’t look as elegant as you, Sarah, but talk to me about finding that walk because, like you said, it shifts from when the onslaught happens. Did you work with a movement coach? Was that all you?

Pidgeon: Julia Crockett is so incredible. There’s not enough hours in the day to sing her praises. We started with a lot of what I just mentioned, the quotes that people said of how she moved. She spoke with her hands. She could be a fast walker — most people who live in New York are. If there was a video of what I was doing in these hotel rooms, they’d think I was absolutely crazy. Rolling around on the floor, isolating different parts of my body, making it as dramatic as possible, and working it into a circle of attention that felt real. And understanding we were both 5-10, which helps. I think tall women carry themselves in a certain way. But understanding that my body is still my body, and our production I don’t think was particularly interested in doing huge physical transformations in terms of prosthetics or things like that. But getting the shoes, walking around in my spare time in New York in heels, which Carolyn does in the show and Sarah Pidgeon does not. That really changes you and it changes how you feel. And just always having that through line of, “What were the touchstones of Carolyn as a young woman, and where did I want her to end up physically?” You can see it through so many different versions in these different photographs — her hair changes, how she dresses changes, the red lip. I [was] always remembering that there was a journey that I was going on: “How can the world close in on her? What does that feel like?” Also, not only putting it into my body first, but feeling it in my body, imagining that. And what are the images that come up? We thought about [her as a] mossy ball; very tactile, just rolling down these hallways in the Roosevelt Hotel in Hollywood.

Villarreal: Paul, you had about three weeks from when you got cast and when production started. And there’s ample stuff to sift through. How did you figure your way out through the noise? What was the thing that really helped you lock in to who he was?

Kelly: He narrates his father’s book, “Profiles in Courage,” and that for me was a great asset. I had to learn how to use my tongue in a different way than I’ve ever spoken before. His speech patterns are different. I worked with a dialect coach. I would listen to that all day, every day — amongst ’90s alt music, some Nine Inch Nails and stuff because that’s what John would do.

Villarreal: Was that what he was into?

Kelly: I think so. One of my favorite photos of him is a candid photo, and he’s wearing a Nine Inch Nails shirt. I’m like, “My guy! Here we go. I can relate.” I watched a lot of his interviews just to see how he kept his cool and composure. He was a very relaxed individual under extreme stress situations. The Larry King interview was a great one; I relied on [it] a lot. I also looked at a lot of images and saw how he moved through the world. I was a model before so I’m pretty good at understanding how my body moves and how to move it; I also worked with Julia pretty briefly, but she gave me some really great tips and I took those throughout the entire duration of filming and just ran with it.

Villarreal: Are you someone that takes bike as your transportation often?

Kelly: Oh yeah. Four wheels moves the body, two wheels moves the soul.

Villarreal: How is it doing it with the suit on?

Kelly: It’s hot.

Pidgeon: Yeah, you did a lot of that in July during a heat wave.

Kelly: Oh, my gosh, when we started filming, the first scene where John is introduced on the bicycle, we shot that on a Sunday and it was like 103 degrees outside and I’m in a ’90s wool suit. It was great … And a hat. And a backpack. There’s a photo where there’s several hands coming at me with fans and spritzer.

Villarreal: How about finding John and Carolyn together? What did that look like for the two of you, figuring out who they were as a couple?

Kelly: I feel like it happened organically. We had like this unspoken bond and trust with each other from the moment we met and it was just like, “OK, we both understand the assignment.” Then we get to step into these shoes and we understand what that was like, I guess, but just going through it together [helped]. It’s also so well written and it is easy to fall into that. It’s very easy to fall in love with this one every day and then fight.

Pidgeon: Oh, you flatter me.

Villarreal: Because you both were so young at the time that they were a couple, were there modern-day couples of your generation that you looked to in terms of how they dealt with the spotlight? Was there someone you were looking to, to help you understand it?

Pidgeon: I think they were pretty singular, especially considering so much of how we view them as a couple was the time in which they existed. I don’t think I can really point to a couple … obviously there’s a comparison with [Princess] Diana, but I can’t really I put my finger on a couple that had the same essence of John and Carolyn, or the same challenges and obstacles of being a couple in public life. [To Kelly] Can you think of anyone?

Kelly: Not really, no.

Pidgeon: It was also that we were coming in on this advent of paparazzi. Obviously coming from such an important family, there was — and I want to speak for you [Kelly] in terms of how you felt about your characterization of JFK Jr. — but there was so much investment in them as a couple because America, and really the world, had watched him grow up. So of course there is this heightened interest in who America’s son marries. And again, that hope that they were this modern couple, one that we’ve never seen before, and what will they become in this new millennium? In terms of finding them together, what was so wonderful about the writing of the show was they were — granted, it happened in about three or four episodes [for the show’s purposes] — but as we were getting to know each other, so were Carolyn and John. They were falling in love with each other and figuring out what that dynamic was and having those misfirings and miscommunications and moments of intensity and questioning. The amount of times I’ve used the word “meta” while talking about the experience of making this show, that sort of mirrored life in a way. I was able to just absolutely give over to Paul and trust him and be excited working with him every single day and be so curious about who John and Carolyn were that day on set. No one better than Paul Anthony Kelly.

Kelly: Oh, you flatter me.

Villarreal: There are a lot of scenes that are stuff that we’ll never know whether they actually happened. But then there are the moments that were played out in tabloids — one of them is the Bryant Park episode. What can you tell me about what that was like shooting on the streets of New York? What do you remember about that experience?

Kelly: What was it, the Nextdoor app called?

Pidgeon: Citizen.

Kelly: The Citizen app. They called it [a] “domestic dispute” … so we were obviously doing our job correctly. It was interesting. Shooting in New York is a very interesting experience because you have all these outliers just watching and gawking. Everyone’s got phones and cameras and what have you. And we’re so in it and doing it and then to have like this blowup argument over and over and again, take after take, angle after angle.

Pidgeon: I wonder if someone reported us just to be like, “Make it stop!”

Kelly: Yeah, exactly. Nobody tried to save you in the moment. Maybe that was them trying to save you [by posting it in the app].

Pidgeon: That was always something to contend with or accept, really, at a certain point. This is an expectation of working in the city. And what I really liked about that scene was that — considering there was such little videography of her, especially because that was a private moment that was unfortunately caught on tape — they both had less inhibitions. I found it [to be] a really amazing exercise as an actor to finally be able to really take something and mimic it exactly and find how the words that Connor [Hines] had written [aligned with it]; it felt like such a great sign when it felt the writing really matched what I physically knew to be true. Because our interest in the story is what happens behind closed doors, as you said. But in those few moments that we did re-create, the real-life [moments], it felt very reassuring as an actor to feel like the words that we were speaking matched the physical footage. I just found it such an exciting way to go about it, to have it really be this outside-in approach. You take this physicality and vocal pattern that I had developed as Carolyn, but then really have some proof for that to be the jumping-off point. I love that we had that scene; we had when they take their first photo after their wedding; we had, in Episode 9, the [Newman’s Own/George Awards] event. Remember that clip that we watched? We’re in the exact same outfits, and I think it’s the Newman’s Own event. I always appreciated those moments. It felt like a different way in to a character that I had really started to get to know at that point.

Villarreal: Whenever I watch something based on a true story or people that were like historical figures, I can’t help but Google to see if something really happened. Is there something you Googled in the process of making the show where you were like, “Did this really happen?”

Pidgeon: There’s a bit of speculation as to how they met. There’s a couple of different stories. Considering this couple was so well known, the fact that there’s still a mystery into how they even met for the first time I think is quite interesting.

Villarreal: I Googled — and I will say I clearly am not the only one that thought this because there was a whole story of it — “Did they really eat KFC chicken?”

Pidgeon: They did.

Kelly: Fine dining.

Pidgeon: You didn’t eat any chicken.

Kelly: Noooo. I got secondhand chicken. That chicken, oh my gosh.

Pidgeon: They did warm it up a bit, but it was pretty cold, you know.

Villarreal: We can’t talk about this show without talking about the wardrobe, the costumes. It’s such a key piece to the storytelling here. Tell me about that collaboration and what the clothes said to you about who Carolyn is and then who John is.

Pidgeon: Yes, clothes are incredibly important to the story and to how most of the public knows and remembers Carolyn. Working with Rudy Mance was so incredible. What he was able to source, while we’re not necessarily sure if they were pieces that Carolyn herself wore, they were the exact pieces of the exact same collection. The very few pieces we weren’t able to source, they were impeccably re-created. Just the attention to detail, I had never really experienced something like that. It was just really watching a master at work, and the rest of our crew as well; not a detail was ever overlooked. The mystery that we really tried to solve in the beginning was: Wow, there’s so many photos of her [from] ’95, ’96 and beyond; there are far fewer photos of what she looked like when she was working at Calvin Klein. And we’re in that space and that time for quite a while. From the photos that we do have of her living in this time in her life, and then how we know she will dress, what are the through lines? What are the pieces she repeats? I don’t think I wore much Prada in the first two, three episodes, which makes sense, because she was just starting out at Calvin Klein. We [had her wear] a lot of Calvin pieces. What was so insightful to playing her was her sartorial choices and her understanding of how, especially since she never spoke on the record, [and] what she can communicate through fashion and how in those initial fittings, even before I really spoke the words of those episodes, how it immediately changed how I held myself as Carolyn was growing and getting older. I keep referencing this quote about Yohji Yamamoto, a designer whom she wore frequently. He liked making the association with his clothing to armor. I just thought that was such a great way into her sort of mental state and how she approached clothing. It was very her, she wore the clothes. That was something that I had to remember, that if I was going to try and embody her, I had [to] feel like I was wearing the clothes because that’s what really stuck out. You always saw her first, despite her wearing some incredibly beautiful clothing. Carolyn was No. 1.

Kelly: John had such great style. Sometimes it was pretty kooky. I also loved that too because it just is such a sense of him. Working with Rudy was a dream. He and his team were incredible. They were able to source so many things. And if they couldn’t find it, it was a direct re-creation, like exact copy of what it was. I remember even just like those shorts with the Knicks logo that he wears playing football. I remember seeing a comment, “John would never wear those.” [Sighs.] “OK, sure.” There’s something about getting into those outfits that it just was this whole other transporting layer of becoming. You hold yourself differently in these things and it just made it feel more real and you’re like, “OK, cool,” and you just live in it and it feels good and you get slouchy and whatever. It was really nice.

Villarreal: How does your style compare? Did they influence your style now?

Kelly: Honestly, it’s a little different, but it’s not that far off. I feel pretty good in a suit. I like to wear suits a lot. I’m the suited heavy metal guy.

Pidgeon: You also have that cool factor about you too. I think there’s something in that with John. He looked great in a suit, he looked great in a tux, but then there was a bit of an edge to him. There was bit of a realness, I think, that you guys share.

Villarreal: Everyone’s trying to emulate it. So many TikToks of people trying to re-create it. Sarah, do you feel like you can never go back to brunette now? Like this is your thing now? You have to stick with it?

Pidgeon: The blond seems to be working. I like being a different hair color. I don’t think I’ll be blond forever. Simply too much time [involved]. It’s so much work. My colorist is amazing — Kari Hill. Cannot sing her praises enough. And Alex Pardoe, who does extensions. It’s been really interesting to find how I [am as a blond] — so much of my time being blond was embodying Carolyn. [Paul and I] would both sleep on the weekends. We wouldn’t do anything while we were shooting. So I didn’t really get a chance to take a walk in this new hair. And when I started dressing again, to go out, I would put on my favorite clothes from when I was brunette. It’s like, “Oh, it just doesn’t hit.” It’s been cool to see how I present and how color theory is crazy. But we’ll see, I guess it depends on how much time I have on my hands.

Villarreal: The series really grapples with the media invasion that swirled around them. What do you say to the critics that feel that a show like this either reignites that craze or contributes to it? What do you want the takeaway of a show like this to be?

Pidgeon: Thinking about one of the first questions you asked — how are we now dealing with with being potentially recognized — I think the intensity of interest in famous people, famous couples, celebrity, actors, musicians, you name it, artists, it’s changed shape, but it has never gone away. Our intention in making this show was, again, what we know about their lived reality, but what can we infer might have happened behind those closed doors. To the general public, [they were] sort of two-dimensional … I knew very little about Carolyn, but I ingested so many photos of her far before this project was ever on my radar. While I recognize this may have contributed to reigniting interest in them, I hope that that interest feels like there’s a more intimate understanding of these people; that they weren’t just figures, that they were people with very full lives, feelings, a profound sense of privacy, intense relation to each other, very, very human. I guess that would be my answer to that. I hope that this is also a bit of a lens or a mirror that, again, if that intensity hasn’t changed, how might we [change it] in the future?

SAN ANTONIO — Go crazy, New York. Or, perhaps more accurately, crazier.

The red-hot Knicks are going home, two wins away from an NBA championship that the capital of the world has been waiting to see for generations.

Jalen Brunson hit a go-ahead free throw with 9.5 seconds left after a turnover by Victor Wembanyama moments earlier, then Wembanyama missed a jumper at the end of New York’s 105-104 win over the San Antonio Spurs on Friday night for a 2-0 lead in the NBA Finals.

“What a ballgame,” Knicks coach Mike Brown marveled.

Karl-Anthony Towns had 21 points and 13 rebounds, while Brunson and Mikal Bridges each scored 20 for the Knicks. They have won 13 straight, the second-longest streak by any team in NBA playoff history.

“New York City showed up,” Towns said. “The fans showed up. The energy showed up. And we found a way to get it done.”

The Knicks are just the third team to win the first two games of a finals on the road, joining Michael Jordan and the 1993 Chicago Bulls, and Hakeem Olajuwon and the 1995 Houston Rockets.

Both of those teams won championships, the Bulls needing six games to oust the Phoenix Suns, the Rockets going home after winning those first two games in Orlando and sweeping the Magic. The Knicks, seeking their first championship since 1973, are in position to join them.

Wembanyama, after a very quiet first half, scored 29. De’Aaron Fox had 20 for San Antonio.

“We can’t change the past,” Wembanyama said, “We’re already thinking about Game 3.”

The series shifts to New York. Game 3 is at Madison Square Garden on Monday night.

New York Knicks guard Landry Shamet, left, celebrates with guard Mikal Bridges after making a three-pointer in the second half against the San Antonio Spurs in Game 2 of the NBA Finals on Friday.

(David J. Phillip / Associated Press)

President Donald Trump — a native New Yorker — plans on attending Monday. And ticket prices on the secondary market, for the worst seats at MSG, were approaching $9,000 apiece on Friday night, with Knicks fans evidently willing to pay tippy-top dollar just to be in the building as the team nears what would be its first championship in 53 years.

The Spurs were down 14 midway through the fourth and came all the way back — scoring the next 14 points to tie the game. Wembanyama’s three-point play with 57 seconds left gave the Spurs their first lead in nearly two full quarters, putting San Antonio up 104-102.

“We showed tremendous desperation, urgency and competitive response,” Spurs coach Mitch Johnson said. “Hopefully we can try to bottle that up … and try to play to that same level.”

But the Knicks got the last three, Brunson — the hero of Game 1 for the Knicks — getting them all.

Brunson scored on the next possession, just his seventh basket in 24 shots on the night, and the game was tied. Wembanyama missed a long jumper, OG Anunoby got the rebound for New York with 30 seconds left, the Knicks called time and the stage was set.

The Spurs got a stop, but Wembanyama threw the ball away. Brunson got fouled, the Knicks had the lead back and before long Spurs fans were filing out of the arena — possibly for the final time this season.

The Spurs called time with 7.5 seconds remaining. Fox took the inbound pass, then set up Wembanyama for a jumper that would have won it. The shot bounced off the rim, and it was over.

“We had to get a stop. We hadn’t gotten a stop all quarter,” Towns said.

They got their stop. Next stop: New York, where the hottest team in basketball knows an NBA title is just two wins away.

Reynolds writes for the Associated Press.

Comedian and “Saturday Night Live” standout Marcello Hernández will host this year’s ESPY Awards, ESPN announced Wednesday.

The event, honoring excellence in sports performance, will be broadcast live on ABC and the ESPN app from the David H. Koch Theater at Lincoln Center on July 15, making it the first ESPYs in New York City since 1999. For the last 25 years, the awards ceremony was held in Los Angeles.

“I started doing comedy 10 years ago, in Cleveland, Ohio, and I would take the train 12 hours to New York to sell comedy tickets on the street in Greenwich Village in exchange for stage time,” Hernández said in a statement. “It is an honor, and frankly feels crazy to be hosting the ESPYs this year in New York. I’m sure the energy is going to be great.”

Hernández recently headlined the biggest Spanish-language comedy show ever at the Hollywood Bowl as part of the Netflix Is a Joke Festival in May, and wrapped up his fourth season of “SNL” soon after. His first stand-up special, “American Boy,” premiered on Netflix in January.

He’s also a sports enthusiast, having grown up playing soccer and competing at the collegiate level during his time at John Carroll University in Ohio.

“Marcello is one of the most electric, young comedians today. His genuine enthusiasm for sports and his ties to New York City make him a natural fit to host this year’s ESPYs,” Craig Lazarus, ESPN vice president and executive producer of the ESPYs, said in a statement.

Hernández succeeds last year’s emcee, comedian Shane Gillis, as well as past hosts that include Jimmy Kimmel, John Cena, LeBron James and Peyton Manning.

In January, Puck reported that the change in venue is an effort to capitalize on the popularity of Fanatics Fest, the massive sports festival taking place in New York’s Javits Center from July 16-19, which also coincides with the World Cup final on July 19 at MetLife Stadium in New Jersey.

“This return to the heart of Manhattan brings the celebration of sports back to its roots for an unforgettable night at an iconic cultural landmark,” an ESPN spokesperson said in a statement.

“Hell’s Kitchen,” the Alicia Keys musical that has landed at the Hollywood Pantages Theatre in a blaze of rousing sound, deploys the R&B star’s glorious treasure trove of work in the service of a semi-autobiographical version of her coming-of-age story in the Manhattan neighborhood that gives the show its title.

The Hell’s Kitchen of Alicia Keys’ story, set in the 1990s, isn’t the gang-ridden Hell’s Kitchen of West Side Story, set in the 1950s. Keys grew up in Manhattan Plaza, a federally subsidized residential complex that provides affordable housing for artists. But for a teenager in rebellion from her watchful mother, the vibrant, music-filled street life comes with its share of dangers.

Kennedy Caughell as Jersey and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Ali (Maya Drake, who’s making her professional debut in this North American tour production) is a 17-year-old ready to break out of the cage her mother, Jersey (Kennedy Caughell), has placed her in. Jersey, a single mom, isn’t a tyrant. She just doesn’t want to see her daughter make the same mistakes that she did, namely get pregnant at a young age before she’s had a chance to realize her own dreams.

The book by playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) is structured around a loving but combustible mother-daughter relationship amid the creative ferment of New York. This artistic neverland is crystallized in the apartment building that has music pouring out of every floor when Ali rides the elevator.

Maya Drake as Ali and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

The story isn’t the strong suit of “Hell’s Kitchen,” which is powered by Alicia Keys’ versatile catalog, which has been supplemented with original material. The hits — “You Don’t Know My Name,” “Girl on Fire,” “Fallin’,” “If I Ain’t Got You,” “Like You’ll Never See Me Again,” “No One” and “Empire State of Mind,” among them — reverberate inside the Pantages with a thrilling exuberance.

What’s most impressive, however, is the way these tracks have been arranged both musically and dramatically. Jukebox musicals are notorious for shoe-horning in beloved songs without regard for storytelling integrity. “Mamma Mia!,” which crammed in as many ABBA hits as possible, hardly even bothered to find pretext for their inclusion. The lucrative example paved the way for more than two decades of musical theater shamelessness.

The company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

“Hell’s Kitchen,” directed by Michael Greif, takes a more dignified approach, raiding Keys’ greatest hits in a way that doesn’t cause dramatic offense and better yet, adds a layer of surprise to music that is so well known.

The songs are allocated in unexpected ways. Numbers that you might think belong to Ali are divided among the company. Jersey is first in line, and Caughell makes the most of her opportunities. But sharing in the bounty are Davis (Desmond Sean Ellington), Ali’s mostly absent and chronically unreliable father; Knuck (Jonavery Worrell), Ali’s forbidden love interest; or Miss Liza Jane (Roz White), a pianist who lives in the building and becomes Ali’s formidable mentor.

There are other characters who offer luminous assistance, but these are the principals in a musical tale built around Ali’s central relationships. Keys’ origin story is more dynamic on an atmospheric than dramatic level. A mother having difficulty with her boy-crazy teenage daughter isn’t exactly breaking any ground, and Diaz avoids venturing into more turbulent territory. Ali’s divided identity, stemming in part from an all-too-present white mother and all-too-missing Black father, sets up issues that are touched on but never deeply engaged.

Desmond Sean Ellington as Davis and Kennedy Caughell as Jersey and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

Miss Liza Jane spots Ali’s musical gift right away and fills her with a sense of pride and responsibility in her Black heritage. But her character’s role is somewhat earnestly compartmentalized. Knuck recognizes that Ali’s fascination with him stems in part from the way she sees him, much as her mother does, as a “thug.” But their tentative affair is secondary to the complex bond between Ali and Jersey, whose troubled connection with Davis helps Ali understand why her mother is so paranoid about her romantic choices.

But these concerns fall away when the performers start singing. Drake has a beautiful voice, but her Ali is slighter than that of Maleah Joi Moon, who won a Tony for her Broadway debut performance. I didn’t mind that Davis sings “Fallin’,” as Ellington has a voice of luscious thunder. Worrell’s Knuck more than holds his own with his duets with Ali. (In fact, I was more taken by his velvety interpretation of “Like You’ll Never See Me Again” than Ali’s more straightforwardly pretty version.) White’s Miss Liza Jane takes the Pantages audience to church in her numbers. And when Caughell magnificently directs “No One” to Ali, I can’t imagine there’s a dry eye in the house.

Desmond Sean Ellington as Davis and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.

(Marc J. Franklin)

This tour production isn’t crisp in all areas. The dancing isn’t always smooth, the costumes struck me as a road show idea of New York cool, and the acting didn’t do much to compensate for some of the book’s less subtle moments.

But the energy of the production is infectious. “Hell’s Kitchen,” a New York story of a wunderkind discovering her gift, helped me get over my allergy to the jukebox genre. The soaring quality of the orchestra and the delectable company of voices pay exhilarating homage to a singular artist, who seems right at home at the Pantages.

MIAMI — The Trump administration has quietly instructed federal prosecutors in Miami to avoid pursuing criminal investigations into Venezuela’s acting President Delcy Rodríguez, a longtime target of the U.S. Drug Enforcement Administration, according to current and former U.S. law enforcement officials, in the latest sign of warming relations between the White House and the oil-rich nation.

It’s unclear whether prosecutors had implicated Rodríguez in any crimes or whether investigators were moving toward an indictment. A Justice Department spokesperson said in an email “there was never an investigation into her to shut down.”

But DEA records obtained by the Associated Press earlier this year show she consistently surfaced on the radar of federal law enforcement dating to at least 2018, though she has never been criminally charged in the U.S. like several other senior Venezuelan officials.

The directive to pause scrutiny into Rodríguez was meant to avoid upsetting the administration’s efforts to stabilize Venezuela after the capture of her predecessor, Nicolás Maduro, among other reasons, a current official said. It was not clear whether the White House, which deferred comment to the Justice Department, was involved in the decision.

“Everybody has been told to stand down,” one of the former officials said.

The former officials, who had been briefed on the development, as well as the current official all spoke to the Associated Press on condition of anonymity because they were not authorized to publicly discuss internal deliberations.

Rodríguez, a U.S. attorney representing her and the Venezuelan Communications Ministry didn’t respond to requests for comment.

The move eases pressure on Rodriguez

Removing the threat of potential indictment, even temporarily, eases pressure on Rodríguez as the Trump administration seeks to work with the acting leader to stabilize Venezuela after Maduro’s ouster and open the country to U.S. investment.

President Trump praised Rodríguez as a “terrific person” shortly after the U.S. military took Maduro and his wife to New York to face federal narcotics charges. Both have pleaded not guilty.

In recent months, the U.S. has lifted sanctions against Rodríguez and recognized her as Venezuela’s sole head of state, allowing her to re-establish ties with western banks and more freely work with U.S. investors seeking to tap into the world’s largest petroleum reserves. As ties between the two governments have deepened, some have held out the Venezuelan playbook — characterized by oil blockades, indictments of top leaders and threats of military intervention — as a model to drive regime change from within as the U.S. pressures other longtime adversaries in Iran and Cuba.

Rodríguez and her brother, Jorge Rodríguez, the head of the National Assembly, were hit with U.S. sanctions during Trump’s first term for their role in undermining Venezuelan democracy and cementing Maduro’s authoritarian rule.

Rodríguez “is doing a great job,” Trump wrote on social media in early March. “The Oil is beginning to flow, and the professionalism and dedication between both Countries is a very nice thing to see!”

In recent months, Rodríguez has hosted ceremonies with a steady stream of American oilmen, some of them partaking in high-profile delegations led by U.S. Energy Secretary Chris Wright and Secretary of the Interior Doug Burgum.

Election talk deferred amid Trump’s praise

Missing in all the mutual backslapping is any talk of elections, even as Rodríguez last month blew through a 90-day limit set by Venezuela’s high court to fill Maduro’s position on a temporary basis.

“I don’t know,” she responded in English when a visiting U.S. journalist earlier this month shouted out a question about her time frame for holding elections. “Some time.”

Sen. Jeanne Shaheen of New Hampshire, the top Democrat on the Senate Foreign Relations Committee, has demanded the administration explain its favorable treatment of Rodríguez, calling her a “central figure in Nicolás Maduro’s repressive regime.”

“Sanctions have been lifted on Ms. Rodríguez without any indication that she has taken concrete and meaningful actions to restore democratic order,” Sheehan, joined by Sen. Elizabeth Warren of Massachusetts, wrote in a letter to Secretary of State Marco Rubio and Secretary of Treasury Scott Bessent last week.

Rick de la Torre, a former CIA chief of station in Caracas, said that the decision to shield Rodríguez fits well with the Trump administration’s foreign policy goals in Venezuela.

“She’s a lifelong Marxist and was a senior leader of one of the world’s most corrupt regimes but the U.S. is providing her with breathing space and carrots to lay the foundation for democracy and U.S. investment,” said de la Torre, the CEO of Tower Strategy, which advises companies on Venezuela.

“There’s a shelf life to her utility, however. At some point she will face justice,” he added.

Rodríguez has been on DEA’s radar since 2018

The DEA had amassed a detailed intelligence file on Rodríguez dating to at least 2018, and has received allegations about her ranging from drug trafficking to gold smuggling, the AP reported earlier this year. One confidential informant told the DEA in early 2021 that Rodríguez was using hotels in the Caribbean resort of Isla Margarita “as a front to launder money,” the records show.

Her name has surfaced in nearly a dozen DEA investigations — several of which remained ongoing as recently as this year — involving field offices from Paraguay and Ecuador to Phoenix and New York. She had even been linked to Maduro’s alleged bag man, Alex Saab, whom U.S. authorities first arrested in 2020 on money-laundering charges, the records show.

Rodríguez deported Saab this month as part of a purge of insider businessmen who are accused of having enriched themselves through corrupt dealings with Maduro.

It’s unclear in which Miami investigations Rodríguez’s name surfaced. Two of the former officials said Rodríguez has also come up in meetings with investigators in Tampa, Fla., tasked last year by former Atty. Gen. Pam Bondi with looking into financial crimes in Venezuela.

At the time, Rodríguez was serving as Maduro’s vice president. Justice Department policy requires the attorney general to personally approve the charging of any foreign head of state, who are normally immune from prosecution under international and U.S. law.

Halting high-profile criminal probes of foreign leaders

The pausing of the investigations into Rodríguez comes as the Trump administration has similarly tapped the brakes on ongoing federal investigations into another prominent Latin American leftist, Colombian President Gustavo Petro.

The DEA had also designated Petro a “priority target” over alleged ties to drug traffickers that had been probed for months by federal prosecutors. The New York Times reported in March that U.S. officials recently assured the Colombian government Petro does not face charges in those cases.

Duncan Levin, a former prosecutor who worked for the U.S. attorney’s office in Brooklyn, said it would be “deeply troubling” for law enforcement to be “told to stand down from a legitimate investigation for political or transactional reasons.”

“The White House cannot use criminal enforcement as a diplomatic light switch,” Levin told AP. “DOJ decisions are supposed to be based on law, evidence, policy and public safety — not on whether a foreign official is useful to the administration at a given moment.”

Goodman, Richer and Mustian write for the Associated Press. Richer reported from Washington and Mustian from New York. AP Writer Regina Garcia Cano in Mexico City contributed to this report.