WASHINGTON — The Department of Justice has charged nearly a dozen people with participating in a multimillion-dollar scheme to help hundreds of Chinese nationals fraudulently obtain green cards through sham marriages to U.S. citizens, officials said Wednesday.
American citizens were paid as much as $30,000 to enter into bogus marriages with immigrants seeking lawful permanent resident status as part of the scheme orchestrated from New York, according to court papers. The defendants charged up to $100,000 per green card, bringing in tens of millions of dollars over the course of the decadelong scheme, according to officials.
Authorities say they believe the group arranged more than 1,000 sham weddings, describing it as one of the largest marriage fraud prosecutions in U.S. history.
“This scheme was not a quick, fly-by-night operation but rather a yearslong, multibillion dollar cottage industry to criminally assist people who would not, or legally could not, otherwise become citizens of the United States,” Atty. Gen. Todd Blanche told reporters.
The charges come against the backdrop of the Trump administration’s restrictions on both legal and illegal immigration that have sought to crack down on who is able to enter the country or become a citizen.
After recruiting U.S. citizens, the defendants would arrange fake weddings and in some cases stage photos of families at places such as restaurants afterward to make them look legitimate, according to officials. The defendants would then help the immigrants through the lawful permanent status application process.
“These schemes have real cost. They rob our country of its ability to know who should be and who should not be allowed in America,” Blanche said.
The 11 defendants, including people accused of officiating the sham weddings, are charged in an indictment filed in New York. It was not immediately clear Wednesday whether they had lawyers to speak on their behalf.
Betye Saar, a Los Angeles artist who transformed collections of bigoted bric-à-brac — Sambo dolls, ceramic mammies and crude renderings of pickaninnies — into potent works of assemblage that mined the searing history of race in the United States, and whose works influenced generations of artists, has died. She was 99.
Saar died in her sleep — just a few days short of her 100th birthday — in Los Angeles, her longtime gallerist Julie Roberts at Robert Projects said. Saar’s death was confirmed by her publicist Hannah Gottlieb-Graham.
“Betye Saar was one of the greatest artists of our time, and it has been an immense honor to work with her for nearly 20 years,” Roberts said. “Her singular vision transformed the course of contemporary art, and her legacy will continue to inspire generations of artists, scholars, and audiences around the world.”
A diminutive woman with a low-key manner that belied a steely resolve, Saar was known for combing garage sales, flea markets and junk piles for objects that she employed in collages and assemblages large and small. These explored difficult aspects of American history — including slavery and Jim Crow — but also touched on more personal themes of family, memory, magic and spirituality.
“My work has to do with recycling,” she told a documentary crew in the 1970s. “Each item I collect has a certain energy from its previous function that carries over into its new use.”
Artist Betye Saar in her Laurel Canyon home in 2016.
(Gina Ferazzi / Los Angeles Times)
In a 1984 profile, Times art writer Suzanne Muchnic described Saar as an artist who used found objects in a way that “draws on the power of mystery, the hurt of discrimination and the authenticity of individual vision.”
As Saar’s 100th birthday approached, her work and its groundbreaking importance were celebrated afresh in a slew of articles, including two recent profiles in The Times. As she approached the momentous milestone, Saar appeared more interested in creating new art than in dissecting her legacy. “That’s what art is,” she told The Times in an interview in late June. “Making something where there was nothing.”
Saar first rose to prominence in the 1970s, after crafting a small assemblage — roughly the size of a shoebox — that featured at its center a stereotypical Black mammy figurine bearing a rifle in one hand and a grenade in the other. The piece was first shown at the Rainbow Sign, a community center in Berkeley that was located near the headquarters of the Black Panthers.
The artist had begun her professional life as a designer of greeting cards and home accessories. But 1972’s “The Liberation of Aunt Jemima,” as the assemblage was called, catapulted her into the center of the Black Arts Movement and connected her with a broader tradition of assemblage in California and the art world at large. Three years after its creation, she had a solo exhibition at the Whitney Museum of American Art in New York. Decades later, activist Angela Davis credited “The Liberation of Aunt Jemima” with spurring the Black women’s movement.
“It’s like they abolished slavery, but they kept Black people in the kitchen as mammy jars,” Saar said in a 2015 interview. “I had this Aunt Jemima, and I wanted to put a rifle and a grenade under her skirts. I wanted to empower her. I wanted to make her a warrior. I wanted people to know that Black people wouldn’t be enslaved by that.”
In June 2020, in the wake of the uprisings following the murder of George Floyd, Quaker Oats announced that it would retire the Aunt Jemima brand. Saar took to Instagram with an image of her famous work and a message: “She’s liberated! Finally at long last! And it’s about time!”
“Liberation” now resides in the collection of the Berkeley Art Museum and Pacific Film Archive, not far from where it was first shown.
Betye Saar was born Betye Irene Brown in L.A. on July 30, 1926, the eldest of Jefferson Maze Brown and Beatrice Lillian Parson‘s three children. Her father, with whom she was close, died when Saar was about 5. And shortly thereafter, Parson relocated the family to Pasadena to live with her maternal aunt, Hattie Parson Keys. (Years later, Saar created a series of works in honor of Keys, employing objects that her aunt had left behind — something she would do for other family members as well.)
Saar’s parents weren’t artists, but art was in the air. When she was a child, her mother encouraged her to sew and make crafts. And, in the summers, she spent time at the home of her paternal grandparents in Watts, where she saw Simon Rodia building the Watts Towers and was struck by his use of materials.
“The one I find the most amusing is the corn cob,” she told the podcast “The Modern Art Notes” in 2016. “He had a piece of space with wet cement so he just put the corn cob in there. And I just love the kind of freedom to make the piece. Anything can go in there.”
After graduating from high school, Saar spent two years at Pasadena City College before transferring to UCLA in 1947. She majored in design, figuring that she would become an interior decorator — and, for a time, she did indeed work in that field, teaming up with Curtis Tann to form a cleverly named studio called Brown and Tann. Operating out of Tann’s home, the company produced an array of decorative and functional objects, including bowls, ashtrays and jewelry.
To market their goods, they turned to an informal network of African American artists, staging pop-up exhibitions in people’s homes and in other impromptu locations. In 1951, the pair was featured in Ebony magazine.
It was through that circle that she met a ceramicist of German American descent by the name of Richard Saar. In 1952, they married. The following year, their daughter Lezley was born. Two other daughters followed: Alison in 1956 and Tracye in 1961. (Lezley and Alison are now respected artists in their own right. And, in fact, on more than one occasion, all three women have shown their work together, most recently at the Museum of Art & History in Lancaster in 2018.) In 2024, the Equal Justice Initiative Legacy Gallery installed Saar’s “Seeking Secrets of Destiny” alongside her daughter Alison’s sculpture “The Beckoning.”
Betye Saar, flanked by her daughters, stands before a painted brick wall.
(Carolina A. Miranda / Los Angeles Times)
In 1962, the Saar family moved to a rambling hillside home in Laurel Canyon, then a very rustic part of L.A. It put them in a hotbed of hippiedom right as the 1960s got rolling.
“Down the road was Frank Zappa,” Saar recalled in one interview. “There weren’t that many houses. We had the long skirts and long hair, and it was very casual. You’d go to a love-in or a concert.”
“We were as hippie-ish as hippie could be, while still being responsible.”
By the late ‘60s, she and Saar had divorced. But she remained in Laurel Canyon, where she would live and work until the end of her life.
Saar came to art almost by accident. In the late 1950s, she enrolled at Cal State Long Beach to pursue a master’s degree so that she could teach. But a stroll through campus led her past the university’s printing department.
“I walked past the print workshop and I was like, ‘Heyyy!’ ” she later recalled.
The master’s degree never happened. Instead, she poured herself into printing.
“I loved making prints,” she recalled. “The move into fine art, it was liberating. It gave me freedom to experiment.”
A pair of other, longer journeys, also proved formative.
There was a trip to Chicago’s Field Museum, where she immersed herself in the institution’s extensive collection of African art, followed by a trip to Haiti in the early 1970s. Saar was drawn to the Caribbean nation because of her interest in voodoo and magic — and the power that these could confer on inanimate objects.
“In the early 1960s I began going to coffee houses and they’d have books on the occult,” she told the New York Times in 1978. “I was attracted to signs and diagrams of alchemy and palmistry, and I began to use them in my prints. I also haunted second-hand and junk stores, and I started to frame my prints in old window frames.”
But it was a visit to an exhibition of the work of Joseph Cornell at the Pasadena Art Museum (now the Norton Simon Musuem) that inspired her to take a three-dimensional turn in her work. Saar was moved by the surreal qualities of the New York artist’s intimately scaled assemblages, which were often presented in small boxes.
“I immediately started collecting stuff after I saw that show,” she told the L.A. Times in 2016. “I started going to yard sales and estate sales.”
During the ‘60s and ‘70s, she took on a series of part-time jobs to provide for her children, designing costumes at a cultural center and teaching at area art schools. These provided her with necessary income, but also allowed her enough time to make work — which she often did at the kitchen table.
“Art comes from the heart and the head,” she once said. “You don’t need to have a separate space in which to make it.”
Plus, art gave Saar a crucial political voice at a time of the civil rights and Black power movements. “If you are a mom with three kids, you can’t go to a march,” she once stated, “but you can make work that deals with your anger.”
“The Weight of Betrayal,” 2015, by Betye Saar.
(Brian Forrest / Roberts Projects)
In her assemblages, she incorporated symbols that channeled dark episodes of U.S. history and African American struggle: the schematics of slave ships, the hackneyed images of vintage kitsch and the cruel sobriquets used by white supremacists to describe Black children.
At first she was apprehensive about using this type of imagery in her work. “Blacks were ashamed of those derogatory images,” she told the New York Times. “I like to think I recycled those images from negative to positive.”
But there was power in those images — and Saar knew just how to harness it.
She would go on to deploy these tropes in myriad ways throughout her career — in particular the stereotypical figure of the Black mammy.
This included one particularly potent work: a glass bottle featuring the visage of a smiling mammy, which she transformed into a Molotov cocktail. The piece, which for decades had been in a private collection, reappeared in the traveling exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” which went on view at the California African American Museum (CAAM) in 2017.
“Historically, the mammy was the ultimate image of Black female servitude in the American psyche,” wrote historian Steven Nelson in the catalog that accompanied a 2017 exhibition of Saar’s work at the Craft Contemporary (then known as the Craft & Folk Art Museum). “She was kind and giving. She cooked and cleaned and did the laundry. She took care of the children. She was harmless.”
By arming her mammies with revolvers, rifles and bullets, Saar turned a symbol of servility into one of militancy and power.
“Liberation of Aunt Jemima: Cocktail,” 1973, shown at the exhibition “We Wanted a Revolution” at CAAM in 2017.
(Jonathan Dorado, Brooklyn Museum / Betye Saar, Roberts Projects)
Her work also frequently touched on the personal: family, dreams, magic and the body (particularly the Black female body). In the process, she influenced a younger generation of artists, key figures such as Houston Conwill, Senga Nengudi and David Hammons.
“You can really see the impact she had on them,” said Kellie Jones, a scholar and independent curator who organized “Now Dig This!: Art and Black Los Angeles 1960-1980” at the Hammer Museum in 2011. “She had this multimedia practice. It was about Africa, but it was about the world. She has works with Mexican milagros, she has titles in Spanish, she at certain points has Asian influence and Haitian influence. She was really looking at the globe. She was a person in the world, and she really modeled that for people like Hammons and Conwill and Nengudi.”
Saar’s work resides in the permanent collections of more than 80 international museums, and in recent years, she was the subject of solo shows at the Museum of Modern Art in New York, the Prada Foundation in Milan and the Scottsdale Museum of Contemporary Art in Arizona (which hosted a retrospective).
In L.A., she had regular exhibitions at her Culver City gallery Roberts Projects, as well as one-woman shows at CAAM and the Craft Contemporary. In 2019, a small but potent show at the Los Angeles County Museum of Art explored the ways in which her drawing process factored into her assemblage work. But a full retrospective at one of her hometown’s major museums eluded her.
Saar told The Times that she didn’t let it bother her: “I’ve always done what I did and never felt I was competing with what was going on.”
An installation view of “Mojotech,” 1987, by Betye Saar at the Scottsdale Museum of Contemporary Art.
(Tim Lanterman / Scottsdale Museum of Contemporary Art and Roberts Projects)
If anything, she competed only with herself.
Well into her 90s, she continued to get up every day to craft assemblages out of the objects she had amassed in her studio. At 96, she scoured the Huntington Library gardens for a commissioned installation she called a “full-circle” project.
“I used to come to the Huntington with my mother when I was a child. She loved to garden, especially African violets, and she passed that love of plants and nature on to me,” Saar told the New York Times Style Magazine in 2024.
That love is palpable in “Drifting Toward Twilight” and its accompanying documentary, which sees Saar fawning over the orange tint of sloughed bark and the mystical qualities of garden scraps.
“Even in death those things can be really beautiful,” Saar said in the short documentary.
After working with a 17-foot canoe as a centerpiece for the Huntington exhibition, Saar told Curate LA that she felt compelled to return to small-scale pieces. The result was her 2024 Roberts Projects exhibit, “Betye Saar: New Work,” an objet trouvé medley in bronze and gold hues.
“At first, the new works were more nostalgic, with vintage photos and female ephemera, like gloves and such,” Saar said. “Then I brought in the tall ship bookends and African masks, and the works moved in a more ancestral and political direction.”
Even her grandson’s discarded computer parts made a cameo, a testament to Saar’s uncanny ability to mine inspiration from the most mundane objects.
“The worst problem for an artist is having nothing to say,” she once said in an interview. “I just have so many ideas. … Look at things that are important to you, what’s happening in your life. If you have that, you never run out of ideas.”
With her centennial on the horizon, Saar in 2025 formed the Betye Saar Legacy Group, a committee of her trusted curators and collaborators charged with preserving her vast archive and keeping her name fresh in the minds of new generations of artists.
A Saar biography penned by Zoé Whitley, who co-curated “Soul of a Nation: Art in the Age of Black Power,” is expected in 2027.
Saar is survived by her daughters Lezley, Alison (both artists) and Tracye (a writer), and her grandchildren Kyle Leeser, Maddy Inez, Sola Saar, Gen Saar Agustsson, Spencer Saar Cavanaugh, Megan Cavanaugh
Times staff writers Malia Mendez and Jessica Gelt contributed to this report.
Samantha Morton didn’t mean to start humming during that scene in “The Odyssey,” the scene everyone is talking about, when, as the sorceress Circe, she turns Odysseus’ men into pigs, literally molding them into their true savage selves.
It wasn’t in the script. It just happened. And when Morton was done, she looked over to director Christopher Nolan, waiting for him to say something like, “Maybe try it without the humming, Samantha.”
But Nolan didn’t say anything, so Morton did it again and the music that was swirling inside her head, which she remembers now as a symphony of glass harmoniums and theremin, kept coming out as Circe went about her witchy business, altering her gluttonous guests, who are busy slurping and gulping down her stew.
“These are sounds that can make you go mad, apparently,” Morton, 49, tells me, reclining on her bed at the Hotel Chelsea in New York. “So to transform the men, the magic came not just from my hands but from my sounds.”
Samantha Morton as Circe in “The Odyssey,” directed by Christopher Nolan.
(Melinda Sue Gordon / Universal Pictures)
Morton unabashedly believes in magic. How else, she asks, can you explain how a girl who was shuttled between children’s homes and a dozen foster families, only to be living on the streets of Nottingham, England, at the age of 14 with a criminal record, be here talking with me now, sipping green tea at the Chelsea?
“That’s got to be guardian angels and love — and not that I suddenly became good at acting and got a job,” says Morton, a veteran who’s been at it for 35 years, dazzling audiences and stealing scenes for the likes of Steven Spielberg, Jim Sheridan and, now, Nolan. “I’ve always believed that anything is possible and there’s no doubt in here,” and she pats her heart, “because I’ve always felt this immense love for me from another entity.”
When Morton heard that Nolan wanted to meet her for “The Odyssey,” she says she wept. If that sounds dramatic, she makes no apologies. She likens it to being an athlete who qualifies to represent their country at the Olympics. She’d spent decades honing her craft for that phone call. When it came, she flew to Los Angeles in January 2025 during the wildfires, embarking on what would become the best job interview of her life.
I ask her what she remembers about that meeting.
“I think it went really well,” Morton answers, laughing.
Morton told Nolan she hadn’t read “The Odyssey,” which, when you quit school at the age of 12, makes sense. Flying back home to England — she and her husband live in East Sussex with their children, 18-year-old daughter Edie and 12-year-old son Teddy — she recalled that, yes, she knew a bit of “The Odyssey” from having seen it parodied on an episode of “The Simpsons.” (“We’re ‘Simpsons’ mad in our house,” she says. “Like, mad.”)
But Morton doesn’t believe in bogging herself down in research, not since starring in a British TV production of “Jane Eyre” when she was 19 and carried around a heavily highlighted copy of the Charlotte Brontë book, despairing whenever the adaptation deviated from the novel. From that point on, she stuck to the script and her own imagination.
“That’s got to be guardian angels and love — and not that I suddenly became good at acting and got a job,” says Morton of her career. “I’ve always believed that anything is possible.”
(Ebru Yildiz / For The Times)
Thinking about Circe, Morton recalled going to the library with her dad (“We had nothing and were beyond poor, but he always had a library card,” she says) and finding the Howard Pyle fairy-tale book “King Stork.” She remembers being mesmerized by the story’s wicked witch. She recalls other witches from folk tales like Baba Yaga, frightening characters but also, she says, “women possessing an innocence that had been eroded over the years by the harshness of life.”
Morton does a playful verbal evasion when discussing the nuts-and-bolts aspects of shooting the scene where Circe transforms Odysseus’ men, saying that back in the day when behind-the-scenes features were prevalent on DVDs, she routinely declined to participate.
“I didn’t mean to be tricky, but it was like: This is my private moment. This is for me,” she says. “I do like the idea of a little mystery.”
But then a beat later, she laughs it off and dives in, remembering that her husband showed her an Instagram post from Nolan’s set revealing how the movie’s Cyclops was, in fact, a puppet.
“Oh my gosh — I love puppets!” Morton raves, and off she goes, telling me how much she adores Jim Henson and how “The Dark Crystal” is one of her all-time favorite films.
What she will say about her “Odyssey” scene is that there were no digital effects. Everything was real and “in camera” and that she was so in the zone that she barely remembers any of it, only flashes.
“That’s not CGI,” Morton says. “That’s human brilliance and a connectivity of me as a performer, almost dancing and feeling one. And not to say that it was sexual, but I wanted it to be very sensual when she’s with the men and the animals, just like, you know, that she’s almost one with them.”
“What was lovely about that,” Morton begins and then stops, wondering if she should draw back the curtain on the creative process. She goes ahead. “There was a day on set when Chris was like, ‘OK,’ and he put his hand in because I was a little scared. It’s like that scene in ‘Raiders of the Lost Ark’ where he puts his hand in the thing, and you’re like, ‘Oh no!’ I was a little nervous, but Chris did it first. I think he actually cut his finger.” She giggles. “You know, he’s going to go in first, like getting into the cold water in the sea. I felt protected and supported in that whole process.”
When Odysseus’ men arrive at Circe’s home, hungry, asking to be fed, Circe seems frightened — understandably so. She’s alone, and these soldiers have a history of pillaging and taking what they want. And yet, she’s a powerful sorceress. Is Circe really scared or tricking them to lure them in?
“I played that like she was genuinely frightened because she was caught off-guard,” Morton says. “I also wanted to play somebody that was all ages, so I played her like a 16-year-old girl in that scene. And then in other scenes, I’m playing her as a 90-year-old woman or a 49-year-old woman or a sister or a mother, a grandmother. I just wanted her to be ageless.”
Morton, looking out for Circe, stresses that transforming Odysseus’ men was not purely vengeful.
“It’s not just hate,” she says. “It’s not just harm. It’s not just anger. It’s almost like a Zen master within the goddess role of the teaching as well. ‘Be careful what you wish for,’ gluttony, greed, all of these things.”
There’s a righteous feminist rage underneath the scene as well, a modernization that brings “The Odyssey” fiercely and disturbingly up to date. It’s another reason why people leave are leaving the theater talking about Morton.
“In some weird way, the film lived or died over that character,” says director Nolan of Morton’s Circe, a creation of pure acting and no digital sorcery. “She was the fulcrum.”
(Ebru Yildiz / For The Times)
Nolan thinks “The Odyssey,” in some weird way, “lived or died over that character — she was the fulcrum.” He told The Times that “after one of her takes, the crew gave her a great round of applause.” Emma Thomas, Nolan’s producing partner and wife, later recalled that the last time that had happened was with Heath Ledger on “The Dark Knight.”
Morton makes a point of telling me how much Ledger meant to her, having been cast opposite him (and Odysseus himself, Matt Damon) more than 20 years ago in Terry Gilliam‘s 2005 fantasy adventure “The Brothers Grimm.” Miramax chief Harvey Weinstein overruled Gilliam, dropping Morton from the film because, in his eyes, she wasn’t attractive enough.
“And Heath fought for me with such kindness and compassion,” Morton says. “He’s up there with Philip Seymour Hoffman for me. There’s something otherworldly personal about what they gave, such sincerity and vulnerability and an absolute dedication to craft. They leave a mark on your heart.”
It’s not the first time Morton has invoked the heart in our conversation. She brought her son, Teddy, to New York for the premiere of “The Odyssey” because she wanted to show him the place where her creative spirit was born. Morton first came to New York as a teen to do press for “Emma,” returned a year later to promote “Jane Eyre” and then couldn’t bring herself to leave, “sofa-surfing” at friends’ apartments so she could immerse herself in the city.
“New York stole my heart,” Morton says. It’s where she first got into literature, devouring Charles Bukowski, roaming the aisles at the St. Mark’s Bookshop, checking out movies from Kim’s Video and gobbling hash browns and eggs over easy at the Waverly Diner.
Not long after, Morton scored the role that would land her the first of two Oscar nominations (for now, at least), playing the mute laundress in Woody Allen’s “Sweet and Lowdown.” The production put her up in a Greenwich Village apartment and when it ended, she moved to the East Village.
Only the diner remains but Morton still plans on touring the Village with Teddy, showing off all of mom’s old haunts and, yes, having a cup of soup at the Waverly.
“Life is good right now,” Morton says, smiling. “Who knows? Maybe I’ll indulge in some hash browns.”
He said the quiet part out loud. As the artistic director of New York’s Public Theater and one of the art form’s most prominent leaders, Oskar Eustis is known to do that. And as always, he got the art world talking.
When Eustis, 67, announced Wednesday that he would step down from his role at the Public in 2028 — after 23 years — he said in a New York Times interview that “the American nonprofit theater movement is over.” This has been whispered about and lamented since the COVID-19 pandemic led to temporary theater closures across the country that have since become permanent, but it is rare to hear it expressed so candidly.
Did Eustis, one of the key players in that vaunted movement — the man who helped foster “Hamilton” — really mean what he said? And if so, how does theater move on in the face of obstacles that at times feel as though they are scattered across an increasingly difficult course? In a wide-ranging follow-up interview with the Los Angeles Times, Eustis addressed the path forward.
Lin-Manuel Miranda and Phillipa Soo portray Alexander and Eliza Hamilton in “Hamilton.” The megahit premiered off-Broadway at the Public Theater under Oskar Eustis in 2015.
(Disney+)
It’s not an easy one, but Los Angeles theater leaders working in the trenches, including Tarell Alvin McCraney at Geffen Playhouse, Danny Feldman at Pasadena Playhouse and Snehal Desai at Center Theatre Group, already knew that. They talked with the Los Angeles Times about their plans at the crossroads reached by American theater in light of Eustis’ imminent exit.
Eustis traces the rise of the American nonprofit theater movement to the late 1950s when W. McNeil “Mac” Lowry, director of the arts and humanities program at the Ford Foundation in New York, began organizing existing regional theaters into a national movement.
“What happened during that period was that a consensus emerged,” Eustis said, noting that it was expressed in the form of national endowments, state arts agencies, public policy institutes and corporate philanthropic departments. “An idea of the common good was held throughout the country, and there were many stakeholders. And part of that idea of the common good was a broadly held belief that Americans deserved serious, non-market-driven performing arts.”
With no feudal background, America lacked a capital city like London or Paris designed to showcase the arts, so the idea spread across all 50 states. This led to the proliferation of the regional theater movement, said Eustis, as well as that of symphony orchestras and ballet companies.
“The explosion of the regional theater movement is actually, in retrospect, astonishing,” Eustis said. “From a few scattered theaters in the 1950s, by the early ‘70s, there were over 400 professional nonprofit theaters in every state of the union. Tens of thousands of people were employed. Millions and millions of audience members every year. That’s the field that I walked into in the early ‘70s.”
Fifty years later, those stakeholders have “absolutely zero consensus on whether theater should exist as a nonprofit performing arts field or whether we should exist at all,” Eustis said. “It’s gone.”
“We’ve kind of been living, in a way, off inertia of this old idea,” he added.
The great pandemic pause, along with the racial reckoning in the wake of George Floyd’s murder and the continued fracturing of a shared reality under President Trump, served to reveal how fragile that consensus was, Eustis said, and, “It’s not coming back.”
Where does that leave American theater in 2026?
“We’re faced with the need to prove to the people in our individual communities that we matter enough to them that they should support us,” Eustis said. “Now, that’s not a very bad demand to put on an art form.”
Except, as every theater that has lately dared put on a show created by new, experimental or unknown artists knows, it can feel like an insurmountable task.
Danny Feldman, artistic director of Pasadena Playhouse, said that the days of theaters underpaying talent are over.
(Brian van der Brug / Los Angeles Times)
Smaller theaters across the country, including many in L.A., have shuttered with staggering regularity in the last six years, which puts even greater pressure on the city’s most prominent nonprofits to shine a light on a sustainable model moving forward.
Feldman, Pasadena Playhouse’s artistic director, noted that Eustis represents the second generation of leaders of the “first chapter” of the nonprofit regional theater movement. “And that to me is what is now undeniably at the end.”
He said he and Eustis have discussed the subject at length. “We are now in a very different era. And the things that got us to this point are not the things that are going to get us to the next chapter.”
McCraney, Geffen Playhouse’s artistic director, said forging a path forward in nonprofit theater without succumbing to commercial pressure to produce only guaranteed hits requires the delicate balance of surfing.
“And there’s no better place to surf than in L.A.,” McCraney said over the phone from the Public, where he was meeting with Eustis and other theater leaders to share ideas. “I feel very connected to a bunch of folks who recognize that the regional theater model has always had to have radical vision, and that those radical visions need revision, because our most practical job is to make sure that communities have stories.”
Tarell Alvin McCraney, artistic director of Geffen Playhouse, compared the balancing act theater leaders must perform to surfing.
(Jay L. Clendenin / Los Angeles Times)
It’s not just the way theater tells — and funds — stories that must evolve. It’s the entire business model, the leaders note.
The beauty and the founding of the original regional movement, said Feldman, was artists saying, “New York is not just where it’s at. We’re going to go to our communities. We’re going to make things with and for them, and really build these ecosystems that are deeply entrenched in these local communities around the country. … And I think the underbelly of that — that maybe has not been discussed as much — was always an element of subsidized labor involved.”
In L.A. and elsewhere that meant a lot of artists in the front and back of the house working for incredibly low wages. The pandemic effectively put an end to that, and as workers demanded fair compensation, the cost of producing shows skyrocketed. Most theater leaders agree that part is as it should be. Eustis points to the recent unionization of the Public’s production department as a case in point.
“For the first time in history, everybody who’s swinging a hammer on our productions has health insurance,” he said. “They have it through the union. That’s a good thing. And it’s put a shock wave through the whole industry, but you know what? We figured out how to pay development directors. We should figure out how to pay carpenters. That’s part of growing up.”
Center Theatre Group Artistic Director Snehal Desai said Oskar Eustis’ departure from New York’s Public Theater represents a “pass the mantle” moment.
(Etienne Laurent / For The Times)
Desai, CTG’s artistic director, said he views Eustis’ decision to step down as a “pass the mantle moment.”
“Oskar has been a huge mentor to so many of us,” Desai said. “It’s up to us, the next generation of leaders, to figure it out, just as his generation did in the ‘60s, ‘70s and ‘80s when they built these institutions for us.”
At CTG that means exploring a new way of doing things including touring shows, intensive work in various communities and site-specific productions, all of which “can change the financials and the model of how we’re doing business.”
As for Eustis? He plans to leave the Public in the best possible shape for the next generation of artists, and never wavers from its core mission. “This is a theater of democracy that believes that the culture belongs to everybody,” he said.
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This month, “Cool Machine,” a riff on 1980s New York in the form of a tightly plotted crime novel, arrives from Colson Whitehead. It concludes his Harlem trilogy, they say. If you’d told readers two decades ago that Whitehead would become a bestselling crime novelist, they might have thought you were kidding. He started out writing innovative novels with such intellectual and stylistic punch that the MacArthur Foundation gave him a fellowship in 2002.
His written output is fun, fearless and fantastic. Where to start? Here’s a cheat sheet.
For N.Y. lovers
With “Harlem Shuffle,” Whitehead begins his crime trilogy in the 1960s in a furniture store with stylish midcentury stock whose owner, Ray Carney, is trying not to be a fence. Love the evocation of Harlem as a place with a cool interconnected community. Worry about that cousin who’s always trouble. The follow-up, “Crook Manifesto,” is set in the 1970s. All of New York City is at a nadir; Ray is on the straight and narrow, but needs an influx of cash (for Jackson Five tickets for his daughter). Then comes “Cool Machine,” secrets to be revealed when it hit shelves this week . And as a bonus, his essay collection “The Colossus of New York,” which is vivid, episodic and yet still a story: “Talking about New York is talking about the world.”
To break your heart
The novel “The Underground Railroad” comes from an imagined misunderstanding, logical for anyone who grew up riding subways: that the path to freedom for enslaved people that we call The Underground Railroad was in fact underground. In Whitehead’s hands, that imagining takes us through both time and place while making visceral the horrors of enslavement. The book won the National Book Award and the Pulitzer Prize and was adapted by Barry Jenkins into a limited series.
In a rare feat, Whitehead won the Pulitzer Prize a second time for his novel “The Nickel Boys,” another work of historical fiction dealing with the devastating effects of American racism. Based on the true story of a reform school where Black boys went missing, the novel pairs the stories of two teens, one a troublemaker and the other caught up by mistake. Barack Obama called it “a necessary read.” Cleverly structured, it seemed difficult to adapt, but director RaMell Ross made it into a brilliant film.
To blow your mind
In Whitehead’s debut novel, the not-realistic “The Intuitionist,” a Black female elevator inspector faces powerful forces aligned against her. Inflected with Thomas Pynchon-like wordplay and situations, it’s both ambitious and funny. So is “John Henry Days,” mixing narrative forms while telling the story of a Black journalist around the year 2000 going to every press junket he can, unmaking the myth of John Henry all the while. And “Apex Hides the Hurt” is a comic novel about the conflicts that arise in a small town when they hire a name consultant for a possible rebranding.
To eat your mind
Just around the time they started staggering onto TV, Colson Whitehead published a zombie novel. “Zone One” is a smart take on the shuffling hordes and pandemic survivors who try to take Manhattan back.
To beat the odds
Whitehead, an enthusiastic amateur poker player, wrote the nonfiction book “The Noble Hustle” about his entry into the World Series of Poker in Las Vegas. It was a luxurious time in media, circa 2011, when ESPN’s Grantland paid his $10,000 entry fee and said he could keep his winnings. The book, expanded from what he wrote for them, includes his training, pending divorce, joking asides and playing for high stakes.
To take to the beach
“Sag Harbor,” set in the mostly Black, affluent beach community in the Hamptons, is the closest Whitehead has come to writing a coming-of-age story. Taking place during the summer of 1985, Benji and his teenage friends banter about culture and get their first taste of freedom.
Colson Whitehead’s latest foray into the bent world of “reluctant fence” Ray Carney — “Cool Machine,” the third and final installment of his Harlem Trilogy — is an American epic disguised as a heist novel. It’s a dizzyingly brilliant measure of the versatility and depth of the acclaimed author’s literary talent.
Book Review
Cool Machine
By Colson Whitehead Doubleday: 368 pages, $30
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After writing two books dealing with monstrous historical trauma and institutional abuse — “The Underground Railroad” and “The Nickel Boys,” for which he won two successive Pulitzers — Whitehead pivots to an entirely new genre, subverting it, toying with it, making it wholly his own. And while the Harlem novels, too, have a great deal to say about serious subjects such as systemic racism, corruption, and crimes and misdemeanors of various proportions, they often lean on humor to get the message across.
In fact, it’s easy to envision the author at his laptop, as exhilarated as his prose, cracking himself up over how he bends language, employs slang, and forges descriptions like this one about a bar where Carney and a partner in crime conspire over how to fence a stolen diamond necklace: “He met Flinch Wilson at the Marlin, a narrow dive on 110th and Broadway with a decor inspired by an old leather shoe that lived in a drainage pipe.” Or this about a rival who has it out for Carney and his cohorts: “Buzz struck him as a plumber, one who comes back when you aren’t home to strangle your parakeet if you stiff him on the bill.”
“Cool Machine” is set in the 1980s, and Carney is still in the picture. It’s the Reagan era, and predatory capitalism rules, as does Mayor Giuliani, who’s waged war on the mafia and the homeless. What Whitehead dubs the “churn” roils the city and his protagonist. It’s that “churn” that beckons Carney to break his promise to himself and once again divert from his legit furniture store business. The excuse this time is that his wife Elizabeth wants to open her own travel agency, and can’t get a bank loan. Despite the couple’s closeness, for all these years her husband has managed to conceal that he’s a part-time crook. He desires respectability, but savors the buzz, the camaraderie — the honor among thieves. Carney falls in with criminal mastermind Uncle Rich and signs on to his outrageous plan to break into the Waldorf Astoria; the goal is to liberate Jesse Owens’ Olympic gold medal from those who forced him to cash it in.
The intricacy with which Whitehead details the planning and execution of this caper marks him as a top-tier researcher — he’s drawn on many primary sources to ground this work of fiction in historical fact. (There’s also his obsessive use of Pinterest.) The scenes set in the bowels of Grand Central, where there’s a secret train track leading to the Waldorf, are thrilling enough to read for their action, but the atmospheric descriptions are equally delectable: “Track 23’s next departure pulled into the station. One commuter joined Carney and Uncle Rich on the platform, a deflated man in a pinstripe suit with shiny elbows, then another businessman who sagged on one side, as if his briefcase was filled with lead weights.” One of the marvels of this novel is how effortlessly such sentences land, despite being honed to perfection. It would be a spoiler to say anything further about whether the thieves’ mission impossible yields their reward.
Part two of the novel shifts downtown, into the heart of the ’80s East Village art scene. A preoccupation of Whitehead’s — Jean-Michel Basquiat — is the inspiration for a fictional graffiti artist whose omnipresent scrawls capture the pretensions of the burgeoning wheelers and dealers, who, like uptown crooks, are relentless strivers, albeit with sleeker facades. Their snobbery is juxtaposed with Carney’s friend and colleague Pepper’s unsettling bluntness and eyeball to eyeball stare. He’s on the trail of a psychopath-for-hire dubbed “the Melancholy Hitman,” while battling stomach issues that have him downing Pepto-Bismol and coughing up blood in random bathrooms. In this section, Carney plays a supporting role to Pepper’s lead; “Escape from New York” is the enveloping soundtrack.
In the novel’s final act, Carney reemerges from straight life and Pepper from retirement in Delaware to rescue Carney’s nephew, Robert, who’s on the mob’s hit list for a murder he witnessed. Political corruption is rampant, and the revelation of who’s on the take has rattled a lot of cages. Robert is unwittingly entrapped, and has absconded with something mob bigwig Lombardi wants revenge for. Carney dons his best furniture salesman hat to make the pitch of a lifetime, a deal that could save Robert’s life, or take Carney’s. As Carney drives to the meet-up, he reflects on New York’s evolution: “Crime transformed the city by degrees. He thought of what John [his son] told him about rap music, where it came from. Rap was part of the New York environment now, barging from boom boxes and windows. They created something new from the spoils, the theft of turntables from record shops, the rip-off of a musical line or riff from another song — a crooked art.”
For those who enjoy knowing how an author’s inspiration arrives, it’s amusing to note that in the case of the trilogy that kicked off in 2021 with “Harlem Shuffle,” Whitehead told the New Yorker: “I was staring off into space and thinking about how much I like heist films and how much fun it would be to write a heist.” That sounds simple enough, but “Harlem Shuffle” turned out to be years in the making. The idea initially came to him around the same time he was writing “The Underground Railroad,” which was published in 2016. It wasn’t until after the release of that book, and then “Nickel Boys,” that Whitehead decided to lighten the mood by composing a crime novel set in New York City in the 1960s. And while he usually avoids staying on the same topic or voice from book to book, in the midst of writing “Harlem Shuffle,” Whitehead found he was still imagining further escapades for his main character, this time in the 1970s, with the city on the verge of bankruptcy, and incendiary conflagrations between the NYPD and the Black Liberation Army trending. As he envisioned what would become “Crook Manifesto,” Whitehead thought: “Why not make it three?”
Carney is part poet. Part crook. Part salesman. Part philosopher. To my knowledge, Carney’s creator is neither crook nor salesman, but Whitehead can lay claim to those other two mantles. His vocabulary appears boundless, as does his apparent love for the city he grew up in, where he still lives. “Cool Machine” is a modern masterpiece and an ode to New York, no matter that rats skitter and cockroaches scamper underfoot. When Carney has the chance to move anywhere in the world he wants, he ponders the appeal of fresh air. “Fresh was nice,” he reflects, “but so was other stuff. Noise, dirt, and struggle.” After escaping Manhattan, he wonders, “Where do you go? There’s no place else. It was like going on the lam from yourself.”
Whether or not New York is your jam, or a place you have escaped from or to, Whitehead’s Harlem Trilogy is destined to live on as an American classic. Never mind the rats and cockroaches — it’s the churn.
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.
Irish actor Brenda Fricker, who won an Oscar for her role in “My Left Foot” and whose Pigeon Lady befriended Macaulay Culkin‘s Kevin McCallister in “Home Alone 2: Lost in New York,” has died. She was 81.
Her talent agent Phil Belfield confirmed Fricker’s death in a statement shared with The Times on Friday. The actor died peacefully Thursday evening in Dublin after a “period of ill health,” he said.
“We will never see her like again and the world is lesser for the lack of her,” Belfield said in the statement. “I was honored to know, love and work with her and she will always have a place in my heart and in the heart of so many film and TV fans the world over.”
Fricker, who was born Feb. 17, 1945, in Dublin, appeared in nearly 100 TV, film and short projects since the mid-1960s. She reached international acclaim for her work in Jim Sheridan’s 1989 comedy-drama “My Left Foot,” based on the life of Dublin-born painter Christy Brown, who only had control over the titular limb due to cerebral palsy. Daniel Day-Lewis starred as Brown and Fricker played his supportive mother. She earned the Academy Award for supporting actress, becoming the first Irish female actor to win an Oscar, and Day-Lewis took home the prize for lead actor.
“My Left Foot” was also nominated for best picture, director and adapted screenplay.
In her review of the film for The Times in 1990, film critic Sheila Benson praised a “magnificent” Fricker for her portrayal of motherly love. “She plays [Mrs. Brown] like the rock she must have been, without a jot of martyrdom or a flicker of complaint and without an actressy moment,” Benson wrote.
The ‘90s brought Fricker additional roles in productions including “The Field,” “Home Alone 2: Lost in New York,” “Angels in the Outfield,” “A Time to Kill” and “Veronica Guerin.” She counted Cate Blanchett, Joe Pesci, Tim Curry, James McAvoy, Fiona Shaw, Sean Bean, Richard Harris, Christopher Lloyd and Tony Danza as co-stars, to name a few.
For generations of movie audiences, however, Fricker will most likely be remembered as the Pigeon Lady from “Home Alone 2.”
A sequel to the hit “Home Alone,” Fricker’s Pigeon Lady was a source of unexpected tenderness for Culkin’s Kevin, now stranded during the holidays in New York. He first encounters Fricker’s odd character in Central Park, dressed in oversized, dirty clothing with city birds resting on her head and shoulders. Though a terrifying sight at first, the film later reveals Fricker’s character has a heartbreaking past.
“The man I loved fell out of love with me,” she tells Kevin one evening, adding, “whenever the chance to be loved came along again, I ran away from it. I stopped trusting people.”
Kevin later gifts his new friend a turtledove ornament after learning the animal represents friendship and love.
Fricker continued acting through 2015 — with roles in numerous TV movies, miniseries, more than 70 episodes of the show “Casualty” and films such as “Conspiracy of Silence” and “Rory O’Shea Was Here” — but her career tapered off. She was last credited for the 2024 film “The Shallow.”
Fricker attended Catholic school but drifted away from religion in her late teens. She suffered injuries from a car crash at age 14, prompting her parents to spend their life savings on plastic surgery as part of her recovery. She also suffered other health issues during childhood and spent two years in a sanatorium.
“The positive side is, it taught me about self-sufficiency,” she told The Times in 1993.
She was a journalist for the Irish Times, where her father had also worked, before she started acting. She graced the stage at Dublin’s Abbey Theatre and the Royal Shakespeare Company in London, and never looked back.
Amid her mounting fame in the 1990s and early aughts, Fricker did not heed the call to move Stateside and lived in the U.K. before ultimately returning to Dublin. “I didn’t like Los Angeles,” she recalled in 1993. “I don’t like the heat and I found it uninteresting. I wasn’t comfortable there.”
Before her death, Fricker penned a memoir, “She Died Young: A Life in Fragments,” about her upbringing and experiences with sexual violence and mental illness. In February, Fricker was awarded Honorary Freedom of the City of Dublin.
Lord Mayor of Dublin Daryl Barron honored Fricker in a statement shared Friday.
“She was a proud Dub with a sharp wit and warmth that exuded to all who knew her and experienced her work,” Barron said. “She will be sorely missed.”
The 2026 ESPY Awards provided the latest evidence of that, with the Dodgers two-way player winning two trophies, as determined by fan votes, at Wednesday night’s ceremony in New York.
But as surprising at it may be — especially to those of us in the Los Angeles area who have witnessed the Japanese baseball phenomenon during his nine years with our local MLB teams — not everyone on the planet is familiar with the four-time MVP and two-time World Series champion.
The ESPYs provided evidence of that as well. Boxers Mike Tyson and Jake Paul joined musician DJ Khaled to present the award for best single-game performance. Ohtani — nominated for his historic Game 4 of the 2025 National League championship series against the Milwaukee Brewers — was the winner, as announced by Tyson.
Paul told the crowd that Ohtani was unable to attend the event, but “he sends his gratitude and appreciation to ESPN and everyone who voted for him.”
Afterward, a hot mic picked up Tyson seeming to ask Paul a rather unexpected question:
“Shohei’s a guy?”
The question seemed to be genuine, and Paul gave a casual response to his friend and former boxing opponent. “Yeah, he’s a guy,” Paul appeared to say as the trio started leaving the stage.
The Times reached out to a Tyson representative for comment but did not receive an immediate response.
No shade toward Iron Mike for apparently not knowing much about Ohtani. Tyson is a legend in his sport and has a number of other ventures and interests that occupy his time. While he did throw out a ceremonial first pitch before a Brewers-Pittsburgh Pirates game in 2014, Tyson just might not be all that into baseball.
Also, the name Shohei isn’t at all common in the U.S., even amid Ohtani’s massive popularity. According to Parenting Patch, only nine American babies were given that name in each of the last two years. All of them were boys, but the odds are good that Tyson doesn’t know any of them.
If Tyson hasn’t been following Ohtani’s career, though, he’s missing out. Take the aforementioned Game 4 of last year’s NLCS as an example. Ohtani hit three home runs and pitched six-plus scoreless innings with 10 strikeouts in a 5-1 victory over the Brewers that completed an NLCS sweep and sent the Dodgers to the World Series for the second straight year.
“That was probably the greatest postseason performance of all time,” manager Dave Roberts said after the game.
Ohtani was much more low-key in his postgame assessment.
“This time around, it was my turn to be able to perform,” he said through interpreter Will Ireton. “I think just looking back over the course of the entire postseason, I haven’t performed to the expectation.”
With his performance that night, Ohtani beat out fellow nominees Tyce Armstrong of Baylor baseball (three grand slams in a game), Bam Adebayo of the Miami Heat (83 points in a game) and Hannah Hidalgo of Notre Dame basketball (16 steals in a game) for the award.
That epic game certainly contributed to Ohtani’s other ESPY of the night. He was named best MLB player over fellow nominees Aaron Judge of the New York Yankees, Cal Raleigh of the Seattle Mariners and Paul Skenes of the Pittsburgh Pirates.
NEW YORK — If LeBron James knows where he will play this coming season, he’s still not saying.
The NBA’s career scoring king and current free agent spoke publicly for the first time in weeks Thursday afternoon, though stopped short of revealing which team he’ll choose to play for this fall — despite at least one cry from someone in a jampacked room shouting for him to “pick a team.”
“It’s going to be fun wherever I land,” James said.
The four-time NBA champion was recording an episode of his “Mind the Game” podcast alongside guest co-host Tyrese Haliburton of the Indiana Pacers in New York on the opening day of Fanatics Fest, a four-day event featuring dozens of athletes, celebrities and sports legends. Single-day general admission tickets were sold out, organizers said, and it’s likely that many of those patrons — there were at least several hundred there, phones out to capture the moment — were hoping to hear James’ next decision.
Not yet, he said.
“There’s no decision,” James said.
Thursday’s appearance has been planned for months; it was announced publicly in May. James playfully chided Haliburton for asking him about his future — “didn’t we talk about this in the back?” James asked, and Haliburton said he’d ”leave it alone.”
Of course, they didn’t leave it alone. James made reference to a slew of teams such as Cleveland, Miami, Philadelphia and Golden State, though didn’t appear to give much in the way of hints. He did sip from a bottle of red wine that he opened and shared with Haliburton, calling it one of his podcast traditions.
And when fans shouted out suggestions for James’ next team — one even asked him to play for the New York Yankees — no clues were forthcoming.
“We’ll see,” he said.
If former Lakers forward LeBron James knows where he plans to play next season, he wasn’t sharing that news with fans on Thursday.
(Robert Gauthier/Los Angeles Times)
James is the NBA’s oldest active player at 41 and the only player in league history to have a career spanning 23 seasons; this coming season will be his 24th. Speculation has been rampant for more than two months about his future, officially starting in May when the Lakers were eliminated from the NBA playoffs.
At that time, James said he didn’t know what he would be doing.
And the only developments that he’s revealed since came on June 30, when he said he would play this coming season and that he was leaving the Lakers after an eight-season run highlighted by the 2020 NBA title.
For more than two weeks, the NBA has been waiting to hear what comes next. James, as he did in a social media post at the time, lauded his time with the Lakers, who also offered him well wishes as he moves forward.
“I spent eight great years with the Los Angeles Lakers,” James said.
James’ resume is beyond compare in NBA history. He’s a 22-time All-Star, a 21-time All-NBA selection, a four-time Most Valuable Player, a four-time NBA Finals MVP, a three-time All-Star Game MVP, and was a member of the NBA’s 75th anniversary team.
He’s also coming off a season where he averaged 20.9 points, 6.1 rebounds, and 7.2 assists per game. For his career, he’s averaged 26.8 points, 7.5 rebounds, and 7.4 assists in more than 1,600 games.
The podcast was the first of two known speaking engagements for James in New York on Thursday.
He also has an appearance at the Game Plan Summit, an invitation-only event presented by CNBC and Boardroom. James is slated to have a conversation with Boardroom co-founder Rich Kleiman — Kevin Durant’s longtime business partner — about “how he’s built an empire beyond basketball, what’s ahead for him in business, and why the next generation of athletes is poised to wield more influence than ever before.”
James started his career in Cleveland in 2003 and spent seven seasons with the Cavaliers before heading to Miami for four seasons — where he won his first two titles. He then returned to Cleveland for four more seasons, leaving in 2018 to start an eight-season run with the Lakers.
Cleveland and Miami are believed to be on James’ radar again as he weighs this decision, as are several other teams including Philadelphia, Minnesota and Golden State.
“I’m looking forward to what comes next as I wind down my journey,” James said.
Whyno and Reynolds write for the Associated Press. Reynolds reported from Miami.
WASHINGTON — President Trump’s pick to head the nation’s intelligence agencies struggled to win Democratic support in a contentious confirmation hearing Wednesday where he clashed repeatedly with them over the 2020 election.
Democrats asked Jay Clayton, the U.S. attorney for the Southern District of New York and a former Securities and Exchange Commission chairman, over and over again whether former President Biden won the election and defeated Trump. Echoing many of Trump’s nominees, Clayton said many times that the election was “certified” for Biden, declining to say outright that the Democrat won.
“I’m not going to get into this with you,” Clayton told Georgia Sen. Jon Ossoff, the last of several Democrats on the committee to grill Clayton on the 2020 election. Clayton appeared frustrated and flustered as Ossoff repeated the question several times. “I’ve answered it,” he said.
Virginia Sen. Mark Warner, who had praised Clayton’s nomination when Trump picked him for the role last month, expressed exasperation with him at the end of the hearing. Democrats say they are concerned that Trump will try to direct intelligence agencies to influence U.S. elections as the president has repeated his false claims that the 2020 contest was stolen.
“I’ve known Mr. Clayton for some time, I worked with him closely when he was at the SEC,” said Warner, the top Democrat on the intelligence panel. “But I am bitterly disappointed.”
While Clayton has broad support among Republicans, the acrimony with Democrats could be a blow to GOP leaders who had hoped to gain their consent for a quick vote to replace temporary intelligence director Bill Pulte, a former housing official with no known intelligence experience and who used his previous administration perch to target perceived adversaries of the president.
Senators in both parties have criticized Pulte, and Republicans had hoped to confirm Clayton immediately after he was nominated in June so Pulte did not take over when Gabbard left office. But Trump delayed Clayton’s nomination, allowing Pulte to take the job temporarily.
Senate Intelligence Committee Chairman Tom Cotton, R-Ark., said the committee will vote on Clayton’s nomination next week.
Clayton emphasizes national security experience
Clayton did not mention Pulte in the hearing. But he emphasized his own government and national security experience, attempting to assuage senators in both parties.
“I saw firsthand how a strong national security apparatus depends on decisive judgment, discipline, integrity, and effective communication and cooperation across different branches of the government,” Clayton said in his opening statement. “If confirmed as Director of National Intelligence, I will commit to upholding these principles every day.”
Cotton expressed frustration last month when the hearing was delayed. He said in his opening statement Wednesday that Clayton has a reputation for operating with “morality, decency and integrity” in his previous positions and that he hopes his nomination will win bipartisan support.
Democrats press Clayton on Gabbard’s election activities
Democrats also pressed Clayton on former National Intelligence Director Tulsi Gabbard’s visit to a Georgia election office earlier this year during an FBI search related to the 2020 election. Trump administration officials have given varying explanations for Gabbard’s involvement in the search, which appeared to be outside of her intelligence role.
Clayton declined to say whether Gabbard’s visit was appropriate or how he would handle the same situation. At one point he said he wasn’t aware of Gabbard’s visit before this week, then later appeared to backtrack, saying “it wasn’t something on my mind” before he started to prepare for the hearing.
Warner said it “strains credibility” that Clayton wasn’t aware of Gabbard’s election activities.
Democrats also asked Clayton about Trump’s announcement that he will deliver a primetime address on Thursday with a focus on elections, after the president suggested he could revisit long-debunked conspiracy theories about his 2020 defeat. Clayton said he had has no involvement with that speech.
As U.S. attorney in Manhattan, Clayton oversees vast portfolio
Clayton is currently the U.S. attorney for the Southern District of New York, one of the most prestigious of the Justice Department’s prosecution offices. His cases have ranged from terrorism and espionage cases to security fraud and public corruption.
Democrats pressed Clayton on subpoenas of four New York Times journalists after they reported on security concerns involving the new, Qatari-gifted Air Force One. The Committee to Protect Journalists has called the subpoenas “an extraordinary escalation in President Trump’s efforts to threaten and intimidate independent news organizations and have a chilling effect on the work of journalists across the country.”
Clayton said he was not able to discuss the details of the subpoenas and declined to elaborate on whether he spoke to the White House before they were issued. He said he is “confident in procedures we have in place to protect freedom of press.”
Under Clayton, the office also facilitated the unsealing of thousands of pages of court records from the prosecutions of Jeffrey Epstein and Ghislaine Maxwell — documents that were made public as part of the Justice Department’s release of records related to the late sex offender and his longtime confidant.
Clayton has also overseen the prosecution of former Venezuelan President Nicolás Maduro and Maduro’s wife, Cilia Flores, on drug trafficking charges.
Confirmation vote could unlock renewal of surveillance authority
Clayton’s confirmation could potentially clear the way for bipartisan legislation to renew Section 702 of the Foreign Intelligence Surveillance Act, or FISA, which stalled last month when Democrats had said they would not provide the necessary votes to pass the bill unless Pulte’s temporary appointment was withdrawn.
The law, which aims to prevent terrorist attacks by monitoring the communications of targeted foreigners located outside the United States, expired in June.
Even if Democrats relent, it is unclear if Trump would sign the bill. He said in his June social media post delaying Clayton’s nomination that he would not sign the FISA renewal without his legislation to require proof of citizenship for all voters. The voting bill does not have enough support to pass the Senate.
Jalonick writes for the Associated Press. AP writer Eric Tucker contributed to this report.
TV station ownership groups may finally get their wish to own more outlets.
Federal Communications Commission Chairman Brendan Carr announced Wednesday that the agency will vote next month to end the rule that allows companies to own no more than two TV stations in a single market. The cap also limits the national coverage of any station owner to 39% limit of the U.S.
Carr said the agency will consider a “case by case” review on station merger and acquisition deals that would result in exceeding the current limits. The commission, which has two Republicans and one Democrat, will vote on Aug. 6.
“Previously, the cap operated as a blanket prohibition on any and all deals that would combine stations in [excess] of the 39% limit — regardless of whether it was a good deal or bad deal for the country,” Carr wrote on the right-wing website Breitbart. “Our new proposal would allow the FCC to approve deals that exceed the 39% cap, but only if doing so would promote the public interest.”
TV station owners and its lobbying group the National Assn. of Broadcasters have been clamoring for a change in the rule, citing the changes in technology that have occurred since the ownership limit. The 39% threshold was set in 2004 when streaming video was still a nascent business.
The station groups say the ability of tech companies such as Google and Netflix to reach every consumer in the U.S. puts them at a disadvantage. At the same time, streaming now accounts for more than 40% of all viewing, according to Nielsen, pulling consumers away from traditional TV. TV stations are also seeing their share of carriage fees from cable and satellite companies shrink due to cord-cutting.
But proposed changes to the cap limits have been met with push back from consumer groups and state government officials. They have said station consolidation will result in journalist layoffs and fewer voices for the communities they serve.
Earlier this year, a group of attorneys general filed suit to block Nexstar Media Group’s proposed $6.2-billion acquisition of Tegna, arguing it violates a 112-year-old U.S. antitrust law by knocking out a major competitor. The deal would give Irving, Texas-based Nexstar control of 265 television stations across the country, up from 164. And, in dozens of markets, including San Diego and Sacramento, Nexstar would own multiple TV network affiliates.
U.S. District Court Chief Judge Troy L. Nunley issued a preliminary injunction in April that forbids Nexstar — which owns KTLA-TV Channel 5 in Los Angeles — and Tegna, from combining operations. Nexstar is appealing.
Carr’s proposal would largely put the FCC in charge of picking winners and losers on a case-by-case basis.
When faced with a merger proposal, Carr said the commission would consider such issues as commitment to local journalism and “viewpoint diversity.”
Carr also questioned whether ABC’s daytime show “The View,” where negative Trump commentary is rampant, should qualify as a bona fide news program that is exempt from giving equal time to qualified candidates.
Carr’s Breitbart column also reiterated his view that large media companies such as Disney and NBCUniversal parent Comcast hold too much sway over their affiliates.
“New York and Hollywood interests have steamrolled those local TV stations and the broader media market in recent years in ways that run directly counter to the regulatory framework that Congress and the FCC put in place,” he wrote. “Their national programs naturally reflect the values of the New York and Hollywood executives that produce them. This power imbalance has contributed to a steady decline in locally produced news — and with it, a weakening of the public’s trust in the media.”
How owning more stations would give groups leverage in their dealings with networks is unclear. The networks control the rights to the NFL — the No. 1 TV ratings attraction for broadcast television by a mile. Stations pay the networks compensation for those games, which they use when negotiating the carriage fees they receive from cable and satellite companies.
Times staff writer Meg James contributed to this report.
Here’s a terrible-seeming idea: The Rolling Stones should get started on their next album.
Like, now.
After taking nearly two decades to release 2023’s “Hackney Diamonds” — the band’s first set of original material since “A Bigger Bang” in 2005 — the Stones are back this week with a follow-up, “Foreign Tongues,” that took them less than 36 months to get out.
And it’s the better record in every way.
In the old days, of course, two and a half years was all they needed to make “Beggars Banquet,” “Let It Bleed” and “Sticky Fingers.” So let’s not get too carried away by the fact Mick Jagger, Keith Richards and Ronnie Wood are working as fast as they are in their late 70s and early 80s.
Yet to listen to the brisk and sportive “Foreign Tongues” is to hear a band clearly going on instinct rather than overthinking the music à la any number of veteran acts in legacy-maintenance mode. I don’t know if the result is the Stones’ best since 1978’s “Some Girls,” but it’s definitely the funniest, which is actually the more impressive achievement.
“Wake up in the morning and you wanna make me puke,” Jagger sneers in the punky “Hit Me in the Head” — exactly the kind of lyric you’d hope to hear from a band whose only possible reason for still being in the game is to have a gas-gas-gas.
Like “Hackney Diamonds” — and, for that matter, like Paul McCartney’s “The Boys of Dungeon Lane” (to name one recent overthinking-veteran LP) — “Foreign Tongues” was produced by 35-year-old Andrew Watt, who’s made a career of helping boomer icons put a little shine on their late-in-life efforts. And he’s helped the Stones convene an appealingly motley crew of collaborators here, including McCartney (who plays bass on “Covered in You”), the Cure’s Robert Smith (who contributes guitar to “Divine Intervention”), Steve Winwood (who plays piano and organ throughout the album) and Bruno Mars (who’s credited with, uh, cowbell in “Never Wanna Lose You”).
You also get a welcome appearance from the late Charlie Watts in a hard-thwacking performance recorded before his death in 2021. (Steve Jordan otherwise keeps time.)
But none of the stunt casting feels like the point of the album, which instead simply doles out a dozen tunes in the Stones’ various idioms — the bluesy stomp, the country-ish lope, the sleazy disco jam — plus a couple of covers in just over an hour. It’s frisky and lighthearted, even when Jagger is lamenting what he sees as the sorry state of his beloved America in “Ringing Hollow” and when Richards is croaking about love having put him on his knees in “Some of Us.”
And when they go goblin mode, they really lean in: “Mr. Charm” is a demented soul-rock rave-up about how boring money is — OK, Mick — in which Jagger drops a diss of the “mad mogul Mr. Musk” into a verse laying out the delights of staying home and doing anagrams.
In “Divine Intervention,” Jagger offers a colorful travelogue of trips through New York and Los Angeles — “I kept moving on to Silver Lake / To play guitar with a brand new friend of mine” — while Richards and Wood get their guitars slip-sliding all over the place. “Jealous Lover” is gorgeously trashy: a horny little strut that sounds like “Dirty Mind”-era Prince doing “Waiting on a Friend.” (Legitimately loony Mick vocal here.)
For God knows what reason, the Stones offer up a faithful rendition of Amy Winehouse’s “You Know I’m No Good” with Jagger on harmonica. And the album ends with a very ragged take on Chuck Berry’s “Beautiful Delilah,” obviously meant to remind you of how the two lifers at the core of the Stones came together more than half a century ago.
The memory is ancient; the thrill, somehow, is alive.
In New York, the Brooklyn Bridge went up in flames briefly during a fireworks display. In Washington D.C., stormy weather delayed a grievance-filled speech by President Trump.
And here in Los Angeles? On Saturday night, tens of thousands of Angelenos joined voices peacefully at the L.A. Memorial Coliseum to sing along with Chris Stapleton as the country star compared a lover to Tennessee whiskey.
A unifying cultural figure beloved by both liberals and conservatives, Stapleton was the headlining act at a Fourth of July benefit concert that also featured Smashing Pumpkins, Chaka Khan, Maren Morris and Queen Latifah. (I’d be surprised if those five names had previously appeared together in the same sentence.) The show, with tickets priced at $17.76, was presented by America250, a bipartisan commission that Congress created in 2016 to plan celebrations for the country’s 250th birthday; proceeds went to Feeding America, which calls itself the largest domestic hunger-relief organization in the United States.
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“No politics — just purpose” is how America250 Chair Rosie Rios described the night in remarks from the stage, and it wasn’t hard to interpret the distinction she was seeking to draw between her group and Freedom 250, Trump’s rival semiquincentennial initiative that organized Saturday’s windblown event on the National Mall (not to mention an earlier concert by Vanilla Ice that was called off due to the threat of rain).
But here’s the thing: Compared with the president’s celebration, where he complained about his treatment by the justice system and suggested we should refer to his current term as his third, the show at the Coliseum really did feel like a politics-free zone — the somewhat rare occasion these days when folks from different walks of life come together just to listen to music and drink overpriced micheladas.
Said Stapleton not long into his set: “I won’t waste time talking.”
America250’s success was hardly a sure thing. Despite the relatively low price, tickets moved slowly in the weeks before the concert; one guy I talked to Saturday told me he’d paid six bucks for a discounted pass. Yet to my eyes the Coliseum was close to full by the time Stapleton came on.
The country singer was as solid and soulful as always, snarling gently through “Bad as I Used to Be,” then trading loving harmonies with his wife, Morgane, in “Millionaire.” He closed with “Tennessee Whiskey,” of course — a trusty yet somehow un-shopworn piece of Americana that’s earned a place on the shelf next to Ray Charles’ “Georgia on My Mind” and Willie Nelson’s “Angel Flying Too Close to the Ground.”
Smashing Pumpkins was perhaps a stranger fit for an explicitly patriotic event — “The world is a vampire,” frontman Billy Corgan sneered in “Bullet With Butterfly Wings” — yet the band sounded sharp and punchy in the ’90s alt-rock hits that have brought zoomers and even Gen Alpha kids into its audience.
Billed not inaccurately on the concert’s poster as “the legendary Chaka Khan,” the 73-year-old funk doyenne flexed her vocal chops in jammy renditions of “Ain’t Nobody” and “Tell Me Something Good” and got people hoisting their drinks for “I’m Every Woman.” Morris, who’d flown in from New York after attending her pal Taylor Swift’s wedding on Friday night, made an improbably smooth segue between her and Zedd’s synthed-up “The Middle” and the rustic “My Church.”
As the show’s host, Queen Latifah dispensed uplifting thoughts about American idealism throughout the evening but also got a slot of her own to do her classic “U.N.I.T.Y.” with help from a rambunctious drum line. It’s an unapologetic message song about demanding respect, and what was moving about hearing it here is that nobody seemed put off by that idea.
The TWA Hotel at New York’s JFK Airport is a luxury plane-themed hotel that was once a disused airport terminal – transformed into a stunning hotel after a $265million (£200m) renovation
08:04, 05 Jul 2026Updated 08:04, 05 Jul 2026
People lounge beside the rooftop pool at the TWA Hotel(Image: The Washington Post via Getty Images)
A former airport terminal that sat abandoned for years has been transformed into a stunning aviation-themed luxury hotel — following a jaw-dropping $265million (approximately £200m) restoration to revive it to its former glory.
The TWA Hotel flung open its doors in 2019, boasting a rooftop infinity pool with breathtaking views over an active runway at New York’s JFK International Airport. Originally serving as a TWA flight terminal, the iconic building was designed by renowned architect Eero Saarinen before it closed its doors in 2001, only to be reborn 18 years later.
The hotel, which occupies the TWA Flight Center, now comprises two buildings at each end of the former terminal, offering 512 rooms for guests to choose from.
Designers painstakingly worked to recreate its appearance when it first opened back in 1962, hailed by the Landmarks Preservation Commission as “one of the great masterpieces of expressionistic modern design”.
Earlier this year, it was recognised as one of the top five best airport hotels on the planet at the prestigious Skytrax World Airport Awards.
The original terminal now serves as the lobby for the four-star hotel, which also features a round-the-clock 10,000 square feet gym — claiming the title of the world’s largest hotel gym — alongside a selection of restaurants.
One of the most striking highlights is a 1958 Lockheed Constellation aircraft that has been cleverly converted into a cocktail lounge, with an aviation history museum also housed within the hotel.
Time magazine previously featured it on their coveted list of “The World’s Greatest Places of 2019”, and one recent visitor was British travel YouTuber Hannah Ricketts.
She explained that she was keen to visit the hotel to get a taste of what the golden era of air travel felt like during the 1950s and 60s.
Upon reaching the lobby, she told her 489,000 subscribers that it was one of the “coolest entrances” she had ever seen.
Spotting a vintage Coca Cola machine, she remarked that it felt like stepping back in time, before adding that the place was far more impressive than she had anticipated.
She went on to reveal that she paid around $400 (approx £300) for a room with a deluxe runway view. Hannah confirmed this included taxes, with standard rooms starting at roughly $200.
Gazing out from her room, she exclaimed: “This looks so much better in person. I feel like the camera isn’t going to do it justice.”
She said it felt like being on the set of Mad Men, describing the building as “utterly stunning”, packed with period details that truly transported you back to the 1960s.
“I’ve never been anywhere like this in my life,” she added. “And it’s obviously pristine where it’s been refurbed. It’s almost surreal. Wow.”
The travel vlogger described the swimming pool as “insane”, though pointed out that it cost $25 (approx £19) to use, even as a guest.
She then savoured a Mile-High Margarita aboard the converted cocktail lounge plane, telling her audience: “Maybe you’re a Brit watching this and you’re going to come back from JFK, back to the UK, back to reality, back to work. If you want to plan this, it’s a really positive end to a trip.”
Her sole gripe was with the food, which she rated a 5/10, though she described the overall experience as immersive and one she would happily repeat.
Summing up her one-night stay, she said: “This is a four-star hotel, I would say this is literally better than quite a lot of the five-star hotels we’ve been looking at.”
WASHINGTON — President Trump’s plans to commemorate America’s 250th anniversary of independence with a rally on the National Mall were complicated on Saturday by severe storms that gathered near Washington, forcing event organizers to order an evacuation.
“Freedom 250 will share updates on programming and doors reopening,” Freedom 250 spokesperson Danielle Alvarez said in a statement that encouraged participants to seek shelter at museums and federal buildings near the National Mall. Washington’s metro system also said several of its underground stations were available for shelter.
Plans for fireworks were still moving forward in other cities including Chicago and New York, where tall ships passed the Statue of Liberty earlier in the day, recalling the fanfare around America’s 200th anniversary in 1976.
Anticipation for the milestone holiday has been building for much of the year, serving as an opportunity for Americans to reflect on their complicated history as onetime colonists of an empire who became a superpower of their own. Organizers of celebrations months in the making had to adjust or cancel activities entirely as much of the East Coast sweltered under heat that approached and in many cases surpassed triple digits.
Heat is defining the big weekend in many places
The disruption was particularly acute in Washington, where signs at the Great American State Fair posted an alert shortly after 7 p.m. ET encouraging participants to leave the area. As the order to evacuate was played over loudspeakers on the National Mall, some people appeared to be standing in place, talking with those around them and not exiting the area, while others were walking toward exits. National Guard troops told people to leave.
The U.S. Secret Service announced it had temporarily closed checkpoints to screen attendees ahead of Trump’s speech, which was scheduled to begin around 10 p.m. ET.
Crowds were building in the area several hours before Trump’s speech. Tina Hale, 58, of Cohoes, New York, watched three of her grandchildren children dip their hands into a pool of water near a museum. Hale pointed toward the sky and urged them to look up as three military jets roared above the crowd.
“If that doesn’t make you proud to be an American,” she said.
David Koshko, 42, and his wife, Jennifer Koskho, of Harrisburg, Pennsylvania, came to Washington for a baseball game but planned to stay for the city’s fireworks show. After baking in the heat for hours during the Pittsburgh Pirates’ win over the Washington Nationals, they took a break in the shade of an overpass near the National Mall to plot their next stop.
“Just to be a part of the 250 years (anniversary) is an amazing thing,” said David Koshko, a commercial driver and veteran of the Marine Corps reserves.
In Philadelphia, fireworks began to crack as early as midday in the birthplace of the nation near the site where the Declaration of Independence was adopted by delegates to the Second Continental Congress. Hundreds of visitors were gathering at Independence Hall in the sweltering heat to await the celebrations coinciding with the France-Paraguay World Cup knockout game at Philadelphia Stadium, which began with commemorations of the holiday.
“It’s one big party in here,” Carlos Alban, who traveled to Philadelphia from Chicago to watch the match, said as he arrived at the stadium, adding that he spotted a fan in the parking lot dressed as one of the Founding Fathers.
About 45 minutes before another World Cup match in Houston, a message from astronauts aboard the International Space Station noting the holiday was beamed into the stadium.
In New York, tall ships, with their masts, rigging and white sails outlined against a blue sky, made a procession around the Statue of Liberty and up the Hudson River.
The 43 ships were followed by a display of aerial might with a stealth bomber and the Navy’s Blue Angels. Patrouille de France, the French Air Force’s acrobatic teams, flew over New York Harbor with their red, white and blue trails, evoking images of the American flag.
“We got up early and just rode our bikes about a mile down here to come see the scene,” said Oona Moore, a Jersey City, New Jersey, resident who took in the New York festivities. “We saw the tall ships and we saw the planes, you know, all different manner of military aircraft. I’ve never seen it so close and in the sky at the same time.”
At George Washington’s Mount Vernon, people took the Oath of Allegiance to become U.S. citizens. They stood with eyes closed and hands over hearts for the national anthem.
An uneasy nation gets ready to celebrate
Trump spoke Saturday with world leaders including Russian President Vladimir Putin and Ukrainian President Volodymyr Zelenskyy, who both congratulated the U.S. as they engage in a war. The president has also heard from Britain’s King Charles III and Israeli Prime Minister Benjamin Netanyahu in recent days.
Inside the U.S., The celebrations are unfolding against the backdrop of a deep divide this election year that has been expanding for years, visible in everything from political expression to cultural norms to age-old questions over race, class and immigration.
At Mount Rushmore on Friday, Trump spoke of communism as a “mortal threat to American liberty” with the Republican president saying it was more dangerous than either World War or 9/11.
Without naming Trump, New York City Mayor Zohran Mamdani, a Democrat who is also a democratic socialist and recently backed several successful congressional candidates in their primaries, appeared to reference Trump during a speech Friday.
“Those ideals upon which our nation was built — they are strong enough to endure any authoritarian regime, but only if we reach for them,” he said.
Vice President JD Vance said small but loud voices would speak on America’s birthday about its imperfections instead of its greatness.
“They will tell you that America is just another country, where the weak struggle against the strong,” Vance said speaking aboard the USS Kearsarge in New York Harbor.
Sloan writes for the Associated Press. Associated Press writers Emily Wang in New York, Luis Andres Henao in Philadelphia, Kristie Rieken in Houston, Sarah Rankin in Richmond, Va., Jeffrey Collins in Columbia, S.C., Safiyah Riddle in Los Angeles and Jesse Bedayn, Anna Johnson, Will Weissert and Michael Kunzelman contributed to this report.
SAN FRANCISCO — He needed one shot to warm up. Then almost nothing could stop Cameron Carr.
In his unofficial NBA debut, the first-round draft pick flashed the type of three-point shooting that could turn him into a valuable player for the Lakers, scoring 19 points on seven-of-15 shooting in the Lakers’ 104-72 summer league loss to the Golden State Warriors.
Carr missed his first shot, a nearly straight-away three-pointer. But he bounced back quickly by hitting a catch-and-shoot three from the wing on an offensive rebound. He knocked down the next one. He held his thumb and forefinger in a circle over his eye in celebration.
The Lakers spent the first days of free agency addressing their shooting deficiencies. While Luke Kennard signed a two-year contract with Phoenix, the Lakers reloaded with guards Quentin Grimes and Collin Sexton and versatile power forward Sandro Mamukelashvili. The three free-agent additions came in a flurry Wednesday after the Lakers pulled off an aggressive sign-and-trade for center Walker Kessler.
The moves were meant to reshape the roster to maximize superstar Luka Doncic, who will take the reins with the departure of LeBron James.
After leading the offense at Baylor, Carr knows his assignment supporting Doncic with the Lakers will be simpler: cut, run and dunk, he said at his introductory news conference.
And, for the guard who shot 37.4% from three at Baylor last year, his job is to knock down shots.
“If you can shoot the ball,” Carr said with a slight smile in New York the day before the draft, “you’re wanted by a lot of people.”
The Lakers wanted the 6-foot-5 guard so badly that they executed a draft-day trade with the New York Knicks to grab the 24th overall pick. Carr was projected to be a mid first-round pick, but slipped down the board in what many projected to be the deepest draft in a generation.
Lakers rookie Cameron Carr shoots a three-pointer over Golden State’s Lachlan Olbrich during the first half of the California Classic on Friday.
(Thearon W. Henderson / Getty Images)
Any of the top three picks of AJ Dybantsa, Darryn Peterson, and Carlos Boozer could have been No. 1 picks in other seasons, analysts predicted. Eleven guards were taken before Carr, who was named third-team All-Big-12 last year after averaging 18.9 points, 5.8 rebounds and 2.6 assists with 45 total blocks at Baylor last year.
But ESPN analyst Fran Fraschilla estimated that Carr could be the best athlete out of the entire draft.
His 7-foot wingspan was the best among guards at the NBA combine and his 38-inch standing vertical and 10.46-second lane agility test ranked first for his position.
Carr said his top objective is to put on weight. Weighing 184 pounds at the NBA combine, Carr would have been the third-lightest, 6-5 player in the league last year, ahead of only Sacramento’s Nique Clifford (6-5, 175 pounds) and Dallas’ AJ Johnson (6-5, 160 pounds). He may be joining the Lakers at the exact right moment as the team — with the investment and guidance from big brother organization the Dodgers — will expand weight room, treatment and sports science resources in its facility. The 21-year-old guard said he plans to make the weight room his new home.
Building up his strength to handle the NBA will be critical for Carr as he hopes to show “that I’m the best defender here,” he told reporters. Adding another defender became even more important after guard Marcus Smart signed a contract with Western Conference rival Houston.
The Lakers, after trading Deandre Ayton on Friday for guard Jaden Hardy and two second-round draft picks, could still look for a wing defender and back up center to round out their roster that currently stands at 13.
Lakers re-sign Chris Mañon
The Lakers re-signed guard Chris Mañon to a two-way contract, the Lakers announced. The second-year guard appeared in nine games for the Lakers last year and also played in 33 G League games for the South Bay Lakers, averaging 10.3 points, 5.6 rebounds and 2.3 assists. With a team-high 1.9 steals per game, Mañon was named to the G League all-defensive team and finished second in defensive player of the year voting.
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.
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Pink carpet was rolled down the steps outside Taylor Swift and Travis Kelce’s New York wedding venue on TuesdayCredit: Spencer Clinton/The U.S. SunTaylor Swift and Travis Kelce attend the 2026 iHeartRadio Music Awards at Dolby Theatre in Los AngelesCredit: GettyWorkers spent a while rolling out the carpet but then had to pull it up as they were told it was too earlyCredit: Spencer Clinton/The U.S. SunA truck was also seen arriving from Printhead Studio that produces seamless fabric backdropsCredit: Spencer Clinton/The U.S. Sun
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.
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.
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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.
Taylor Swift and Travis Kelce have been tight-lipped about their upcoming weddingCredit: GettyManufactured white backer was seen piled up outside of the venue as huge installations are reportedly planned for inside the venueCredit: Spencer Clinton/The U.S. SunA poster featuring Taylor Swift was also seen displayed on the side of the venue, along with other iconic starsCredit: Spencer Clinton/The U.S. SunHuge rolls of carpet was brought in earlier in the day as people began to gather by the stairs hoping for a glimpse of the actionCredit: Spencer Clinton/The U.S. Sun
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.
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.
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.
