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Unruly salt-and-pepper hair in a long quaff, round glasses and broad smile give James Ortiz the look of a whimsical inventor, the kind that hides away in his workshop crafting extraordinary artifacts.

That description is essentially true; as a puppet designer and puppeteer, his job entails figuring out how to materialize figments of the imagination.

“I love playing characters that are so unbelievable that they have to exist in a different way,” says Ortiz on a video call from New York. “I love over-the-top characters and creatures.”

For more than 15 years, Ortiz has created puppets for theater projects in New York City, including those for “Into the Woods” on Broadway. His skill set has now made its way to the big screen with the box-office hit “Project Hail Mary,” an adaptation of Andy Weir’s 2021 sci-fi novel.

The space dramedy follows scientist Ryland Grace (played in the film by Ryan Gosling) who, against his will, is alone on a mission to save Earth with no return plan.

Ortiz, 42, plays Rocky, an arachnoid alien made of stone-like material, who befriends Grace. As the main puppeteer on set, Ortiz was in charge of moving its face or central carapace — and he also voices him.

Rocky and Grace don’t speak the same language. But when Grace figures out how to use his computer to translate Rocky’s sounds into English, the voice we hear coming from his jerry-rigged laptops is Ortiz’s.

Ryan Gosling in the movie “Project Hail Mary.”

(Jonathan Olley / Amazon MGM Studios)

“We had anywhere between three to six puppeteers on set with me. I would always be on the body, and they would always do the other limbs or legs,” Ortiz explains. “I needed to lead the thoughts and the dialogue and the feelings that Rocky was having.”

Thanks to both Gosling’s tongue-in-cheek charisma — as well as the curious and utterly sincere personality that Ortiz imbues into Rocky through his voice performance and intuitive puppeteering (with plenty of improvisation) — the movie becomes a disarming interstellar, interspecies bromance.

“I was always playing Rocky like the universe’s little brother,” Ortiz adds. “There was a little bit of a childlike thing that was being put in there.”

Over the years, Ortiz had developed a relationship with casting director Jeanne McCarthy, who often invited him to audition for acting jobs. Ortiz is a trained actor and has occasionally appeared on camera as himself, sans puppets. But every time McCarthy would reach out, he had a theater commitment. The timing finally worked when McCarthy mentioned she had an opportunity for Ortiz as a puppeteer in “Project Hail Mary.”

“I wasn’t familiar with the book, but then when I mentioned it to two of my friends, they knew everything about it,” Ortiz says. He soon met with directors Chris Miller and Phil Lord and had an immediate connection. “They are so delightfully immature that I felt like they were my cousins,” he says. “They are such artistic geniuses, but so silly and playful.”

For a chemistry read with Gosling, with the film’s producers also present, Ortiz opted for using a version of Rocky he had made himself, which looked like Thing from “The Addams Family” built off a fancy glove, instead of the larger puppet the production had available. That his hand version of Rocky could climb onto Gosling, and interact with the actor more directly, allowed for an amusing rapport to develop instantly between them.

Puppetry, Ortiz says, is intricately technical. When bringing a puppet to life, he’s concerned with the placement of the rods used to move the characters’ body parts, and in this case, he’d have to pay attention to where the camera is and where he and his fellow puppeteers have to hide. Amid all those preoccupations for his physical performance, Ortiz also had to deliver his lines and be present in the moment, reacting to Gosling with spontaneity.

Puppeteer James Ortiz plays Rocky, the adorable alien in “Project Hail Mary.”

(Jonathan Olley / Amazon MGM Studios)

“I promised Ryan that between action and cut, all of [the technical elements] were going melt away,” Ortiz recalls. “I said, ‘I’m just going to be an improvising partner with you. I’m never going to let you think that Rocky isn’t real, because I want this relationship to feel as playful and as dynamic as possible.’”

The more intricate Rocky puppet that appears on screen was later designed by Neal Scanlan, a legendary special effects artist, at the Creature Shop in London. Ortiz admits it was an adjustment to work with a puppet he didn’t design himself. Fortunately, Scanlan’s openness to involve him in the fabrication process made for a fulfilling experience.

“I had ultimately a lot of input, never on how Rocky looked, but a lot on how he was operated and what materials he was made out of,” Ortiz says. “I was able to pick what types of fiberglass we were using to cast him out of, because I knew, given the amount of improvisation that we would be doing on set, [that] I needed a puppet that could do anything.”

It’s not common for a puppeteer to voice the character they are manipulating. “It doesn’t usually happen because moviemaking is a business and you have to have names and sell it,” Ortiz says. Yet, as the post-production process advanced, and Lord and Miller started testing the film with audiences, Ortiz’s lines from set became the preferred Rocky voice.

Knowing that Rocky’s voice would come from Grace’s unsophisticated computer setup, Ortiz gathered inspirations, at times subconsciously, from a variety of robotic sources. These included Tik-Tok, a robot in 1985’s “Return to Oz,” one of his favorite movies.

“I have always valued my lifelessness,” Ortiz says in a hilariously monotone voice, quoting Tik-Tok. And there’s also a bit of the robot bartender from the futuristic world of “The Fifth Element” — “you want some more?” he says, making an impression.

Ortiz believes puppetry found him by accident. The youngest of three children, he grew up in Richardson, Texas, a suburb of Dallas, with a mother of Italian descent and a Puerto Rican-born father who met in 1970s New York.

“Interestingly enough, when I was growing up, there was a touring marionette theater of Richardson that was one of the first places that excited me towards puppets,” Ortiz recalls.

An introverted child, Ortiz grew up enjoying painting and handcrafts, as well as having an interest in engineering and how things are built. “My father was always in the garage building something,” he recalls. “We’re not talking like building a spaceship but building little simple machines.”

On multiple fronts, his dad has served as a source of inspiration. “My father was born in Puerto Rico and moved when he was about 4 or 5 to Brooklyn in the early 1950s,” Ortiz explains. “He was his mother’s translator. She didn’t speak any English at all. I have such admiration for him, because he was learning English in real time in school and helping his mother get through the day. It’s a powerful part of my narrative and something I’m really proud of.”

For Ortiz, this part of his heritage, his father and grandmother struggling to communicate with the world around them in a new city, connects with “Project Hail Mary.” He adds: “What I love is that there’s a little bit of that in Rocky, because so much of this story is about someone struggling to be understood and then ultimately being understood.”

Ryan Gosling stars as biologist-turned-schoolteacher-turned-astronaut Ryland Grace and Sandra Huller as mission leader Eva Stratt in “Project Hail Mary.”

(Jonathan Olley / Amazon MGM Studios)

In middle school, Ortiz enrolled in theater classes. Soon after, making marionettes entered the picture. “I discovered puppetry around the same time, because it’s sort of the center of that Venn diagram of crafts, fine arts, engineering and acting,” he says. For undergrad he attended Purchase College in New York to study acting in a classical program. After graduating, however, the phone wasn’t ringing with professional opportunities.

Ortiz’s first job out of school was working on Venezuelan-born theater director and filmmaker Moisés Kaufman’s 2010 production of Xavier Montsalvatge’s Spanish-language opera, “El gato con botas.” It was his self-taught talent with puppets that landed him the gig.

“I’m grateful that I’ve been able to have a pretty long career. I’ve been doing everything. There was one year on Broadway [when] I was doing all the special effects makeup; [another] I was doing set design.”

Puppetry, it turned out, moved from a supplementary expertise to Ortiz’s prime artistic strength. “I’ve worn so many different hats and what was interesting is that puppetry kept being the thing that invited all of me to work, as opposed to just a part of me,” he adds.

Since those early days, Ortiz has designed puppets for “The Woodsman,” which he also wrote, directed and starred in; “Disney’s Hercules” (for productions at Public Theater in New York and in Hamburg, Germany), and more recently for Lileana Blain-Cruz’s production of “El Niño” at the Metropolitan Opera.

Now that “Project Hail Mary” has launched the possibility of a fruitful Hollywood career, Ortiz’s only aim is to continue letting his abilities lead the way without inflexible expectations.

“I’m not a very calculated career person. I’m running towards bliss and then seeing what happens,” he says, smiling and running his hands through his imposing hair.

MEGAN Thee Stallion has been rushed to hospital after suddenly falling “very ill” during a performance of Moulin Rouge on Broadway.

The 31-year-old rap star managed to get through the opening scenes of the hit musical in New York before the show had to be halted so she could get treatment.

Megan, who plays Zidler in the beloved Broadway production, was quickly taken to hospital and is still undergoing an evaluation, it is believed.

A representative of the Savage rapper told TMZ: “During Tuesday night’s production, Megan started feeling very ill and was promptly transported to a local hospital, where her symptoms are currently being evaluated.”

There is yet to be any further update on her condition.

Megan’s personal hairstylist and close friend Kellon Deryck has come out since to ask fans to say “a prayer” for the rapper.

MEG-A SEXY

Megan Thee Stallion suffers wardrobe malfunction in completely see-through dress

Megan is due to appear in Moulin Rouge! The Musical until May 17 at the Al Hirschfeld Theatre.

Her casting as Zidler marks a history making moment for the star as she becomes the first female-identifying performer to play the role in any production of Moulin Rouge worldwide.

Concerned audience members said they were told to “stay inside and seated” while medics assessed Megan off stage.

After she left the theatre, the show continued as a male performer took on the role of Zidler.

Megan’s first show came on March 24 where she was congratulated for putting on an impressive act in New York City.

Earlier this year, the Hot Girl Summer artist spoke about how big of an honor it is to be able to perform on Broadway.

She released a statement when she was announced for the musical saying: “Stepping onto the Broadway stage and joining the Moulin Rouge! The Musical team is an absolute honor.

“I’ve always believed in pushing myself creatively and theatre is definitely a new opportunity that I’m excited to embrace.

“Broadway demands a different level of discipline, preparation, and storytelling, but I’m up for the challenge and can’t wait for the Hotties to see a new side of me.”

After weeks of chaos in U.S. airports, the Transportation Safety Administration said the first paychecks in weeks are being sent as early as Monday to its workers, giving the beleaguered aviation system a boost of optimism.

Wait times at some TSA security bottlenecks, such as the airport checkpoints in Atlanta and Houston, improved significantly Monday morning.

But how long it will take for long security lines to consistently return to normal — and how long federal immigration officers will stay in airports — remains unknown as the busy spring break travel season continues.

The DHS shutdown has resulted in not only travel delays but also warnings of airport closures as TSA workers missing paychecks stopped going to work. Those workers were just recovering financially since last fall’s extended government shutdown.

Wait times still pushed beyond two hours at New York’s LaGuardia Airport Monday morning. Baltimore-Washington International Airport had minimal wait-times Monday morning, but continued to advise travelers to arrive three hours before their scheduled departure.

President Trump on Friday ordered the Department of Homeland Security to pay TSA officers immediately to ease the lines plaguing airports. The move came after Trump rejected bipartisan congressional efforts to fund the TSA while negotiations continue with Democrats, who have refused to approve more funding without restraints on Trump’s immigration enforcement and mass deportation operations.

Democrats are demanding better identification for the officers, judicial warrants in some cases and for agents to refrain from conducting raids around schools, churches or other sensitive places. Republicans and the White House have been willing to negotiate on some points, but the sides have yet to reach a final agreement.

On Monday, there were few signs of progress on Capitol Hill, where the Senate held a short session without considering the House bill and resumed its two-week break. GOP Sen. John Hoeven of North Dakota said afterward that Senate Republicans are talking with Democrats and also the House as they try to find a way to funding DHS.

TSA employees had gone without pay since DHS funding lapsed in February. The department’s shutdown reached 44 days on Sunday, eclipsing the record 43-day shutdown last fall that affected all of the federal government.

The DHS shutdown has resulted in not only travel delays but also warnings of airport closures as TSA workers missing paychecks stopped going to work. Those workers had already endured the nation’s longest government shutdown last fall. Multiple airports experienced greater than 40% callout rates, and nearly 500 of the agency’s nearly 50,000 transportation security officers quit during the shutdown.

Trump deployed Immigration and Customs Enforcement agents to some airports a week ago to help with security as TSA callouts rose nationwide. How long they stay, White House border czar Tom Homan said, depends on how quickly TSA employees return to work. A TSA statement said the agency “has immediately begun the process of paying its workforce,” with paychecks arriving “as early as Monday.”

The overall absentee rate among TSA officers scheduled to work dipped slightly on Sunday, according to DHS. The highest were concentrated at major airports that have seen consistently elevated absences lately.

Those included BWI, both of Houston’s main airports; Louis Armstrong International Airport in New Orleans; Atlanta’s Hartsfield-Jackson International Airport; and John F. Kennedy International Airport in New York.

Funk and Seewer write for the Associated Press. AP reporters Rio Yamat in Las Vegas and Mary Clare Jalonick in Washington contributed to this report.

Paul McCartney sauntered onto the stage of the Fonda Theatre, took in the 1,200 faces before him — “I can see the whites of your eyes,” he said — then offered up a brief history lesson about where we’d gathered Friday night.

The Fonda, he told us, opened 100 years ago; back then, he added, it was called the Music Box.

“Cool little place, innit?”

At 83, McCartney is well into his cool-little-place era.

Last year the rock legend played a string of concerts at New York’s tiny Bowery Ballroom while in town for “Saturday Night Live’s” 50th anniversary; a few months after that, he hit the Santa Barbara Bowl as a kind of warm-up for the latest leg of his Got Back world tour.

Paul McCartney and his band during sound check for Friday’s show.

(MJ Kim)

Friday’s underplay — the first of two instant sell-outs at the Fonda — came as McCartney is drumming up interest in a new studio album he’ll release in May. Outside the venue, a double-decker bus was parked with signage advertising the LP, which is called “The Boys of Dungeon Lane” after a road in his Liverpool hometown.

But that hardly seemed like the purpose of the show itself, which lasted about an hour and 40 minutes and didn’t even include a performance of the album’s lead single. The truth is that Sir Paul genuinely appears to get a kick out of these intimate gigs — out of standing right in front of a crowd and doing the magic trick that is a song like “Get Back” or “Jet” or “Got to Get You Into My Life.”

And why wouldn’t he?

If a Paul McCartney concert in an arena or a stadium is a finely honed spectacle of boomer nostalgia and industrial-strength charm, one of his shows in a club or a theater is a chance to play music, which after six and a half decades still clearly turns his wheels.

You wouldn’t say the shows remind McCartney that he’s a regular guy. (Those six and a half decades have made him anything but.) What they might do, though, is remind him why he became so widely adored — valuable self-knowledge for an artist whose great subject has always been the transformative power of love.

Here, as in Santa Barbara, he and his seven-piece band (which featured three horn players) did a pared-down version of the most recent Got Back set, opening with a killer one-two punch — “Help!” into “Coming Up” — that alone said plenty about McCartney’s range and endurance.

“Let Me Roll It” had a funky swagger, while “Getting Better” chugged with cheerful insistence; “I’ve Just Seen a Face” showed off the group’s crisp harmonies and “Lady Madonna” its tight rhythmic interplay. After “Let ’Em In,” McCartney asked his band member Brian Ray to show off the song’s all-important bass line: a single note plucked over and over and over again.

Friday’s show was the first of two at the Fonda.

(MJ Kim)

He did a few other comic bits, including a memory of Tony Bennett singing without a microphone as a way to demonstrate the excellent acoustics of a concert hall — the punch line was that he later saw Bennett do the same thing at the Beverly Hilton — and some gentle ribbing of the folks sitting up in the “posh seats” of the Fonda’s balcony. Among them, McCartney pointed out, was Morgan Neville, director of the recent “Man on the Run” documentary about McCartney’s life in the aftermath of the Beatles’ breakup.

He also noted that his wife, Nancy Shevell, was in the house and dedicated “My Valentine” to her; truth be told, that one was a bit dreary, as was “Now and Then,” the so-called last Beatles song released in 2023 using machine learning to complete a scratchy demo left behind by John Lennon.

“Thank you, John, for writing that lovely song,” McCartney said afterward, which made it a little harder not to like.

In any event, there were more classics to come, not least a buoyant “Ob-La-Di, Ob-La-Da” and a “Let It Be”/“Hey Jude” twofer that inspired such a lusty singalong that McCartney probably could’ve gotten away with lip-syncing if he’d wanted to.

But of course he didn’t want to — that was kind of the whole point.

WASHINGTON — The Transportation Security Administration may have to shut down operations at some airports as travelers are experiencing record wait times, the agency’s acting head said Wednesday, as the latest offer to end a funding impasse and put restraints on President Trump’s mass deportation agenda met fierce resistance in Congress.

The TSA’s Ha Nguyen McNeill described the mounting hardships facing unpaid airport workers — bills and eviction notices piling up and even plasma donations to make ends meet — and warned that lawmakers must ensure “this never happens again.”

“This is a dire situation,” she testified at a House hearing, warning of potential airport closures. “At this point, we have to look at all options on the table. And that does require us to, at some point, make very difficult choices as to which airports we might try to keep open and which ones we might have to shut down as our callout rates increase.”

Yet on the 40th day of the standoff involving the Department of Homeland Security, there was no easy way out in sight. Neither Republican senators, who made the latest offer, nor Democrats, who are demanding more changes in immigration enforcement, appeared closer to a compromise.

Trump, who initially appeared to have given his nod to the deal, has declined to lend it his full support or put his political weight behind making sure it is approved.

Top officials at agencies under the Homeland Security umbrella spoke for more than three hours before the House Homeland Security Committee about the potential risks of security lapses unless the partial government shutdown comes to an end.

A deal teeters on collapse

Homeland Security has gone without routine funding since mid-February. Democrats are insisting on changes to the Trump administration’s immigration enforcement and mass deportation operations after the killings of two U.S. citizens in Minneapolis by federal officers during protests.

The latest proposal would fund most of Homeland Security except for the enforcement and removal operations of U.S. Immigration and Customs Enforcement that have been central to the debate. The plan would cover other aspects of ICE as well as Customs and Border Protection.

Although the offer added some new restraints on immigration officers, including the use of body cameras, it excluded other policies that Democrats have demanded.

Senate Democratic leader Chuck Schumer of New York said they needed to see real changes. House Democratic leader Hakeem Jeffries of New York pressed for “bold” changes at ICE.

Republican leaders said Democrats are putting the country at risk.

“They know this is crazy,” said House Speaker Mike Johnson (R-La.).

But conservative Republicans also panned the proposal, demanding full funding for immigration operations and skeptical of the promise from GOP leaders that they would address Trump’s proof-of-citizenship voting bill in a subsequent legislative package.

Airport lines grow as TSA workers endure hardships

McNeill, the acting TSA administrator, told lawmakers that multiple airports are experiencing greater than 40% callout rates and more than 480 transportation security officers have quit during the shutdown.

She cited the growing financial strain on the TSA workforce.

“Some are sleeping in their cars, selling their blood and plasma, and taking on second jobs to make ends meet, all while being expected to perform at the highest level when in uniform to protect the traveling public,” she said.

McNeil also said TSA officers working at the nation’s airports have experienced a more than 500% increase in the frequency of assaults since the shutdown began.

“This is unacceptable and it will not be tolerated,” she said.

The top executive overseeing Houston’s airport said security lines that left travelers waiting four hours or more could get longer if the political impasse was not soon settled.

Lines that twist and turn across multiple floors at George Bush Intercontinental Airport have been the result of TSA being able to staff only one-third to half the usual number of checkpoint lines, said Jim Szczesniak, aviation director for Houston’s airport system.

Trump’s decision to send ICE agents to the airports risks inflaming the situation, lawmakers have said. Video of federal officers detaining a crying woman at San Francisco International Airport drew outrage Monday from local officials, although it was unrelated to Trump’s order to deploy immigration officers.

FEMA also at risk

The Federal Emergency Management Agency’s Disaster Relief Fund is “rapidly depleting,” Victoria Barton, a FEMA external affairs official, told lawmakers.

FEMA is able to continue its disaster response and recovery work as long as that fund has money, and about 10,000 of its disaster workers continue to be paid through it.

Mascaro and Freking write for the Associated Press. AP writers Wyatte Grantham-Philips in New York, Rio Yamat in Las Vegas, Russ Bynum in Houston and Gabriela Aoun Angueira in San Diego contributed to this report.

Citing concerns about affordability, New York Gov. Kathy Hochul is proposing revising the state’s 2019 climate law, asking to delay implementation by several years and to adopt a different greenhouse-gas accounting method.

The changes would effectively water down a law viewed as one of the most ambitious state climate policies in the U.S.

Hochul called the law’s current targets “costly and unattainable” in a statement released Friday. “This is solely out of necessity — to protect New Yorkers’ pocketbooks and economy,” she said.

The Climate Leadership and Community Protection Act targets a 40% reduction in greenhouse gas emissions from 1990 levels by 2030 and an 85% cut by 2050. As of 2023, the state had lowered its emissions by about 14%.

Meeting the 2030 deadline would drastically drive up energy bills for New Yorkers, Hochul, a Democrat, has said. Regulations to implement the law are already delayed; Hochul wants to push them back to 2030 and create a new emissions target for 2040.

Energy bills have surged around the U.S., partly as a result of AI-driven demand. As of November, the average residential electricity price in New York was 26.5 cents per kilowatt-hour, ranking eighth highest in the country, according to Empire Center, a nonprofit think tank in Albany. The Iran war has sent oil and gas prices surging.

The proposed weakening of the law comes amid the Trump administration’s dismantling of federal climate regulations and clean energy incentives, which environmentalists have looked to Democrat-led states and cities to counter.

“Lots of people around the country — really around the world — have been looking to see how New York does in implementing this strong climate law,” said Michael Gerrard, a Columbia University law professor who directs the Sabin Center for Climate Change Law.

“If a very blue state like New York moves backwards on climate change as well, that’s a negative sign for the country,” he said. “If you can’t do it here, can you do it anywhere?”

Hochul, who is running for reelection this year, is seeking to advance changes through the state’s budget, which is due April 1. The proposal is expected to meet resistance from some Democratic lawmakers.

“We will negotiate with the governor,” said State Sen. Pete Harckham, who chairs the body’s environmental conservation committee. “We’ll be able to get to, I think, a resolution of this.”

Policymakers including Harckham and State Sen. Liz Krueger, who chairs the finance committee, penned a letter to Hochul earlier this month urging her not to back a delay.

Given Washington’s war on climate policy, they wrote, “it is incumbent on states like New York to reject this new wave of climate denial and put forward bold policies that will save New Yorkers money, reduce pollution and protect a livable climate.”

Krueger said Friday the proposed changes would increase the likelihood that the climate law will never be fully enacted.

“This is a serious problem,” she said. “We need to be spending the money for the infrastructure to help meet the targets.”

Business groups and Republicans in Albany have argued that implementing the law as it stands would drive up costs and worsen the affordability crisis. State Sen. Tom O’Mara has urged changes. “It is time [to] amend the CLCPA to account for economic realities,” he said in a statement. The Business Council, representing New York companies, last month said the deadlines stipulated “are proving unachievable.”

Even some Democrats have advocated for amendments. State Assemblymembers Carrie Woerner and John T. McDonald said last week that “the reality is difficult to ignore: New York is not on track to meet the CLCPA’s targets on the timeline written into law.”

“The real question is whether New York can remain committed to deep decarbonization while adapting its strategy to today’s conditions,” they added. “The goal should not be abandoning ambition. It should be pursuing it intelligently.”

In 2025, environmental groups sued Hochul’s administration after the state failed to set up a regulatory program for the climate law.

“The main effect of these proposed changes is to allow the Hochul administration to do nothing for at least the next four years,” said Rachel Spector, deputy managing attorney at Earthjustice, an environmental law organization that represents the groups. “These proposals will do nothing to benefit New Yorkers. The only beneficiaries would be Hochul along with gas utilities and corporate polluters.”

Hochul also wants to align New York’s emissions-counting standards with other U.S. states and the international community. That might mean switching from a 20-year emissions-counting methodology to a 100-year one. The shorter timeframe highlights the pollution impact of methane, a short-lived but potent greenhouse gas and the main component of natural gas. The 100-year metric essentially balances out short- with longer-lived gases like carbon dioxide.

“It’s ultimately a way to cheat on a test,” said Liz Moran, New York policy advocate at Earthjustice.

In October, a judge ruled in favor of the environmental groups, putting pressure on Hochul to enact a so-called cap-and-invest program that would help generate revenue for the state to transition to renewable energy.

However, a memo released in February by the New York State Energy Research and Development Authority concluded that implementing the policy would result in rocketing energy bills for New Yorkers.

It modeled a scenario in which the law were “implemented with regulations to meet the 2030 targets” and found that upstate New York households relying on oil and natural gas “would see costs in excess of $4,000 a year.”

Many Democrats and environmental advocates have pushed back on the narrative that climate policy is spiking costs. Harckham said the solution to improving affordability and lowering emissions is clear: “It’s renewable energy.”

“We set a law for ourselves,” he added. “We should be held accountable to it.”

Raimonde writes for Bloomberg.

LONDON — Years before the rise of Instagram, Banksy figured out that the key to real influence lay in not being famous, exactly, but in being anonymous.

The mystery of his identity has long been part of the value of his art, which for decades and across continents defied authority from public walls and self-shredded on the auction block. Now, Banksy’s apparent unmasking by the Reuters news agency has generated talk about whether the works themselves retain their cultural and financial value.

It also raises the question: Why pop the balloon of his mystique in the first place? Many Banksy fans mourned the loss of the mystery and lashed out at the news outlet. One said it was like being told without warning that Santa Claus doesn’t exist.

“I feel like they are telling me how a magic trick is done,” said Thomas Evans, a Denver-based artist on Instagram. “Sometimes I just want to enjoy the magic trick.”

But some art experts say the murals and the message will survive Banksy’s naming because his appeal wasn’t driven solely by his anonymity. He and his works — dark and mischievous — stand as witnesses to injustice, oppression and inequality around the world, from the artist’s native England to walled-off Bethlehem in the occupied West Bank and war-ravaged Ukraine. Subtract his anonymity, they say, and the work still inspires reflection and discussion.

“People buy his works because they absolutely love it,” said Acoris Andipa, director of the Andipa gallery in London. “The main feedback that I get is that they really, frankly, don’t care if they know who he is.”

Naming the ghost — and the backlash — is engagement, too

Banksy, long thought to have been born Robin Gunningham around 1972, grew out of a tradition of street artists who viewed the undercover act of posting their art in public as a subversive form of expression. The postindustrial landscape of his native Bristol was his canvas and gallery. The walls of London, New York and elsewhere gave him a global stage just before the rise of social media.

Banksy’s apparent identity has been an open secret among protective fellow artists, and long been easy to find online for those who wanted to know. The Daily Mail reported in 2008 “compelling evidence suggesting” that was the artist’s birth name. It has been published by other news outlets, including the Associated Press in 2016, as part of their coverage of the detective work.

Reuters reported recently that after the Daily Mail’s story, Banksy changed his legal name to David Jones — the second most-popular name in Britain. It’s also the given name of the late David Bowie, whose Ziggy Stardust rock ‘n’ roll avatar inspired a 2012 Banksy painting of Queen Elizabeth II.

Bansky’s lawyer didn’t respond to a request for comment, and the artist’s spokeswoman declined to participate in this story.

Reuters pieced together that a David Jones traveled to Ukraine with a well-known associate of Banksy’s in late 2022 — just before the artist’s work began appearing on buildings that had been bombed by Russia. Banksy later confirmed that he’d created seven murals in the war zone, including one of a child flipping over a grown man who is wearing a black belt. Russian President Vladimir Putin practices judo.

There’s evidence that even some in the establishment he was protesting have accepted Banksy. They didn’t arrest him, for example, after the Royal Courts of Justice removed a Banksy stencil depicting a judge in a traditional wig and gown beating an unarmed protester with a gavel. Some street artists groused that they might be arrested for creating such graffiti — but when it’s a Banksy, it’s art.

The artist wasn’t always so elusive

On Sept. 17, 2000, a Robin Gunningham was arrested for defacing a Marc Jacobs billboard atop a building on Hudson Street in New York.

In a handwritten signed confession, he described the work on the night in question: “I had been out drinking at a nightclub with friends when I decided to make a humorous adjustment to a billboard on top of the property,” he wrote in court records unearthed by Reuters and confirmed by the AP. “I painted eyeshadow a new mouth and a speach bubble” on the photo of a male model. He was charged with a misdemeanor.

The artist doesn’t need an alleged naming to make news. He created multiple works in London in 2025, and grabbed headlines elsewhere for having his art sold or auctioned for millions. But Banksy has courted a public image centered around morality, justice and guerrilla tactics — he’s often likened to Robin Hood or Batman.

“Banksy woz ere,” he wrote with his animal murals at the London Zoo, which were removed in 2024.

Still, along with the sadness, there’s ample speculation in the art world and on social media that the artist himself orchestrated this round of naming. He didn’t deny the Reuters story.

That “would be very much in line with his practice of stunts and satire,” observed Madeleine White, the senior sales and acquisitions consultant at London’s Hang-Up Gallery. “As they say, ‘All publicity is good publicity.’”

She noted, however, that the backlash is directed at the media — not the artist, or the potency of his work. Reuters says it opted to publish some, but not all, of the information its reporters uncovered about Banksy’s identity, because he is a public figure, whatever his name — and he’s had an outsize influence on public events and discourse. What’s more, much of his work has been done on other people’s property.

Connected to world events

Named or not, Banksy’s stardom lives, art experts say.

It endures in the wonder of his ability to erect new art under the noses of authorities well into the age of social media and ubiquitous surveillance cameras. It appeals because his spectacle and wit draw people in and the settings — the hulk of bombed buildings, for example, or Israel’s towering wall at the border of the West Bank — invite them to reflect. Now, fans are on the lookout for how and whether he’ll respond to the news of Robin Gunningham and David Jones.

Joe Syer, a Banksy expert and founder of MyArtBroker, said that the artist has always responded to world events. “And that’s where the real relevance, and value, sits,” he said.

“If anything, Banksy’s anonymity has functioned less as a celebrity device and more as a way to keep the work universally accessible, detached from personality, ego, or biography,” Syer said in an email. “It allows the work to sit in public space, politically and culturally, without being anchored to an individual in the way the mainstream press often frames it.”

Christopher Banks, founder of the New York-based Objects of Affection Collection, reads Banksy’s naming “not as a biographical event, but as a structural stress test” of the artist’s system of managing his absence.

“Banksy’s best works carry their meaning without the author. He was there,” Banks wrote, citing the artist’s murals in Ukraine and his solidarity with the war’s victims.

“The name matters less than the presence. The presence was always what the work was about.”

Kellman writes for the Associated Press. AP writer Michael Sisak in New York contributed to this report.

A group of attorneys general are taking legal action to block Nexstar Media Group’s proposed $6.2-billion acquisition of Tegna’s TV stations, calling the deal bad for consumer cable bills and local journalism.

A lawsuit filed Wednesday in U.S. District Court in Sacramento says the proposed deal by eight state law enforcers, including California Atty. Gen. Rob Bonta, claims the proposed deal will give Nexstar too much control of local TV stations, ultimately hurting consumers by diminishing the diversity of news sources in their markets.

Bonta said in a statement that the deal will cause “irreparable harm to local news and consumers who rely on their reporting as a critical source of information.” The plaintiffs also include state attorneys general in Colorado, Connecticut, Illinois, New York, North Carolina, Oregon and Virginia.

The Irving, Texas-based Nexstar is currently the largest station owner in the U.S., with 164 outlets including KTLA in Los Angeles. If the merger with Tegna succeeds, Nexstar would have 265 TV stations reaching 80% of the U.S. and multiple outlets in a number of markets.

The suit also claims that the merger would give Nexstar too much leverage in negotiating fees from pay-TV providers that carry their stations. Higher fees paid to Nexstar would be passed along to consumers in their cable and satellite bills, the lawsuit asserts.

Most of Nexstar’s stations are affiliates of ABC, CBS, NBC and Fox, all of which carry NFL football, the highest-rated programming on TV by a wide margin. Disputes over carriage fees between station owners and pay-TV providers often result in blackouts and service interruptions to consumers.

DirecTV, which serves around 11 million pay-TV subscribers in the U.S., filed a similar lawsuit in the same court on Thursday, claiming the Nexstar deal will “irreparably drive up consumer costs, reduce local competition, shutter local newsrooms, and increase both the frequency and duration of blackouts of key local teams and network programming.”

A Nexstar representative did not respond to a request to comment.

President Trump has said he favors Nexstar’s proposed deal. But every major TV station owner believes consolidation in the TV station business is necessary to thrive going forward as they battle to compete with streaming video platforms that have eaten away at their audience share.

The companies say they are at a disadvantage in competing with tech companies by being limited to owning stations in 39% of the U.S., a cap that was set in 2003.

Nexstar recently cut veteran anchors and on-air reporters from its stations in Los Angeles, Chicago and New York. Further reductions in local TV newsrooms would occur if Nexstar succeeds in acquiring Tegna, which would likely mean consolidation of local newsrooms in which it owns more than one station.

WASHINGTON  — The Supreme Court agreed Monday to rule on whether the Trump administration may end the temporary protection that had been extended in the past to migrants who live and work in the United States.

At issue are legal protections for about 6,000 Syrians and up to 350,000 Haitians.

The court’s announcement signals the justices want to resolve this issue in a written opinion rather through emergency appeals.

Twice last year, the court’s conservatives set aside decisions from judges in San Francisco who said President Trump’s Homeland Security secretary had overstepped her authority.

Those cases involved the temporary protection status extended to about 600,000 Venezuelans.

But those decisions did not set clear precedents, and in recent weeks, judges in New York and Washington, D.C., blocked the administration’s plan to end the special protections for Haitians and Syrians.

Frustrated by what he labeled “indefensible” decisions, Trump’s Solicitor Gen. D. John Sauer advised the court to hear arguments and issue a written ruling on the issue.

The justices on Monday agreed to just that. Arguments will be heard in April, and a decision will be handed down by July.

Immigrant-rights advocates argued the repeal of the special protection would be cruel and unjust to migrants who have established lives and careers in this country.

In 1990, Congress authorized giving temporary shelter to non-citizens from countries experiencing armed conflict, natural disaster or “extraordinary and temporary conditions” that prevent them from returning there.

In 2012, the Homeland Security secretary extended this protection to Syrians in response to a “brutal crackdown” engineered by its then-President Bashar al-Assad.

Last year, citing Assad’s fall from power, Trump’s Secretary Kristi Noem proposed to cancel the temporary protection for Syrians. Lawyers for the Syrians questioned how this could be seen as an emergency requiring an immediate ruling.

They said about 6,100 Syrians who have lived here lawfully for years.

They are “highly sought-after doctors and medical professionals, reporters, students, teachers, business owners, caretakers, and others who have been repeatedly vetted and by definition have virtually no criminal history. The government apparently needs urgent authority to send them to a country in the middle of an active war,” the lawyers said.

In 2010, the Obama administration extended the protection to Haiti after an earthquake caused death and damage in Port-au-Prince, the capital.

Judges in New York and Washington blocked those repeals and said the high court had given “no explanation” for its decision upholding the repeal for Venezuelans.

Those judges said the Supreme Court’s earlier orders orders “involved a TPS designation of a different country, with different factual circumstances, and different grounds for resolution by the district court.”

Sauer pointed to a provision in the 1990 law that says judges have no authority to second-guess the government’s decision to end it.

“There is no judicial review of any determination of the [Secretary] with respect to the designation, or termination or extension of a designation, of a foreign state under this subsection,” the law says.

In the three weeks since Trump’s attorney filed his emergency appeal, there have been two significant changes since then.

Trump fired Homeland Security Secretary Kristi Noem. And his war launched against Iran threatens countries throughout the Mideast, including Syria.

In agreeing to hear the pair of cases, the justices did not disturb the lower court rulings that blocked the repeals for now.