people

Armed men open fire at a house party in a Durban township, killing a pregnant woman and 10 others.

At least 11 people, including a pregnant woman, have been killed after armed men stormed a house in a township in the South African city of Durban.

The attack took place late on Tuesday, according to Thamsanqa Ntuli, the premier of KwaZulu-Natal province, of which Durban is the main city. Assailants entered the home shortly before 11pm (21:00 GMT) while the victims were gathered at a house party.

Two people survived the attack, Ntuli said, adding the motive behind the killings was not immediately clear.

“The incident has left the community in profound shock and grief,” he said.

Local broadcaster eNCA reported that the attackers forced everyone into a single room before opening fire. They also set fire to a car belonging to one of the victims.

“It’s shocking and sad. These are guys I grew up with. I can’t believe it. It’s like a movie,” a resident told the broadcaster.

“I’ve been staying here all my life, and I’ve never seen anything like this,” he added.

According to a police statement cited by eNCA, preliminary investigations indicated that some of those killed were on South Africa’s Crime Intelligence radar over suspected illegal activities, though the statement did not elaborate further.

“Although the motive for the shooting has not yet been confirmed, a feud between rival groupings cannot be ruled out,” the police said.

South Africa has one of the world’s highest murder rates, with an average of about 60 people killed daily in a population of roughly 62 million.

In March, soldiers were deployed alongside national police to violent hotspots to tackle rampant crime, an issue President Cyril Ramaphosa has described as one of the country’s biggest threats.

WASHINGTON — Lorenzo Salgado Araujo’s wife used to spend her evenings cooking a big meal for her husband and waiting for him to return home from his job as a home builder. Now, his son told members of Congress, Salgado Araujo’s wife spends those evenings visiting her husband’s grave at the cemetery.

In a packed Senate hearing room, a rapt audience of dozens listened to the sons of Salgado Araujo, the mothers of Ruben Ray Martinez and Renee Good, as well as the woman who video-recorded the death of Alex Pretti and the lawyer for the family of Johan Sebastián Durán Guerrero.

Salgado Araujo, Martinez, Good, Pretti and Durán Guerrero were shot and killed by federal agents since the start of the Trump administration’s crackdown on immigrants. Some were U.S. citizens; others were immigrants.

“We still have so many questions,” said Lorenzo Salgado, one of Salgado Araujo’s sons. “What are the names of the ICE agents who killed our dad? Why do they get to be protected behind anonymity, while my brother and I stand before cameras, showing our faces, proudly saying our first and last name?”

The forum on Tuesday was led by Rep. Robert Garcia (D-Long Beach) and Sen. Richard Blumenthal (D-Conn.). It was the fifth such event that the two lawmakers have hosted since December, forums aimed at shedding light on what the lawmakers call the “lawless and abusive tactics” by immigration agents.

The forums are not official hearings because they have been organized without Republican support. Nothing has changed since the first forum, the lawmakers said, accusing the Department of Homeland Security of failing to fully investigate the deaths and prevent further ones.

Blumenthal noted that two days prior in Austin, Texas, another man was shot by ICE agents. Wilber Rafael Garces Perez, a Venezuelan who was making a DoorDash delivery when ICE agents sideswiped his car, was seriously injured and placed in ICE custody with a bullet still lodged in his back.

Garcia said that, as of this month, Democrats on the House Oversight Committee have verified more than 1,000 instances of abuse by immigration agents under this administration.

“Every community in America should be asking itself: How long will it be until ICE is in our city?” Blumenthal said. “How long will it be until we have a grieving family, until another loss of life?”

Rachel Reyes sobbed as she recounted the moments leading up to the death of her son, Martinez. She said his death came nearly a year before Good’s and Pretti’s “yet far fewer people know his name” because the family was denied access to investigative reports and video evidence showing he had been shot by an immigration officer.

“It’s deeply distressing to know that Ruben’s final moments were consumed by confusion, fear, pain and disregard for his life,” she said. “Though the circumstances surrounding his death and these other victims are distinctly different, the pattern is the same: lives cut short by the same agency, agents without body cameras, no warnings, no attempt to de-escalate, excessive force followed by deflection, and a lack of accountability after the fact.”

Donna Ganger, the mother of Good, said her daughter should still be alive. Ganger described herself as a Republican and a Christian. While Jesus teaches forgiveness, she said, she deserves accountability too.

“I voted for President Trump under the impression that these agents were here to protect the citizens of the United States,” she said.

“This is madness,” Ganger added.

Stella Carlson said that when she saw Pretti, she decided to become “his backup.” Instead, she watched him die and then watched the agents who shot him flee. Two masked agents returned “and began to manipulate his dead body, ripping open his clothes as if to provide aid, but instead moving him around like a rag doll.”

Later, Carlson said, she witnessed top government officials lie about Pretti, calling him a domestic terrorist who wanted to “massacre law enforcement.”

“I am just a regular person, but I care deeply about my community, my state and my country,” she said. “I believe there is power in ordinary people speaking the truth.”

Good and Pretti were killed within weeks of each other in January during a period of increased immigration enforcement in Minneapolis.

Sean Murphy, who represents the family of Durán Guerrero, said he and Durán Guerrero’s widow recently attended a meeting with representatives of the Maine attorney general’s office to retrieve some of his property that isn’t considered evidence.

One item that wasn’t returned was his 3-year-old daughter’s car seat, which had been pierced by a bullet.

Sen. Alex Padilla (D-Calif.) asked each speaker what they think justice would look like.

Reyes said an independent investigation. Brent Ganger said that true justice isn’t possible because his sister can’t come back, but that accountability is possible if federal agents are held to the same accountability standards as local law enforcement.

To Carlson, justice would mean getting ICE off the streets and letting detainees return home. Murphy called for prosecution for the agent who killed Durán Guerrero.

For Lorenzo Salgado, justice would take another form: getting to see his mom heal and finally getting a full eight hours of sleep.

The forum came as congressional Democrats are seeking to edge out Republicans in the Nov. 3 election, and at times the Democrats seized it as a way to criticize the other party.

Rep. Jasmine Crockett (D-Texas) asked members of the audience to stand up if they’ve been affected detrimentally by ICE. Ronaldo Salgado looked around the room as about a dozen people stood.

“The reality is that there are so many more stories. There are so many more names that you will never hear,” she said. Later, referring to Republicans, she added, “It’s time to vote them out.”

Rep. Suhas Subramanyam (D-Va.) noted that Reyes voted for Trump and asked her to say anything she would want him to hear now. Reyes said that, like many Latinos, she deeply regrets her vote.

“I haven’t heard anything from any Republican whatsoever,” she said. “I’m very disappointed, and he lied.”

Good’s brother Brent Ganger said his family has waited long enough for accountability for the damage caused by ICE. As a moderate, he said, he hoped that all members of Congress — even those not in attendance — were listening.

“We will not be quiet, and we will not go away,” he said.

Sept. 22, 2026 2:31 PM PT

Podcaster and mental health activist Jennifer Eckhart, who sued ex-Fox News anchor Ed Henry for sexual assault in 2020, died by suicide on Saturday, according to authorities.

Eckhart was found in her Florida home on Saturday morning, according to an incident report issued by Martin County Sheriff’s Office, People reported. Her mother discovered her body inside a bathtub with a knife nearby, according to TMZ.

“This death has been ruled a suicide,” Christine Christofek, a spokesperson for the sheriff’s office, said in a statement to People.

Eckhart worked as an associate producer on Fox News Media’s Fox Business Network from 2013 to 2020. She sued Henry for sexual assault in 2020, and Fox News was named in the suit, accused of failing to take action against Henry for harassing women. The news division was later removed from the suit in March 2025.

“Fox News can … be held liable for Henry’s actions only if its management or supervisors knew or should have known about that purported misconduct yet failed to prevent Henry from harming Eckhart,” Judge Ronnie Abrams said in her March 2025 ruling. “On this record, the Court agrees that no reasonable jury could make that finding.”

Eckhart revealed that her lawyers were appealing Abrams’ decision in an October 2025 Instagram post.

“This case was never just about me,” she wrote. “It has always been about accountability and forcing corporations to answer for the cultures of abuse they protect, enable, and excuse behind power, money, and silence. For more than five years, my former employer Fox News has spent millions resisting accountability in my [rape] lawsuit. But what’s at stake is far bigger than me, one woman, one man or one company.”

The appellate court upheld Abrams’ decision, Eckhart’s lawyer Michael J. Willemin, a partner at Wigdor law firm, said.

“We were deeply saddened to learn of Ms. Eckhart’s passing, and our thoughts are with her family at this time,” Willemin told The Times.

Eckhart filed the harassment complaint against Henry after Fox News fired her in 2020. Following a subsequent sexual misconduct investigation, Fox News fired Henry that same year. The anchor, who now works at Newsmax, had previously taken time off in 2016 after a woman who claimed they had been having an affair while he was married released embarrassing correspondence between them, per People.

Born in Miami, Eckhart graduated from the University of Florida with a bachelor of science degree in telecommunications-news, according to her biography. She previously served as an ESPN Radio correspondent and an anchor for Gainesville, Fla., PBS affiliate WUFT-TV. In addition to her news and podcast experience, Eckhart also founded the Reinvented Project, which provided “support for trauma survivors through animal-assisted healing.”

Despite adversity, Eckhart was determined in her October 2025 post.

“I know the risks of speaking when silence would have been the safer, easier option. But I also know this: regardless of the outcome, history will not remember me as a woman who kept her mouth shut,” she wrote. “And I am completely at peace with that.”

Sept. 22, 2026 6:37 PM PT

NEW YORK — Earlier in the month, President Trump warned voters that democratic socialists — extreme, crazed, lunatics, he called them — were threatening to transform America into “a communist country.”

This week, a smiling Trump patted on the shoulder one of the nation’s best known democratic socialists, shook his hand, and said he was “off to a start” to being a great mayor of the country’s largest city.

Trump’s cozy relationship with New York City Mayor Zohran Mamdani, which began last year, has confounded people across the political spectrum. But with the midterms approaching, Republicans are increasingly frustrated by the unexpected bromance, which threatens the party’s message about Democratic radicalism.

“You’re trying to say, ‘Here’s how extreme they are,’ and the president’s saying, ’I love this guy,’” said veteran Republican strategist Doug Heye. “It doesn’t help.”

It’s hard to overstate the extent to which Republicans are focused on the rise of democratic socialism in the midterm season. At a moment when the party is saddled with Trump’s weak approval ratings on virtually every major issue — the economy and the war in Iran chief among them — Republicans from Georgia and Texas to New York and Michigan are working to scare voters away from Democratic candidates by warning that the party is controlled by far-left extremists.

At Trump’s unusual midterm convention in Texas earlier in the month, Mamdani’s name was evoked over and over again.

Texas Sen. Ted Cruz called the New York Mayor “Comrade Mamdani.” Rep. Tom Emmer, the No. 3 House Republican, called him “Mamdani the commie.”

Trump sent a similar message although he didn’t mention Mamdani.

“They call themselves democrat socialists, but actually they’re communists,” he said in his keynote address. “They’re crazy.”

In all, the words socialist or socialism were referenced dozens of times during the convention.

Trump did not mention those words while standing alongside Mamdani in New York on Monday, however. The president was in town for the United Nations General Assembly and made time to swing by Gracie Mansion.

Instead, the president highlighted efforts underway to work together, noting that he’s worked with numerous mayors over the years — “some great ones and some not so great ones.”

“Hopefully you’re going to be a great one,” Trump said while looking at Mamdani. “I’ll be able to say you’re going to be a great one. And you’re off to a start.”

Trump grew up in Queens, which Mamdani represented in the New York Assembly before running for mayor and winning a startling upset. He has since expanded his political power in the city, helping to push three candidates to victory in Democratic congressional primaries earlier this year.

It’s possible that Trump’s tone on Mamdani will shift again. After they had two surprisingly convivial meetings in the Oval Office, Trump started criticizing the mayor again.

“Sadly, Mayor Mamdani is DESTROYING New York! It has no chance!,” Trump wrote on social media in April in apparent response to a plan to create a new tax on luxury second homes in the city. “The United States of America should not contribute to its failure. It will only get WORSE. The TAX, TAX, TAX Policies are SO WRONG.”

Republicans in New York were quick to downplay the latest example of Trump’s friendliness with Mamdani.

David Laska, a spokesperson for the New York Republican Party, said, “President Trump is the greatest dealmaker in history, and he has proven repeatedly that he can deal from a position of strength with America’s enemies, be they foreign dictators or the mayor of New York City.”

Mamdani faced his own questions about why he was playing nice with a president that he’s previously described as a fascist.

“The president and I have both been very frank about the many disagreements that we have,” he said Monday. “I will continue to have conversations with the president, and frankly, anyone who can deliver relief to the people of this city.”

Peoples and Izaguirre write for the Associated Press.

WASHINGTON — Vice President JD Vance and other Trump administration officials said Tuesday they plan to remove 760,000 Affordable Care Act enrollees from public healthcare exchanges, alleging that the individuals were fraudulently enrolled in the program, or simply do not exist.

Vance said the discovery and canceled subsidy payments for hundreds of thousands of people from the exchanges would result in $2.2 billion in cost savings.

“We’re actually making sure that the people receiving Obamacare subsidies are actually entitled to receive them,” Vance, who leads a government-wide task force to eliminate fraud, said in a public address at the White House, Tuesday. He was flanked by Dr. Mehmet Oz, the administrator for the Centers for Medicare and Medicaid Services, and other administration officials.

The Trump administration also announced a six-month suspension on new brokers who sign up enrollees for healthcare coverage, who officials say commit a disproportionate amount of the fraud they uncovered.

Tuesday’s announcement is the latest in an administration-wide initiative to address fraud around the country, including in federal healthcare programs, which officials say is needed to rein in runaway spending and protect taxpayers.

The announcement comes as inflation and rising healthcare costs pressure the Trump administration to come up with a plan to bring down costs for Americans heading into the midterms.

The price of ACA insurance has skyrocketed for many Americans during Trump’s second term, after Republicans opposed extending COVID-era subsidies that had helped offset the costs of health insurance for most enrollees during Biden’s term.

Premiums doubled or tripled for many enrollees, prompting millions to downgrade their plans or exit the program entirely after the Republican-led Congress allowed the subsidies to expire this year.

Roughly 19.2 million Americans are actively enrolled in ACA marketplace health plans as of early 2026, according to the HHS website.

The White House referred The Associated Press to the Vice President’s team for additional comment on bigger plans to address healthcare affordability.

The Wall Street Journal first reported the news of the Trump administration’s plan to remove ACA enrollees from public exchanges.

Hussein writes for the Associated Press. AP writer Michelle Price contributed to this report.

Filming a broadcast television show can leave even the most seasoned actors feeling like they’ve lost sense of time. But by afternoon on a recent weekday, Josh Charles actually looks like he teleported to the past as he collapses into a seat inside his production trailer in upstate New York.

He’s in the throes of filming Season 2 of “Best Medicine,” the Fox dramedy he headlines that’s set in a small fishing village in Maine, and the reason he’s shed his character’s usual suit and tie for gaitered trousers and a navy coat with red facings eventually reveals itself: Port Wenn, the show’s fictional town, is putting on a Revolutionary War reenactment. And if you’re familiar with Martin Best, the curmudgeonly doctor with an almost permanently furrowed brow portrayed by Charles, the character’s willingness to don such a getup likely took some coaxing.

That’s the fun of it all for Charles.

He’s been a working actor since childhood — making his debut at 15 in John Waters’ cult classic “Hairspray,” followed soon after by his turn as Knox Overstreet in “Dead Poets Society” — and a fixture in TV and film ever since.

While best known for dramatic roles like high-powered lawyer Will Gardner in “The Good Wife,” Charles easily pivots to comedy — like the time he memorably played the triple-collared, snobby camp ringleader in “Wet Hot American Summer: First Day of Camp.” Now, “Best Medicine” lets Charles leans into the push and pull of the comedy and drama within his tightly wound alter ego.

Josh Charles as Martin Best in Fox’s “Best Medicine.”

(Francisco Roman / Fox)

Created by Liz Tuccillo (“How to Be Single,” “Sex and the City”), the series follows a brilliant but cranky heart surgeon who, after developing a crippling blood phobia spurred by a traumatic medical case, abandons his thriving career in Boston to become a general practitioner in the town where he spent summers as a child. Martin Best is a doc whose bedside manner could use some TLC, but he came to town hoping he can still practice medicine — that is, if the townspeople would actually do as he says.

“I have been really wanting to do more comedy lately and looking — especially if I was going to call a place home for a particular period of time, like you do in a television show — for something that was a little more lighter air than I had been networking in of late,” says Charles, whose recent credits include dystopian drama “The Handmaid’s Tale” and spy thriller “The Veil.”

The series is based on the beloved British dramedy “Doc Martin,” which starred Martin Clunes as a doctor with a similar storyline, that aired between 2004 and 2022. Tuccillo says Charles brought an elegance and depth to the fish-out-of-water dynamic his character navigates in the quirky town.

“He never hits a false note,” she says in a separate video call. “I knew the material would be in great hands in that he would always elevate it just by his artistry and being. I knew he was going to be able to play the gruffness, but any time that you’re doing a show, there is a question mark on so many things. To be honest, we were like, ‘But is he going to be super funny? Is he going to want to do pratfalls? Is he going to be game for the comedy part of it?’ When we started working, it was clear he was game for all the shenanigans … he likes to laugh. So I try to devise things that I think will amuse him.”

A special advance preview of the Season 2 premiere aired Sunday, but the show will move into its regular time slot Tuesday. Here are edited excerpts from the conversation with Charles.

Josh Charles poses for photos on the “Best Medicine” set in upstate New York. He says he was drawn to the Fox dramedy because it was “a little more lighter air” than the other work he had done recently.

(Ebru Yildiz / For The Times)

“Best Medicine” hit Netflix after its first season aired. Building an audience outside the traditional linear viewing has become such a key component of television today. How do you feel about it?

One of my dad’s best friends told me, “I’m watching the show on Netflix!” He’s like, “I just can’t watch shows with commercials anymore” — as people are programmed now. That is the new shift. You go into these platforms for periods of time, build your audience in a different way and hopefully keep growing that audience. [Television] keeps evolving and growing in a way that I don’t fully understand, but I do know that it’s a different world right now. Netflix has a great reach, and it’s great that we’re on there and that people are discovering it. And apparently we did very well.

Season 2 opens with Martin on probation and under review by the medical board. What is Martin in for this season?

When it starts off, he’s really in it. Eden [Martin’s ex-girlfriend played by Eliza Coupe] is now back in the picture. She’s coming from Boston every weekend, and she’s rubbed a lot of people in town the wrong way. And the progress that Martin made, we see him maybe take a few steps back in the way that he interacts with people. He’s with her and I think there’s feelings there, but I think their relationship feels very — I don’t know, it’s interesting. It doesn’t have the fire. But she doesn’t make him feel bad about himself. She respects him, and I think those things are important. And he’s around in this town where nobody’s listening to him half the time. People are just always mad at him about something, and she’s not. She puts him a little bit on a pedestal, and I think he really needs that.

All that presents an obstacle for the show’s slow burn: Martin and Louisa (Abigail Spencer). There’s been some discourse about the art of the slow burn and how the pacing has changed in an era of short episode orders and unpredictable renewals. You have experience in this department with “The Good Wife.”

Liz and I have talked about it a little bit. You don’t want to muck bait it and drag it out for the sake of dragging it out. I think they’ve done a good job of putting the obstacles in a way that still feels organic and genuine and not yet a reach. In the British show, things accelerated so much faster. They only made eight [episodes] a year. We want to also have it feel like it’s plausible. It is really fun to have Eliza Coupe here. It’s fun to play scenes with her and [see] the different side that brought out in Martin. That is the challenge because I don’t think we’re as interested in doing it quite that fast [as the British show]. I have faith in them that we’ll land it in a good way.

Ellen Soraya Nikbakht as a peculiar patient and Josh Charles as Martin Best in the Season 2 premiere of “Best Medicine.”

(Danielle Mathias / Fox)

You’ve played in comedy and drama in your career. It’s fun to watch you straddle both sides with this character. How has it been finding the rhythm or tone with him?

A lot of the comedy I’ve done, I’ve done some stuff that’s more silly and kind of over the top. I love playing the fool. What’s really fun [here], to me, are the circumstances they put Martin in where things are blowing up in front of him and he’s just trying to deal. I’ve enjoyed doing a lot of the physical comedy on the show.

I [also] found it really interesting to have a character who doesn’t want to be around people, but he actually does. He just doesn’t really know how to do it, and he’s never really had any kind of practice at it in his life. And he’s gone through a lot of trauma in his life. He’s a really specific kind of workaholic. For him to grow up with what he did, and losing his sister really young in his life — I did research on that and what that does to people and how that can sort of frame your life. I imagine he went to private school, maybe a boarding school, then he goes on the track of going to college and medical school — we know how hard that is, the kind of hours they put in; then to be really successful at it, you put everything you have into your work. There’s this other side of his life that is completely empty. This town kind of just softens off the edges of him a little bit and helps him become a little more authentic version of who he was maybe meant to be. That gives me some place to build off of and to go with the character, other than it feeling kind of just very one-note.

Matthew Goode, left, as Finn Polmar and Josh Charles as Will Gardner in a scene from Season 5 of “The Good Wife.”

(CBS)

This series marks your return to broadcast television after leaving “The Good Wife” in its fifth season. You’ve done TV since then, of course. But a big reason you left broadcast was because of the grind of a 20-plus episode season. With “Best Medicine,” you’re the lead and the second season will have 14 episodes. Does that feel like the sweet spot?

If “The Good Wife” was “The Good Fight,” I would have done that until the wheels come off. I would have never wanted to leave that because I would have had a life. I could have been able to go do a play, travel with my family, see my kids. At the time of “The Good Wife,” I didn’t have kids, but we were about to get married and wanted to have children. I was only going to do 18 [episodes] at most with this show, if they wanted it. And then I asked them this year, “Well, we’re just at 14. What was the decision [there]?” And I’m happy about it. They also agree. This just feels like where the show wants to live creatively. You work really hard for four or five months, and then you get to go explore other projects and travel and live your life.

Your departure from “The Good Wife,” with your character Will Gardner dying, felt like an out–of–body viewing experience as it happened. The fact that it was kept under wraps —

I can’t believe we did it, honestly. There was one journalist who obviously had a source somewhere and did find out. Part of being able to keep that silent until the moment was an agreement that they would come to set and be there as long as it was [kept secret]. I remember like when the episode aired, I was in the editing bay with the editors in L.A. [for an episode I directed]. I’m seeing things come in and I was like, “Oh my God!” I thought it was going to get ruined for people on the West Coast. These days, you know how they make something, how much this cost, how they did this scene … we used to be surprised by things. To be able to truly shock people you know like in an Orson Welles-style “War of the Worlds” way. I felt like in our own sort of network TV way, this was the equivalent of that. We really got to narratively pack a punch. That season was one of the great treats of my career. I just felt the writing on that show that season was at another level.

NEWBERRY SPRINGS, Calif.  — Four decades ago, the cult hit “Bagdad Cafe” was filmed at a ramshackle diner in the Mojave Desert.

The tale of two women in the lonely landscape — a hardworking, rifle-wielding cafe owner and a stranded German tourist with a suitcase full of lederhosen — captivated viewers, particularly in Europe and Japan.

Busloads of international tourists rolled up to the actual Bagdad Cafe on a cracked, sunbaked stretch of Route 66.

Real-life proprietor Andrea Pruett, a sweet but steely Southerner who kept her own gun behind the counter, greeted them in French and German, then fed them buffalo burgers and omelets.

A memorial announcement for owner Andrea Pruett is seen at the Bagdad Cafe on Route 66 in the Mojave Desert.

As Pruett aged, her grip on reality loosened. But she refused to leave.

Now, the Bagdad Cafe is in limbo. Though T-shirts and tchotchkes are still for sale, the kitchen is closed. And Pruett’s family is figuring out what comes next.

Buses full of Europeans still come. So, too, do the roadtrippers celebrating Route 66, which turns 100 this year.

“We don’t get any locals, and we don’t cook any food right now,” said Mark Bradley, the cafe’s gruff but genial manager. “But we’re definitely on the map to see … it’s magic that takes place here.”

The cafe is a cacophony of color in an expanse of desert brown. Flags from all over — France, Brazil, Japan, New Zealand, Canada — hang from low ceilings. The walls are covered floor to ceiling by visitors’ passport photos and dollar bills with Sharpie signatures. “We’ve been here three times!” an Italian visitor raved in a guest book.

Pruett is still there, too. An urn holding her ashes sits by the front door.

A drone image shows the remote Bagdad Cafe on Route 66 in Newberry Springs.

In 1995, eight years after the movie’s European premiere, Pruett and her husband, Harold, stopped for burgers at what was then called the Sidewinder Cafe in Newberry Springs, 20 miles east of Barstow. They had just bought 640 acres for an ostrich ranch, which ultimately didn’t work out, though they kept some of the birds as pets.

The owner told them the A-frame, wood-shingled diner was for sale. “My husband looked at me and I said, ‘Don’t even think about it,’ ” Pruett told The Times in 2003.

But their son, actor Harold P. Pruett II — who was 26 and starring that year in a campy erotic horror flick called “Embrace of the Vampire” — declared the cafe “cool,” and that was that.

The Pruetts promptly rechristened it Bagdad Cafe, following German filmmaker Percy Adlon’s lead.

The exterior of the Bagdad Cafe.

Nearby Bagdad was a railroad town named in the 1880s by Southern Pacific Railroad officials after the Middle Eastern metropolis — without the H — because of the desert terrain.

Bagdad became a stop for steam-powered trains whose engines needed more water every eight miles or so in the desert climate, said Scott Piotrowski, past president of the California Historic Route 66 Assn.

The bustling little town was also a hub for gold, silver and copper mining camps.

Mining eventually faded, but cars on Route 66 overheated easily and often limped into town for water. A restaurant named, naturally, Bagdad Cafe, owned by a woman named Alice Lawrence, was the only place for miles with a dance floor and jukebox.

When Interstate 40 opened in 1972 about 10 miles north — taking most traffic and tourists away from Route 66 — it was the death knell for Bagdad, where all that remains today is a single scruffy cedar tree.

Thierry Farion, left, from France, and Aziz Khechine, right, from Tunisia, look at memorabilia inside the Bagdad Cafe.

At Pruett’s Bagdad Cafe, she embraced the movie. The two female characters, initially wary of each other, are both on a hiatus from their husbands, and the German tourist eventually draws big crowds by performing magic tricks.

“When people came in, it was like a director saying, ‘Action!’ ” said Pruett’s grandson, Greg Landers, 47, of Glassell Park. “She would just go right into welcoming people and telling them to sit down, answering their questions.”

A petite bottle-blonde who spoke with the laid-back drawl of her native Arkansas, Pruett showed off memorabilia signed by the “Bagdad Cafe” director. She got a yellow thermos like the one in the film, which, miraculously, never seems to run out of java, even when the coffee pot is busted.

A guest book displays messages at the Bagdad Cafe.

She kept the jukebox on the movie’s Academy Award-nominated theme song, “Calling You,” recorded by R&B singer Jevetta Steele and covered by Celine Dion, Barbra Streisand, George Michael and others.

The lyrics immortalized the Bagdad:

A desert road from Vegas to nowhere
Some place better than where you’ve been
A coffee machine that needs some fixing
In a little café just around the bend

Pruett’s place drew desert eccentrics, including a gravelly-voiced man dubbed General Bob who sniped at customers who doubted his claims that he designed the Pentagon, built the Golden Gate Bridge, was a brain surgeon and was 109. (“Actually, he’s 83 years old, and if he wants to be older, I let him,” Pruett told NPR in 2003.)

Monaco’s Prince Albert II stopped in once. So did actress Renée Zellweger, who told Jay Leno on “The Tonight Show” that there was a “little old guy, he’s been sitting there for, I think, maybe 45 years on the same barstool. We had chicken fried steak together.”

When Huell Howser popped in unannounced for a 2001 episode of his California road trip show, General Bob, perched at the bar with a fedora atop his long silver hair, proclaimed he was 98 years old and “a real general, not a f—up.”

Marian Box, left, works the counter and talks to visitor Jaelene Kleckner.

For all the joy, desert life brought plenty of hardship.

One night in the 1990s, not long after Pruett bought the place, she was closing out the cash register when a man walked in, slammed a wooden 2-by-4 on the counter and ordered her to put all the money in a bag.

“She actually had a shotgun under the counter, and she pulled it out and said, ‘Stop,’ and cocked it,” said Landers, her grandson.

The man threw his hands up and said his family was in the car. They had been traveling and ran out of money. Pruett ushered them inside, fed them and sent them away with some cash — after making them wash their own dishes.

Pruett, who gave birth to Landers’ father, Corky, at 15, had a tough and impoverished youth. But she was “kind almost to a fault,” said Landers, a contractor who lived with her for a spell in his 20s and worked in the cafe. People who just about everyone else had given up on — she’d give them a place to stay and work to do.

In February 2002, the younger of Pruett’s two sons, Harold the actor, died of an accidental drug overdose. Her husband died two months later.

Pruett’s love for her customers kept her going, said Bradley, who has been around the cafe for 26 years as a frequent visitor and employee.

“She would have them crying as they left, but happy crying,” he said. “She could do that to people by giving them a hug and in just the few minutes that they were here. She had a magic to her.”

In 2016, Sarah Jane Woodall — a former nude model who posts popular desert travelogues on YouTube under the moniker Wonderhussy — stopped for breakfast and shot a video.

The cafe was quiet and grimy. She loved it.

“It was just, like, a lovable hot mess,” said Woodall, an Army kid who lived for a time in Germany, where people were obsessed with the movie.

The COVID-19 pandemic lockdowns devastated the Bagdad Cafe — and Pruett, who turned 80 in the summer of 2020.

The Europeans disappeared. Vandals busted the windows. Pruett let go of her waiters. Her kitchen closed and never reopened.

A sign for a former motel next to the Bagdad Cafe on Route 66 in Newberry Springs.

In 2021, her house burned down. She slept in the cafe, her thin frame curled up in a red vinyl booth.

That summer, Léa De Carmo, an aspiring actress, was driving back to Los Angeles from Las Vegas with a friend and, after a night of partying, craved a cup of coffee. They pulled into the Bagdad Cafe, where — as in the movie — the coffee pot was broken.

De Carmo, a native of Paris who had never seen the film, was stunned when she opened the door and “saw French flags and soccer team stuff everywhere.”

“It seems like all the French are led there for one reason or another,” said De Carmo, 29, who talked to Pruett that day for over two hours.

“She had essentially lost everything — her business, her house — but she just had this incredible energy and warmth and humor,” De Carmo said. “There was also this very deep loneliness.”

For the next four years, De Carmo drove from L.A. to Newberry Springs dozens of times, filming Pruett for a just-finished documentary called “The Keeper of Bagdad Cafe,” about her final years in the crumbling diner.

In the film, friends help Pruett move into an RV in the parking lot. As a woman gently washes her white hair with bottled water behind the cafe counter, Pruett says she can’t remember where she’s from.

“One thing she never forgot was the cafe,” De Carmo said. “She always knew where she was and that it was the place she wanted to be.”

Landers said his father, who died in 2022, asked her to move in with him in L.A., but she didn’t want to leave the Bagdad.

“It was just hard,” said Landers, who added that she might have fared better, physically, at least, in a dementia care facility. But she repeatedly said, “No, this is my place. This is where I want to be.”

Pruett’s friends in the desert stepped up. Bradley took care of her and the cafe, opening it each day for tourists to come in and take photos.

In 2023, Tropical Storm Hilary pummeled the diner’s old roof. Water poured in.

Woodall returned at the cafe’s request, filming the stained, decaying ceiling and the water-catching buckets and coffee pots on the floor. The YouTuber’s fans raised more than $25,000 — enough for a new roof.

In the video, Pruett stood by, smiling, quiet, a little confused.

For the next three years, she stayed at the Bagdad, even as her memory continued to fade. She died this January at 85.

On a Friday morning this summer, with the outside temperature already 115 degrees, Matt Parker stood behind the worn green Formica counter, setting a smart TV to the movie and preparing to make Nescafé instant coffee — a favorite of Europeans.

On a good day, they get three tour buses, he said.

Parker, 53, moved from L.A. County to Newberry Springs — where he used to camp with his dad and ride dirt bikes as a kid — a few years ago and fell in love with the cafe.

“You can’t recreate this,” he said. “We’re just caretakers of it. It’s a museum and church, in a sense, with all this stuff. Mrs. Pruett really focused on protecting it, protecting these people’s stuff — their mark.”

Andrea Pruett’s urn near the entrance of the Bagdad Cafe, which she ran for three decades.She died in January.

Landers said that, while the family figures out what to do with the cafe, he asked Bradley to keep it open like his grandma did.

Though her urn remains in the place she loved most, Landers hopes, someday, to bury her ashes in the Hollywood Forever Cemetery next to her youngest son.

Since her death, he can’t help but think of a scene from the movie. The German woman — forced to leave after her tourist visa expires — is gone and the bustling restaurant quiet again. A customer walks in and asks where the magic shows went.

A snoozing employee sits up and says: “The magic? It’s gone.”

In the end, the German returns to the Bagdad Cafe. And so do the crowds.

What happened to the future we were promised? The vision that grew out of the 1990s techno-utopianism, when the internet was still a place of freedom and experimentation. Where are the infinite possibilities the early years of the millennium afforded, when social media meant AOL Instant Messenger and GeoCities, when our cellphones were not yet smart, and when personal tech evoked whimsy and excitement rather than anxiety and dread?

On a recent night in L.A., that digital optimism still existed. Here, at a clothing store on La Brea Avenue in the Fairfax District, something that felt lost was rediscovered. People were huddling around to play 1999’s “Crazy Taxi” on a Sega Dreamcast, or 2005’s “Tekken 5” on a PlayStation 2. They were surfing a perfectly re-created Y2K-era internet, and navigating an early version of Apple’s Photo Booth to snap selfies with a first-generation iSight webcam.

Paizley Lee created Dead Internet Theory to bring guests back to an era when tech evoked excitement rather than dread.

(Jason Armond / Los Angeles Times)

Yes, almost everyone was staring at screens, but almost no one was looking at their phone. Instead, the room felt alive and buzzing with energy. Technology was creating human connection rather than isolation.

Welcome to Dead Internet Theory, an event hosted by game designer Paizley Lee that’s both a celebration of vintage tech and a place to build community. The name is a tongue-in-cheek reference to the theory that the internet today is mostly bots, AI slop and corporate algorithms, while the human element is quickly disappearing from the web.

Lee started the event earlier this year after seeing how her friends reveled in hacking old hardware but had nowhere to show off their reimagined contraptions. She said Dead Internet Theory is a space to highlight “artists who don’t see the light of day,” a cyberpunk show-and-tell of sorts. “There’s a world of knowledge that comes from that person that can share and collaborate with another artist, and that’s really the future that we were promised, right then and there,” Lee said. “It’s the ‘Hey, look at what I made, look at what I’m interested in, and let’s share that.’ ”

Benjamin Palmer shows his project called Pan and Scan.

(Jason Armond / Los Angeles Times)

One of those artists sharing his work was Dan Ruth. Atop a low credenza, he displayed a black, leather suitcase that housed inside of it an old laptop attached to an external zip drive. On the laptop’s screen was a menu of various banned books — the Unabomber’s manifesto and “The Anarchist Cookbook” among them. Ruth had recently bought the trademark rights to the digital storage systems iOmega, Zip and Jaz. “They were what we all used in the ‘90s to transfer larger files,” he explained of the era before online storage and transfer infrastructure like Google Drive.

With his setup at the event, participants could choose whatever banned book they wanted and write it to a physical Zip disk (about the size of a saltine cracker) to keep forever. If Ruth’s installation is a bit provocative, his message is less controversial. At a time when servers are being shut down, physical media is being digitized out of existence, and the subscription model is supplanting personal ownership, Ruth believes this is a way to have data autonomy.

Guests play retro video games.

(Jason Armond / Los Angeles Times)

Lee’s own contribution to the evening is the full rainbow of Apple’s iMac G3 computers — those bubbly, teardrop-shaped desktops that debuted in 1998 to the famous “iCandy” ads displaying their colorful shells, and TV commercials scored to the Rolling Stones’ “She’s Like a Rainbow.” Over several months and multiple trips, Lee drove across the country collecting the G3s in their core five colors. And it wasn’t easy. She recalled sleeping in her car in the parking lot of a Cracker Barrel for a few nights because she had spent all her money on acquiring the computers.

It was the people Lee met in the months of gathering the G3s, however, that made it worth it: a single dad who collected vintage iMacs to bond with his son, an elementary school teacher who held onto the old computers because the school was going to destroy them.

“I met these really witchy, cool, queer programmers from MIT in Medford, Massachusetts, who invited me back for MIT Swap Fest, where I found Indigo,” said Lee, referring to another G3 color not part of the core five. “I met a guy who used to work in broadcast, and his wife just died of cancer. His mom moved in, and she has been trying to support him in getting rid of old things and not holding on to them too much.” Human moments made possible almost by the accident of holding onto a computer longer than most.

Lee’s pursuit of old tech hardware has always been, at its root, a means to meeting new people, hearing their stories and creating a relationship with them. “I care about people a lot,” she said. “I think every single person that touches any of my projects knows that I really care about people feeling good.”

Paizley Lee spent months collecting the full rainbow of iMac G3s.

(Jason Armond / Los Angeles Times)

With a mouse, Jaimie Wan clicks into the past.

(Jason Armond / Los Angeles Times)

When Lee finally acquired all five original colors (blueberry, strawberry, lime, tangerine and grape), plus all the additional colors (ruby, indigo, snow, graphite, sage and three limited edition colors), she began booting up the G3s computers to make sure they still worked. In the process, she discovered the forgotten digital detritus left on their hard drives: old resumes, photo albums, Word documents.

“It’s somebody’s life,” she said. “It feels weird to do anything with it, but it also feels weird to alter it.” In the end, she kept the old files and built a replica of the early ‘00s internet to live beside them on the computers. At Dead Internet Theory events, participants are given free reign to the G3s and slowly find clues Lee has left on their desktops that lead into a mystery game she created.

Back at the event, people flocked to the bank of iMac G3 computers. They clicked around, laughing, their eyes lighted up. “It’s really a trip seeing the old MacBooks,” said Shannon Stack after navigating one of the relics. “I remember having those in my elementary school classroom. Now, these are archival pieces. It’s freaky!”

Lee herself hovered around the computer bank, watching people interact with them and discovering the random documents left behind or playing one of Apple’s preset games. She asked a couple who had been tinkering around for over half-an-hour if they wanted a hint to her mystery. “No!” they respond excitedly.

While Dead Internet Theory has only been held in Los Angeles, Lee’s dream is to take it on the road. “I’ve got kids in Seattle, in Nashville, in Dallas that are emailing me and going, please bring it here,” she explained. The only thing stopping her was money, but that changed recently. A few weeks after the event on La Brea, she was approached by a sponsor. Now she’s making a tour happen, first with a pop-up event in New York City on Wednesday.

The event has become a place to gather and build community.

(Jason Armond / Los Angeles Times)

Recently, as Lee began driving across the country to set up, she stopped at a bed and breakfast near Red Lodge, Mont. When she learned the innkeeper had an old blueberry iMac G3 in her basement, she asked to take a look.

“I spent an hour getting her back on,” Lee said of rebooting the machine to give the innkeeper access. “And the face she made when it came back to life — literally priceless.”

The woman browsed through old photos of her daughters, their old school projects and other files forgotten over time. Afterward, the innkeeper gave Lee the computer, telling her it deserves a second life.

Some graduates are paying thousands just to look employed. And parents are spending up to $50,000 on career coaches. Why is the entry level job market so broken? Al Jazeera’s Yasmeen ElTahan explains.

U.S. Immigration and Customs Enforcement has stopped publicly revealing where it is holding thousands of detainees who are subject to final deportation orders, an unannounced move that has made it far more difficult for lawyers and relatives to find them, according to current and former officials familiar with the practice.

ICE removed those detainees from its online detainee locator system on Sept. 15, according to three current and former ICE officials who spoke on condition of anonymity because they were not authorized to discuss the change. Several lawyers contacted by The Associated Press confirmed their clients vanished from the system this week, and the American Immigration Lawyers Association warned its members about the situation Friday.

The move represents a stark departure from previous practice and highlights the hardline nature of President Trump’s immigration crackdown, leaving thousands of detainees exceedingly hard to trace and potentially unable to exercise all of their legal options.

The practice, which applies to detainees who have received final orders of removal from an immigration court, could speed deportations by making last-minute legal challenges harder to pursue, immigration lawyers said. Nearly 16,000 people who were arrested and booked into ICE detention in July were subject to final removal orders, more than a third of the overall bookings, according to ICE data obtained by the Deportation Data Project based at U.C. Berkeley and UCLA.

The practice does not apply to detainees held at a detention facility in Adelanto, California or at temporary holding facilities in Minneapolis, New York City or suburban Chicago, the sources said. Judges have ordered ICE to list detainees in those facilities in the online locator promptly upon their arrival, as part of litigation over their detention practices.

Lawyers and relatives distressed by lack of information on detainees

The effort to hide their locations adds to the ways in which the Trump administration has made life harder for detainees and their families as it has increased pressure on them to waive appeals and agree to deportation.

ICE did not publicize the move and in a statement issued to the AP, the agency did not confirm or deny it. The statement said detainees with final removal orders were being prioritized for deportation, even as ICE faces a “historic number of injunctions” from courts stopping individual removals.

As a result of the change, lawyers and relatives lost track of their clients and loved ones without explanation, which is especially concerning because detainees are frequently moved to new facilities before deportation, said Greg Chen, senior director of government relations at the American Immigration Lawyers Association.

“Families are freaking out because they think the person has been deported and they don’t know where the person might be,” he said. “On the attorney side, this has serious implications for the ability to contact their client. It certainly has implications about how it will interfere with the attorney-client relationship.”

The Department of Homeland Security, ICE’s parent agency, has argued that people who are subject to final removal orders have received due process. That usually means an immigration judge has ordered their removal after a hearing, including cases when immigrants fail to show up, and the decision was affirmed on appeal or not appealed.

Detainees with final removal orders still have options to appeal

Still, those detainees have options to challenge their detention and removal, including seeking to reopen the case or by bringing what’s known as a habeas petition asking a judge to release them on constitutional grounds. Federal judges have granted thousands of rulings ordering that detainees be released or granted bond hearings.

ICE detention facilities held more than 65,000 people as of early July, the most recent available data. Around 30% of them likely have final removal orders, said Michelle Mendez, legal director at the National Immigration Project.

More people have been issued final removal orders after failing to show up for hearings in recent months because the administration’s immigration courts have taken steps to make it harder to participate and to reopen such cases, she said.

“To me, it’s just another iteration of disappearing people,” she said. “Why would we do that in the United States of America? It’s something we’d hear about in another country and be concerned about individual rights and due process.”

Some with final removal orders also have legal protections against deportation to their countries of origin based on the likelihood they would be tortured or persecuted. Many of them are facing removal to third-party countries where they have no ties and their disappearance in ICE’s system will make legal challenges harder, lawyers said.

Lawyers say clients have vanished from ICE locator system

ICE initiated the online detainee locator system in 2010 to allow relatives, lawyers and the public to search for people in custody. Previously they had to call ICE regional offices or individual facilities to try to track them down.

Many advocates and lawmakers have complained that the system updates too slowly and contains too much inaccurate or missing information, allowing ICE to shield the locations of detainees for days or weeks. Minors, people who have been held by U.S. Customs and Border Protection for less than 48 hours, and detainees who are being transported are not in the system, among others.

But the exclusion of detainees with final removal orders has no apparent parallel, several immigration lawyers said. Atenas Burrola Estrada, a deputy program director with the Amica Center for Immigrant Rights, said that “every single one of our clients who has a final order has disappeared from the locator,” including 17 in all as of Monday.

Among those disappeared from the locator system are eight Somali men being detained at the U.S. military base in Guantanamo Bay, Cuba, according to one of their attorneys, My Khanh Ngo, of the American Civil Liberties Union. She said the change could make it “nearly impossible” for people to challenge their removals in some cases.

“If you can’t find your client, don’t know what’s happening to your client, you can’t get that information to the court to stop their removal,” she said.

Foley writes for the Associated Press.

Within hours of a Feb. 28 missile attack that hit an Iranian school, some Pentagon personnel knew the U.S. was responsible, according to officials involved in an internal investigation of the incident. That probe found what the officials now describe as a cascade of preventable failures.

Two Tomahawk missiles struck the building and its grounds that Saturday, killing more than 150 people, including at least 123 children. The strikes devastated the two-story school, which was built on land that was part of a military compound in the southern Iranian town of Minab. In terms of child casualties, it’s the deadliest American military targeting error of the 21st century.

United Nations investigators said Thursday that there were reasonable grounds to conclude that the strike on Minab and another U.S. attack that took place on the same day amounted to war crimes. The U.S. has yet to publicly accept responsibility for the school strike, and President Trump has previously suggested it was Tehran’s fault. As recently as July 14, he told Fox News, “I don’t think anybody’s going to ever be able to say what happened there.”

But in interviews, officials with direct involvement in the Pentagon’s internal investigation have offered some of the first accounts of the probe. The strike didn’t result from a single catastrophic decision but an accumulation of smaller ones, they said, and their review has identified a series of missed opportunities to prevent the disaster. The officials, like more than two dozen others who provided descriptions of targeting procedures or background information for this story, asked not to be named to discuss sensitive matters.

In the final days of February, the Trump administration demanded an overwhelming aerial assault. More than 1,000 Iranian targets were hit within the first 24 hours alone. That order compressed the time frame for finalizing targets, the officials said, instilling an urgency that — combined with gaps in underlying information about the site, cuts in civilian protection personnel and an overreliance on artificial intelligence technology — set the stage for the deadly error.

Full details from the investigation remain tightly held. Officials who described it said they faced constraints on the amount of information they could share. Previous news reports have indicated that by early March, a preliminary internal review determined the U.S. was likely responsible for the Minab strike.

A report on the full Pentagon investigation, which commenced in March, hasn’t been released — though the officials said it has been all but complete for several months.

Adm. Brad Cooper, who heads U.S. Central Command and ordered the investigation, told members of Congress in May that he’s committed to providing transparency. Yet it’s not clear how much detail will be included, nor how much of the report ultimately will be released to the general public.

A child runs past a banner strung across the rubble of Shajarah Tayyebeh Elementary School showing portraits of the children and teachers killed there by a U.S. missile strike.

(Vahid Salemi / Associated Press)

A Pentagon spokesperson said the incident remains under investigation and declined to comment further.

In response to questions, including about when the White House was informed that the strike was a mistake, a senior administration official also cited the ongoing probe and added: “The United States does not target civilians.”

Last week, a report from the United Nations’ Independent International Fact-Finding Mission on Iran said that the U.S. had “failed in its obligation to do everything feasible to verify” that the school was a military target and that the failure “went beyond negligence.” The U.S. Department of Defense has declined to comment on the report.

U.S. officials have said that outdated intelligence was a problem. Although the site in Minab had been identified years earlier as a military compound, there was clear evidence that it had been modified and undergone a change of purpose, the officials said. Physical changes reflecting new construction — visible on satellite imagery — dated back almost a decade, they said, and the site operated openly as a school.

Analysis of commercially available satellite images shows construction of walls and entrances that separate the school site from the military base, work that appears to have been completed by 2017. An image from 2018 shows brightly painted walls alongside a soccer pitch, assembly rows and play markings on the ground.

Some U.S. intelligence analysts took notice, the officials said. Bloomberg reported in June that one analyst detected changes to the site as early as 2019, and logged remarks about the modifications in a system that wasn’t connected to the primary military intelligence database, which informs targeting.

Inside Centcom, which conducted the U.S. attack, some personnel relied too much on the artificial intelligence embedded in Maven Smart System, the officials said. Maven, which is made by Palantir Technologies Inc., allows users to view and coordinate complex military operations — from targeting to command and control — using AI-enabled software that fuses more than 150 different data inputs into a coherent set of information to inform commanders’ decisions.

In the past year, the Defense Department has rapidly made Maven a cornerstone of the U.S. military apparatus. Several former senior U.S. military officials now work for Palantir, including some with high-level security clearances in Centcom’s Tampa headquarters. Their role is to keep the software functioning inside secure military environments.

Some Centcom personnel expected Maven to flag stale information or inconsistencies in the underlying intelligence assembled for potential targets, the officials said. It’s not clear why they had such expectations.

A Palantir spokesperson said that the company “is not responsible for the underlying data nor identifying intelligence deficiencies” and that there’s no evidence that its software was at fault in the Minab strike.

Two people familiar with the firm’s Pentagon contracts said the government retains primary responsibility for the quality of the information that’s fed into Maven. But they said it’s not uncommon for personnel who use tools such as Maven to develop operational understandings that differ from contractual terms.

After the Minab strike, Palantir built new capabilities into Maven that “re-review underlying intelligence to identify factors that would disqualify a target and flag inconsistencies and inaccuracies that human review may have missed,” according to a person familiar with the matter. That work has already caught some anomalies, the person said.

The ‘kill chain’

As Feb. 28 approached, Pentagon officials were tasked with identifying strikes they thought would paralyze Iran’s military before Tehran had a chance to respond, the officials said.

High on Centcom’s list: the naval division of the Islamic Revolutionary Guard Corps, the most powerful force across the country’s military, economy and politics. It’s tasked with defending — and at times, disrupting — the Persian Gulf and the Strait of Hormuz. The Minab school site — with its uncorrected classification as a Revolutionary Guard facility — was fed into Maven along with other potential targets. It ultimately emerged as one of the recommended Day 1 targets, people involved in the investigation said.

As all targets do, the Minab site moved through a multi-stage assessment process known by the military as the “kill chain.” Steps in that process have traditionally involved intelligence analysts, imagery specialists, targeteers, lawyers, operational commanders and launch crews, according to U.S. military doctrine and interviews with current and former Defense officials. Today, Maven sits at the heart of those operations — between the initial intelligence inputs and the latter review stages, officials said.

In past conflicts, preparing lists of proposed targets — work that includes assessing how they align with an operation’s objectives — had taken hours for staffers to complete. Ahead of the U.S. attack on Iran, much of that work was condensed into several minutes via Maven, people involved in the Pentagon’s internal review said.

Officials involved in the investigation pointed to gaps that they said were left after Defense Secretary Pete Hegseth dismantled most of the Pentagon’s civilian harm mitigation, or CHM, units — cutting headcount across a number of teams by roughly 90% to fewer than 20 staff members, people with direct knowledge of the matter said. Centcom’s team was reduced from 10 to 1.

No CHM team member reviewed the Minab site before the strike, according to officials involved in the internal investigation. That was a consequence of the cuts in staffing but also a decision not to involve the group in planning and operations, the officials said. While not mandatory, that sort of review had become routine in recent years, they added. It’s unclear whether such checks, which include mapping the civilian environment, assessing noncombatant presence and developing lower-risk strike options, would have been enough to raise questions about the Minab site.

The Biden administration had built up civilian-harm-prevention capabilities within the Pentagon after an August 2021 drone strike in Kabul killed 10 civilians — based on the misidentification of an aid worker as a threat. Hegseth has characterized his subsequent cuts to those efforts as a shift away from “Biden-era, non-lethal programs.”

“America, regardless of what so-called international institutions say, is unleashing the most lethal and precise air power campaign in history,” Hegseth said at a news conference March 2, days after the Minab attack. “All on our terms with maximum authorities. No stupid rules of engagement, no nation-building quagmire, no democracy-building exercise, no politically correct wars.”

Under Hegseth’s leadership, the U.S. military has prioritized speed of delivery. People involved in the Pentagon probe said a rush to finalize targets shortly ahead of Feb. 28 contributed to the tragedy.

“Haste can lead to errors,” said Laurie Blank, who was appointed a special counsel at the Pentagon’s general counsel during the Biden administration from 2022 to 2024. She drew a distinction between planned targets and those that arise in the heat of battle. “A rush to hit pre-planned targets just isn’t the same thing,” she said, “especially when the operations are launched by choice and not in response to an attack where you are responding without time to plan.”

Why Minab?

A little more than 800 miles south of Tehran, the city of Minab sits on the critical Strait of Hormuz, at the crossroads of centuries-old trade routes and the nation’s modern military might. As the U.S. attack on Iran began, it was deemed a high-value target, according to people involved in the investigation.

As the strait’s significance grew in the 1980s, so did the number of military assets devoted to protecting it and projecting power into the Persian Gulf. The Revolutionary Guard’s missile units, naval facilities and logistics compounds operate alongside neighborhoods where fishermen, teachers and civil servants have lived for generations in the city of 76,000.

Shajarah Tayyebeh Elementary School was built almost a decade ago on land originally occupied by a Revolutionary Guard naval unit. The Pentagon had cataloged the site as a military base several years earlier — a determination that wasn’t updated before the February attack. The New York Times reported in June that targeting officials used satellite imagery that hadn’t been updated in seven years and that did not show a school at the site. Investigators have focused on the Defense Intelligence Agency’s failure to reclassify the location, officials involved in the inquiry said.

On Feb. 28, Minab awoke to clear skies. Shopkeepers unlocked their storefronts. Fishing crews unloaded ice chests along the docks. Children in green-plaid uniforms walked through the gates of the 260-student school, before heading into classrooms.

Firsthand descriptions of the events that took place in and around the school that day have been gathered by a group of human rights advocates, lawyers and digital forensics experts who’ve spent months reconstructing the attack. Members of the informal consortium — including some based in the U.S. and Europe — asked not to be named given the sensitivity of their outreach efforts with victims’ families. Their work and an assessment by the U.K.-based watchdog group Airwars — viewed as a highly reliable source by some Pentagon officials — provides the following account:

After the first reports of attacks on Iran emerged that Saturday morning, teachers called parents and asked them to collect their children, saying the school planned to close early. Shortly after 11 a.m., a first missile hit part of the school, triggering an explosion that reverberated across the neighborhood. Panicked shrieks filled the air. Teachers ushered children from the playground back inside to take cover in a prayer room.

Within minutes, a second missile struck, sending metal fragments across the school. Part of the roof collapsed. Only a few children inside the prayer room survived, buried beneath the rubble.

Rescue vehicles rushed to the scene while passersby helped the wounded. Some injured children were pulled from the rubble while dozens more, deceased, were slowly identified. One rescue crew member stumbled upon a child’s hand, detached and laying on the ground. He wept as colleagues continued to hunt through the debris alongside him.

Some parents were left to identify their dead children by fragments of clothing or belongings — a pencil case, bracelet or shoe — as many faces were no longer distinguishable. The father of Arash Gol-Azin didn’t learn the fate of his 7-year-old son until reaching the morgue. Only then did he spot him by identifying his sock.

Payam Akhavan, a Toronto-based lawyer who has practiced before the International Criminal Court and is an expert on civilian protection, said it’s important for investigators to determine what efforts U.S. officials made to try to ensure they were targeting a military installation.

“The Geneva Convention says you must take all feasible measures to determine that this is, in fact, a military objective,” said Akhavan, who spoke before Thursday’s U.N. report was published. “This does not mean that every mistake is a war crime, because mistakes will be made, even if you take all feasible measures.

“But if all feasible measures were not taken,” he added, “then that raises a question of criminal responsibility.”

At least 1,701 civilians were killed in the opening 39 days of the war, according to data compiled by the U.S.-based group Human Rights Activists in Iran. That’s an average of 43 people a day, and the group — viewed by some in the Pentagon as an authoritative source for Iranian casualty figures — said it’s a low estimate.

“We should be asking how so many civilians were killed amid an unprecedented tempo of strikes over just a matter of weeks,” said Skylar Thompson, the group’s deputy director.

More recently, Iranian officials and a United Nations body said the U.S. was responsible for a Sept. 1 strike on Kuhestak — some 20 miles south of Minab — that hit a residential area where a wedding party was underway and killed at least five people with dozens more injured. The U.S. is investigating the incident, Vice President JD Vance said earlier this month.

Target libraries

For decades, American military planners had maintained extensive target libraries in anticipation of potential conflict with Iran, encompassing everything from limited strikes to maritime war and major air campaigns. The list stretched into the thousands and included air bases, missile factories, nuclear facilities and ports, according to current and former U.S. officials familiar with the plans.

Some potential targets had remained on the books for years, accumulating layers of satellite imagery, intelligence reports and legal reviews.

But these catalogs can age quickly, according to people who’ve dealt with them. Buildings appear and disappear. Headquarters switch locations. Where a military barracks once stood, schools, hospitals and mosques may now exist. So the libraries’ contents require close and continual review well before any particular building or site winds up on a target list.

Maintaining the lists is critical but labor-intensive. Officials involved in the internal investigation of the Minab incident described gaps in vetting — or checking whether the underlying information is accurate, reliable and timely — that came well before the school site was selected.

Some of the most sensitive sites, such as Iran’s nuclear facilities — attacked by Israel in its 12-day war with Tehran in June 2025 — faced relentless attention from U.S. intelligence analysts ahead of the 2026 war, according to officials with direct knowledge of the matter. Less prominent locations, such as Minab, went months without receiving another close look, the officials added.

War planners start to think they’ll have time to revisit the less urgent sites, current and former Pentagon officials said.

That assumption evaporated during the final days of February as diplomatic talks between U.S. and Iranian officials in Geneva faltered and then collapsed on Feb. 26.

Work that had unfolded in previous conflicts over weeks or months — matching sites from the library, such as buildings, airfields or bases — was completed in a matter of days, according to officials involved in the inquiry. More than a thousand potential targets had to be reassessed and approved.

By the time the first Tomahawk missile bound for the Minab site left its launcher on a ship operating in the Arabian Sea, roughly three dozen people were involved along the kill chain, the officials said.

Most sat in secure facilities more than 7,000 miles away in Tampa, Fla., studying maps, imagery and databases in preparation for a war that, until 48 hours before the Minab attack, many officials had believed for decades wouldn’t occur.

Typically, part of their work entails refining a list based on satellite imagery and on-the-ground intelligence that’s used to create a pattern-of-life analysis reflecting human movements on the site and changes over time. In Iran, a bitter U.S. adversary for almost half a century, such intelligence was limited, especially in the south of the country, people involved in the probe said.

Additional steps in the kill chain address other types of issues. Lawyers assess whether each proposed target is a lawful military objective. Specialists estimate potential collateral damage. Weapons experts debate not only which missiles to fire but when.

Every stage leaves a record. Analysts sign off on each piece of the chain. They’re told to report any inconsistencies to superiors.

Then a series of questions is asked by the senior commander: Is the target lawful? Is there sufficient intelligence? And have reasonable precautions been taken to minimize civilian harm? In the early hours of Feb. 28, the answer to each question about the Minab site was yes, according to the officials involved in the probe.

The Pentagon’s internal investigators, who examined the satellite imagery, intelligence databases, targeting materials, operational chat logs and computer records that analysts used, concluded that there was high confidence throughout the kill chain that the Minab site was a Revolutionary Guard facility, according to people involved in the probe.

“Insufficient intel wasn’t really viewed as a concern before the war,” said one Pentagon official involved in the internal probe. “We were confident in our intel. Minab proved you should never be too confident.”

Political pawns

Government researchers and auditors have noted deficiencies in the primary intelligence database that’s used to develop strike targets, and the Pentagon is working to replace it with one that will introduce more automation. And Minab isn’t the first time that flawed intelligence has directed U.S. precision weapons toward the wrong target.

The accidental bombing of the Chinese Embassy in the Serbian capital Belgrade in 1999 killed three people and injured 27 others. A mistaken 2015 airstrike on a Doctors Without Borders hospital in Kunduz in Afghanistan killed 42 people. More recently, soon after the Pentagon’s civilian-harm-mitigation teams were disbanded, a strike on the Ras Ina port in Yemen in April 2025 resulted in at least 80 civilian deaths.

In the months since the attack, the children of Shajarah Tayyebeh Elementary have become symbols. Their faces were plastered on the backs of the seats of Iranian planes ferrying diplomats to Islamabad for talks with the U.S. in April. They adorn memorials on the streets of Minab. Some families have complained that their injured children haven’t received the treatment they need. Critics accuse Iranian officials of leveraging the school attack to their political advantage.

In the U.S., the disaster has become a different sort of political touchstone. Democratic lawmakers, who are seeking to take control of the Congress in the November election, are asking how the attack could have happened.

Sen. Jack Reed of Rhode Island, the ranking member on the Senate Armed Services Committee, accused the Pentagon of deliberately withholding the results of the investigation, and his Republican counterpart, Thom Tillis of North Carolina, called for congressional briefings on what went wrong.

That call is echoed by Sen. Richard Blumenthal, who also sits on the committee, which helps set spending caps for the Pentagon’s roughly $1-trillion annual budget.

“The administration should have been forthcoming within hours or days, and here we are months later and nothing has been provided,” Blumenthal said.

“It is unforgivable,” he added.

Bartenstein and Karra write for Bloomberg.

Every so often, an aspiring screenwriter wanders into the dim red glow of Jumbo’s Clown Room hoping to interview one of the dancers. “They’re like: ‘I’m writing a screenplay. Can I interview you?” says Cecilia Fairchild, one of the longtime dancers at the renowned East Hollywood bikini bar.

Her response is usually some version of this: “I’m like, ‘Why are you writing about that? Don’t you know we are all writing that too? Leave us alone,’” Fairchild says with a mischievous laugh. What bothers Fairchild is the assumption behind it — that the dancers are voiceless and helpless. Worst of all, they’re presumed to have stories worth mining but not the ability to produce literature themselves.

Jumbo’s has a longstanding reputation of being part of L.A.’s literary lore.

In the 1970s and 1980s, Charles Bukowski — L.A. nightlife’s debaucherous poet laureate — was rumored to haunt the bikini bar in its early days. David Lynch wrote his classic screenplay “Blue Velvet” at the bar. (According to local legends, the iconic opening shot of “Blue Velvet” came to Lynch when he spotted a dancer with only one ear.) Writer and director Quentin Tarantino reputedly wrote at the bar. But while Jumbo’s has garnered a mythology as a magnet for filmmakers, writers and musicians who collect impressions, the dive’s dancers have shifted from being the subject to the artists.

Many of Jumbo’s dancers write fiction and memoir, host literary salons across Los Angeles and find ways to tell their own stories rather than serve as muses. “It’s funny because I wish that male auteurs would tell the story of customers. I want a sniffer’s memoir. I think that’s a real point of view,” Fairchild says. (Speaking of alienation and horniness, the dancer has been meaning to crack the Marcel Proust canon.)

Honey Ryder (Claudia Musikul) types on the bar inside Jumbo’s Clown Room. (Carlin Stiehl / For The Times)

Fairchild is a playwright, poet and memoirist. Her recently completed memoir, “The Poison + The Spit,” traces a life of tumultuous love affairs and a stint dancing in New Orleans, rendered in prose that is whimsical, surreal and deeply emotional. The dancer also hosts the Downpour, a popular monthly literary salon at Bar Covell, and recently directed “Fool in the Pool,” a play that premiered at El Condor in Silver Lake this summer.

Her writing style mirrors her dancing: kinetic, wild and unpredictable. She sometimes takes the stage in roller skates, dancing to David Bowie. Her memoir achieves that same sense of hypnotic motion. “The memoir is so heavy,” she says. “Everything was so sad that I needed some lens to look at it that was fun, zippy and crazy.”

For Fairchild, dancing and writing possess the same need to expose oneself. “Vulnerability is one of the most interesting things about dancing,” she says. “There really is the potential to look into people, and they look into you, and you wordlessly share something with them that is half sexual and half this other thing.”

Meanwhile, Danielle Henderson — another dancer and aspiring novelist at Jumbo’s who writes under the pen name D.M. Faulk — has been working on a science-fiction novel titled “Meridian.” The book imagines a dystopian American wasteland where pregnant women are surveilled and controlled. She has been a longtime science-fiction fan since she and her father watched “Jurassic Park” and “Planet of the Apes” when she was a child.

Long treated as passive muses by visiting writers, Jumbo’s dancers — from left, Caroline Blaike (Caroline Moyer), Honey Ryder (Claudia Musikul), and Cecilia Fairchild — are reclaiming the narrative as active poets, memoirists and screenwriters.

(Carlin Stiehl / For The Times)

Unexpectedly, the Jumbo’s comically tiny dressing room became the inspiration for her novel. In 2022, when Roe v. Wade was overturned, conversations between dancers about reproductive rights ignited in the dressing room, which in turn informed her novel.

“A lot of those conversations happen in the dressing room. I’m incredibly inspired by the women I’m with who are incredibly sex positive and strong.” That ethos informed Henderson’s protagonist, Zayla.

In recent years, the bar has become a local author hangout. Allie Rowbottom, the author of the recent buzzy adult film novel “Lovers XXX,” discovered the bar in 2011 on the occasion of writer Elizabeth Hall’s birthday party. “I recall sitting front row on novelist Jon Lindsey’s lap, raining dollar bills on dancers performing intricate, beautiful athletic feats,” Rowbottom says. “I spent more than I could afford that night and have been back often since.”

Increasingly, Jumbo’s has cemented itself as a watering hole to the local writing scene. “Two years ago, I rented out a few tables for Jon Lindsey’s birthday, attended by Los Angeles literati like Tea Hacic-Vlahovic, Sammy Loren, Morgan Krantz, Tex Gresham and Nada Alic,” she adds.

According to Rowbottom, Jumbo’s is rife for literary inspiration. “To me, Jumbo’s feels uniquely dedicated, as a venue, to intersecting sex and art, despite the obvious dissonance of selling either,” she says. “I suspect such is what has historically made it a rich spot for writers, dissonance and tension being of utmost importance to good literary work.”

From left, Caroline Blaike (Caroline Moyer), Honey Ryder (Claudia Musikul), Cecilia Fairchild and Stephen (Aaron Laughton) inside Jumbo’s Clown Room.

(Carlin Stiehl / For The Times)

A charged scene in L.A. writer Aiden Arata’s critically-acclaimed 2025 essay collection, “You Have a New Memory,” features a night out at Jumbo’s Clown Room. “The dancers are starlets, athletes, artists; the theme is clown, and also longing — longing is a high form of physical comedy,” says Arata. “It possesses that heady mix of scuzz and glamour that can trick you into thinking your life is about to change.”

Jumbo’s burgeoning literary interest revives a hotly debated question: Who gets to tell the stories of sex work? For decades, the club has inspired celebrated writers and filmmakers, but Claudia Musikul — a dancer at Jumbo’s and a screenwriter herself — hopes its literary legacy will increasingly belong to the people at its core: the dancers.

“I hope that everybody can actually get their work out there because I feel it’s much deserved,” says Musikul. “You’ve probably heard about Bukowski, David Lynch doing ‘Blue Velvet’, or Anthony Bourdain. That’s all really cool, but in a way, it’s the actual dancers’ turn to have that kind of recognition.”

Musikul primarily writes screenplays about strippers, a subject she believes is seldom represented authentically. She has been in writing partnerships and workshops while developing scripts centered on dancers. In a sea of films depicting sex work, she cites Paul Verhoeven’s “Showgirls” as a film that resonates with her experience.

“‘Showgirls’ is my very favorite movie,” she says. “It’s my very special place in my heart movie.”

For Caroline Blaike, a poet and dancer at Jumbo’s, the connection between dancing and writing lies in observation. Years of performing have made her acutely attentive to the people who pass through the club, a voyeuristic habit that carries over into her poetry.

“When you’re a dancer, you’re very observant. You watch every person that walks in,” she says. “I feel like the way dancing makes you observe people helps you write from a perspective that other people can then relate to.”

Blaike has been working on a poetry collection that explores love, queerness, desire and personhood. “It’s gotten a little sexier over time, which is kind of fun,” she says. “I also just write about love, being gay, just existing. It can be a little aggressive, but people seem to like it, so that’s good.” She writes these poems from her prized typewriter — a “1951 Olympia typewriter that is my child.”

Among Blaike’s earliest literary touchstones was Maya Angelou. She still remembers encountering Angelou’s line in her poem “Still I Rise,” “I dance like I have diamonds at the meeting of my thighs,” and being stunned by it.

“I was like, ‘Oh, you can write that? That’s amazing,’” she says.

The literary ambitions at Jumbo’s extend well beyond the stage. Stephen Laughton, one of the club’s security guards, jokes that he leads a double life. By night, he keeps watch at the door; by day, he is an award-winning playwright. He’s recently been named the new associate artistic director of the Echo Theater in Atwater Village, and Laughton’s served as the writer-in-residence in the astrophysics department at the Natural History Museum in New York. Last November, his latest play became the first in the world to be staged in a planetarium.

“It’s this crazy, beautiful science play about two guys who meet in a club that explores mental health in the LGBT community, human interaction, time and astrophysics,” Laughton says.

Like many of his co-workers, Laughton has found himself turning Jumbo’s into copy. The club, he suggests, has a way of compelling everyone who works there to write about it.

“I think that probably what we’re all going to realize is that we’re all writing a version of the exact same story,” Laughton jokes.

Blaike argues that the dancers’ diverse talents are a key reason why Jumbo’s Clown Room has become such a beloved institution in the city. “It attracts confident, creative women who work there,” says Blaike. “Our community of women is supportive of each other and each other’s endeavors. … It really does facilitate that.”

Sway Dasafo, a pioneering British Ghanaian rapper known for his lyric storytelling and championing of British music, has died. He was 44.

The rapper and producer’s death was announced Thursday on social media by the Mobo Awards, which celebrates music of Black origin. Dasafo’s friend Kash Ahmad confirmed to the BBC that he died at his home in Ghana. No cause of death was provided, but the outlet reported that Dasafo had been diagnosed with Hodgkin lymphoma in 2010 before going into remission later that year.

“We’re deeply saddened to hear of the passing of Sway,” Mobo wrote on Instagram. “Sway will always hold a special place in MOBO history.”

In 2005, Dasafo became the first unsigned artist to win the Mobo award for hip-hop act before he released an official album. He won over other established artists including 50 Cent and the Game off the strength of his mixtapes, “This Is My Promo” volumes one and two.

“Mixtapes effectively provide a diary of my life,” Dasafo told the Guardian in 2005. “They feature skits and interviews of me on radio. When people follow your story, they feel closer to you — it’s like a soap opera. People want to know what’s going to happen next.”

“It was a huge moment,” Mobo’s Instagram statement said of Dasafo’s win. “Not just for Sway, but for UK Hip Hop. At a time when British rappers were still fighting to be recognised alongside their US counterparts, his win made a real statement about the talent, creativity and potential coming out of the UK. … [W]e will always be proud that he was part of the MOBO story and of the history we shared together.”

Born Derek Andrews Safo on Sept. 5, 1982, in Hornsey, north London, to Ghanaian parents, Dasafo grew up primarily in England where he developed a love for literature and music. He started rapping as a hobby when he was 10 and was making beats on his computer at 13.

The versatile rapper got his start in groups such as Phynix Crew and One before going solo and releasing his series of mixtapes. Among his early hits were “Up Your Speed” and “Little Derek,” from his debut alum, “This Is My Demo,” which he released from his own label, Dcypha Productions.

“I’m a positive person and this positivity comes out in my music,” Dasafo said in his 2005 Guardian interview. “I don’t go round holding guns to people’s heads, so I won’t rap about holding guns to people’s heads. Trouble attracts trouble. If you rap about trouble, it will come to you.”

From early in his rap career, he expressed his desire to become a producer so he could sign and nurture other talent. Dasafo has collaborated with artists including Riz Ahmed, Ed Sheeran, Lupe Fiasco and Chamillionaire.

BBC Radio 1Xtra broadcaster Remi Burgz called Dasafo a “UK Rap pioneer” and “one of north London’s finest” during her program, according to the BBC.

“He was mine and many others’ first experience of U.K. rap [and] hip-hop in mainstream media,” she said. “He was a literal example of paving the way and showing that U.K. rap can take up space in music.”

Dasafo is survived by his two sons, Jalil and Ammar-Joseph, and twin daughters, Queen-Inaya and Queen-Imara.

Tensions flared on the eve of a critical week ahead for Paramount Skydance’s proposed $111-billion acquisition of Warner Bros. Discovery, amid new urgency for talks aimed at settling antitrust litigation brought by California Atty. Gen. Rob Bonta and 11 other states.

Over the weekend, opposition intensified to a proposed settlement as details trickled out, including a proposal to establish a bipartisan editorial board to monitor cable news channel CNN, one of Warner’s premier properties that Paramount Chief Executive David Ellison would control along with CBS News.

It wasn’t clear Sunday whether a proposed settlement would require Warner to sell off assets — something Bonta repeatedly has insisted upon. Critics of the deal urged Bonta and other state attorneys general to resist pressure to reach a settlement that would allow Ellison’s deal to move forward.

“State Attorneys General, please hang tough against the giant proposed Paramount-Warner Brothers merger,” Rep. Jamie Raskin (D-Md.) wrote on social media late Saturday.

“Paramount, run by the Ellisons, should not own both CBS and CNN. California must not cave and take a deal that leaves both under the same owner,” Rep. Ro Khanna (D-Fremont) wrote.

Bonta and Ellison have made progress in the talks in recent days, according to four people familiar with the matter not authorized to speak publicly.

However, New York’s Letitia James and at least two other attorneys general who joined Bonta’s lawsuit in July privately have expressed reservations about the proposed compromises, believing they don’t go far enough to mitigate concerns about the power Paramount-Warner Bros. would wield over the film and TV industries should the merger go through, according to the people familiar with the matter.

James isn’t on board with Bonta’s proposed settlement, two of the people said. A potential split within Bonta’s coalition could be a setback because Bonta needs the other state attorneys general who joined his legal effort to sign off on any deal.

A spokesperson for Bonta did not respond Sunday to a request for comment.

Paramount maintains its deal to bring HBO, CNN, CBS, TBS, Comedy Central and two legendary film and television studios together would create a stronger company that could withstand the fierce competition from tech giants such as Apple, Netflix, Google (which owns YouTube) and Amazon. The two studios, on their own, would not be strong enough on their own to remain viable in the streaming age, the company has said.

On Thursday, Paramount lawyers plan to demand that U.S. District Judge Araceli Martínez-Olguín in Oakland require the states and the Writers Guild of America to post a $1.88-billion bond that would cover some of Paramount’s delay-related deal costs should the company eventually prevail.

The states and the WGA, which also sued to block the merger, have balked at the request, which was designed by Paramount to create fissures within the coalition of states, which also include Minnesota, Oregon, Colorado, Connecticut, New Jersey and Massachusetts.

Ellison wants the merger finalized by Oct. 1, when his company will be obligated to make a higher payout to Warner Bros. Discovery shareholders. The company has threatened to move its Hollywood base from its historic Melrose Avenue lot to Tennessee or Texas should the antitrust battle stretch into October.

The prospective loss of an iconic California business — a century-old film studio that helped establish Hollywood — has rattled state and local politicians, who are fearful of losing more jobs at a time when Los Angeles film production levels already are at alarming lows.

Gov. Gavin Newsom, Los Angeles Mayor Karen Bass and Xavier Becerra, the Democratic nominee for California governor, have publicly called on Bonta to settle the suit rather than prepare for a trial next spring. City Councilmember Nithya Raman, Bass’ opponent in the L.A. mayor race, has been one of few California politicians in support of Bonta’s fight.

In an opinion essay Sunday, a trio of 1st Amendment and antitrust experts dismissed Paramount’s threat to leave Los Angeles as a ploy that doesn’t make business sense.

“Ellison’s threat is empty, and the AG should call that out — not give into it,” the experts — Fiona Scott Morton, Gene Kimmelman and Norm Eisen — wrote in the Contrarian.

Both Morton, an economics professor at the Yale School of Management, and Kimmelman formerly served in the U.S. Justice Department during Democratic administrations. Eisen, founder of the group Democracy Defenders Action, is helping lead the Block the Merger campaign.

“Paramount [would be] sinking the cost of moving before it knows what businesses it owns and how best to combine and organize them — which makes expensive strategic mistakes inevitable,” the trio wrote. “A company that raises its own costs while leaving behind the most valuable labor in the industry does not threaten California; it threatens itself.”

The group noted Paramount, in its regulatory filings, still lists its Times Square offices in New York as its corporate headquarters — not its Melrose Avenue campus in Hollywood.

“There is also the possibility that Ellison is planning to move Paramount to Tennessee regardless of how the lawsuit resolves,” the group wrote.

Bonta and Paramount have discussed including in any settlement a condition that Paramount would keep its operations in California for a set period, according to people familiar with the proposal but not authorized to comment.

Merger opponents planned a Sunday evening rally outside Bonta’s offices in Oakland to encourage him to stand tough. The group plans subsequent demonstrations this week outside James’ office in New York City and the Paramount lot in Hollywood.

The jockeying comes as President Trump, who favors the Ellison takeover of CNN and Warner Bros., has sought to block several prominent news organizations, including CNN and Politico, from reporting from the White House.

“Trump just locked CNN out of the White House. Now his billionaire allies want to own it,” Sen. Cory Booker (D-N.J.) added in a Sunday post. “State attorneys general: Don’t settle. Hold the line. Block this merger.”

If George Lucas invites you to a party, you go.

That much was clear Saturday at the Lucas Museum of Narrative Art’s opening-night soiree, where the guest list was as celebrity-heavy as any Academy Awards after-party. As the festivities kicked off around sunset in the courtyard under the museum’s towering elliptical oculus, Oprah Winfrey hugged Robert De Niro, and Harrison Ford and Calista Flockhart skipped the red carpet after chatting with Spike Lee. Laura Dern and Greta Gerwig laughed together by the entrance while Samuel L. Jackson plopped down on a curved bench, joking, “Hey, look what I did!”

He didn’t sit for long because Cynthia Erivo and Andy Garcia showed up and there were more hugs and handshakes and hellos. Owen Wilson, Leonardo DiCaprio, Kim Kardashian, Meg Ryan, Jack Quaid, Gov. Gavin Newsom, Rep. Nancy Pelosi, Justin Trudeau, Mark Hamill and Magic Johnson were there too, and that was just the beginning.

Gov. Gavin Newsom attended the opening-night party for the Lucas Museum of Narrative Art alongside a host of other notable guests and celebrities.

(Carlin Stiehl / For The Times)

After a rousing performance by a white-robe-clad vocal collective called Voices of Fire, co-founded by Pharrell Williams, Lucas’ wife Mellody Hobson noted that, “George kept saying, ‘Will this person come? Do you think this person will come?’”

“I said, ‘They will all come,’” Hobson said as the crowd laughed during opening remarks on a raised platform in the museum’s grand lobby.

And so they did. There was even a banner moment inside the posh fifth-floor Skywalker Grill where a group of directors gathered to be photographed in what could very well become a seminal photo of Hollywood influence in the 21st century. The shot included Lucas, Jon M. Chu, Chris Columbus, Francis Ford Coppola, Lee Daniels, Guillermo del Toro, Jon Favreau, Bryce Dallas Howard, Ron Howard, Peter Jackson, Chris Meledandri, Denis Villeneuve, Christopher Nolan, Spike Lee, Tyler Perry, Steven Spielberg, Frank Miller, Robert Rodriguez, Nathan Fielder and David Benioff.

Organizers were scrambling to find Gerwig, but she had dashed off somewhere else.

“Star Wars” legend Mark Hamill and his wife, Marilou York, were guests at the Lucas Museum of Narrative Art opening party.

(Carlin Stiehl / For The Times)

There were artists in attendance too, of course, but not as many. Jeff Koons, Refik Anadol, Judy Baca and Takashi Murakami strolled through the crowd, as did museum directors including the Broad’s Joanne Heyler and Los Angeles County Museum of Art’s Michael Govan, who was relieved to be attending someone else’s party after hosting so many of his own in April and May when the new Geffen Galleries opened.

Lucas and Hobson went to great lengths to explain why the Lucas Museum matters and why it is different from other museums. Their comments, in many ways, sought to address the criticism that has been lobbed at the museum since it held its press preview a few weeks back.

Though it has received a number of rave reviews, critics have called narrative art a false conceit and argued that the juxtaposition of masterworks with pop culture ephemera does not work. Much of the criticism has been focused on a perceived lack of context since there is almost no wall text clarifying why certain curatorial choices were made.

George Lucas and his wife Mellody Hobson hosted an extravagant opening party at the Lucas Museum of Narrative Art.

(Carlin Stiehl / For The Times)

“When I started it, everybody said, ‘You’re crazy. You shouldn’t do it. It’s not going to work. People are going to come after you,’” Lucas said of his plans for the museum. “I said, ‘People have come after me all my life, especially in the movies.’”

Lucas also addressed why he curated the museum’s 100,000 square feet of gallery space on his own, noting that at a certain point plans were “getting off the rails.”

“I’m going to have to take this over because people don’t understand what I’m doing,” Lucas recalled thinking. “The idea that illustration is an art form and illustrators are artists was just too much for somebody who had been taught otherwise by the art schools that they went to and the universities that they went to.”

People with PhDs often can’t see the big picture, Lucas said, “You can’t say ‘This is art. This is not art.’ Art is in the eye of the beholder. If it is emotional to you, then it’s art. And, of course, I’ve been criticized up and down and sideways for that. But I believe it wholeheartedly — that you get to decide what art is.”

Members of the Virginia Beach vocal collective Voices of Fire, co-founded by Bishop Ezekiel Williams and Pharrell Williams perform at the Lucas Museum.

(Carlin Stiehl / For The Times)

Lucas noted that throughout his career he has worked with many illustrators, “and I will tell you, they are as talented as any artist I’ve ever met. This is the way of giving back to them something that they’ve all wanted … inevitably, all of the illustrators say the same thing — everybody from R. Crumb to Rockwell — they all say, ‘I wish I could be in a museum,’ but they can’t. There isn’t a major museum in the world that’ll have this kind of art in it. I’m hoping this will change that.”

Lucas’ comments came after his friend and co-host Queen Latifah noted to the cheering crowd that, “Paris has the Louvre, New York has the Met and now L.A. has the artistic equal.”

Guests mingle at the Lucas Museum of Narrative Art opening party.

(Carlin Stiehl/For The Times)

It took more than a decade for the Lucas Museum to land in L.A. after a search that included Chicago and San Francisco as well as lots of civic pushback and lawsuits over the use of public parkland.

“We did not realize how hard it would be to give a city a museum,” Hobson said during her remarks, later joking: “If your husband or spouse comes home and says they want to build a museum, I suggest your response is a hard no.”

Laura Dern, left, and Greta Gerwig spent the early part of the night chatting and laughing.

(Carlin Stiehl / For The Times)

Hobson went on to extol Lucas’ vision and his ability to never waver from his dream for the museum.

“He was driven to create a space that would showcase the brilliant illustrators that he thought were too often overlooked and ignored,” Hobson said. “And if critics say that a museum of narrative art is too much like a popcorn movie and not enough like an art film, well, we love popcorn movies in our family.”

Like a popcorn movie, the evening ended happily with a drone show in the night sky narrated by Winfrey and Jackson, and featuring images from the museum’s collection including the Cave of Altamira, N.C. Wyeth’s “The Storybook,” Julie Bell’s “The Huntress,” Banksy’s “Girl With Balloon,” the “Star Wars” Millennium Falcon and Maxfield Parrish’s “Ecstasy.”

Afterward the party moved inside from the rooftop terrace for a performance by the Black Eyed Peas.

The LA Times/SurveyMonkey poll set out to measure feelings about football and Super Bowl, both in the U.S. as a whole and in the Los Angeles region.

Each day, a huge range of organizations — schools, churches, bowling leagues, companies and more — use SurveyMonkey’s online platform to poll their members, customers or associates.

In total, more than 2 million people take SurveyMonkey polls on an average day, giving the company access to a broad cross-section of the American public.

To conduct surveys on questions of broad public interest, like this one, SurveyMonkey randomly selects some of those people and asks them if they’d be willing to take an additional online poll. Those who say yes get a survey to fill out.

As with traditional telephone surveys, the results then are weighted to match standard Census Bureau measures of the nation’s population — to make sure that the sample mirrors the nation’s distribution of age, race, gender, geography and education levels.

The result is a representative sample of the adult population.

In this case, the poll, which was developed jointly by SurveyMonkey and The Times, was conducted in English and Spanish from Feb. 1-7 among a national sample of 7,590 adults. The sample included 1,659 Californians and 743 people who live in Greater Los Angeles, which encompasses Los Angeles, Orange, Ventura, San Bernardino and Riverside counties.

As with all polls, the results are subject to sampling error. For this survey, the modeled error estimates are 2 percentage points in either direction for the national sample, 3.5 percentage points for the statewide California sample and 5 percentage points for the Los Angeles metro area.

To attract patrons, the Los Angeles County Library turned to some of the most familiar faces on earth: Hello Kitty and her friends.

The bet seemed to be paying off Friday, as thousands of adults flocked to local branches to snag library cards featuring the adorable anthropomorphic gang on launch day.

The county’s library director, Skye Patrick, told The Times Thursday evening that they were bracing for “complete mayhem.”

A library spokesperson said they were still tallying the number of card sign-ups, but at least 4,400 had been issued as of Friday afternoon.

One of them went to Mar Vista resident Sisa Salazar.

“I thought it was super cute,” the 22-year-old said as she waited in line at the Marina del Rey branch Friday afternoon.

The florist used to frequent the library in high school, checking out books and watching shows. But she lost her card in recent years.

So when she came across the special Hello Kitty-themed card on Instagram, she took the opportunity to get a replacement.

Shortly after 2 p.m. Friday, the line for Hello Kitty library cards at the Marina del Rey branch stretched out the door.

(Iris Kwok / Los Angeles Times)

The Marina del Rey library remained busy throughout the afternoon, with a steady line of more than 50 people stretching out the door. Across town, dozens of people lined up outside the South Whittier Library before its 10 a.m. opening, hoping to be among the first to snag the card.

The West Hollywood, Carson, West Covina, La Mirada, Marina del Rey and Alondra branches ran out of cards on the first day, library spokesperson Jessica Lee wrote in an email. She noted the cards can still be found at other locations and roving bookmobiles.

In addition to Hello Kitty, the card depicts several other recognizable characters produced by the Japanese company Sanrio: My Melody, Kuromi, Pompompurin, Keroppi, Cinnamoroll, Chococat and Pochacco.

Many people in line in Marina del Rey chatted about their favorite Sanrio characters and exchanged childhood memories.

Playa del Rey resident Rebecca Leach, 43, already has an L.A. County Library card, which she often uses to read e-books on the Libby app.

Playa del Rey resident Rebecca Leach said she wanted to get the Hello Kitty library card because she grew up with the character and finds it nostalgic.

(Iris Kwok / Los Angeles Times)

But for the registered nurse, who dons a Hello Kitty badge reel at work, nostalgia was part of the card’s appeal. She has fond childhood memories of playing with a color-changing Hello Kitty plush toy. Leach visited several branches Friday before finding a manageable line in Marina del Rey.

“I think it’s great that they’re promoting the library more and doing outreach,” said Jolyne Jimenez, 51, a library assistant at the Santa Monica Public Library and fan of My Melody.

She spent her day off at the Marina del Rey library waiting for the card. (The Santa Monica Public Library is independent of the L.A. County Library system.)

Limited-edition library cards aren’t new in L.A. County. Previous popular designs have included cards commemorating the centennial of the 19th Amendment and the FIFA World Cup, Patrick said.

“What is uncommon is this amount of buzz,” Patrick said, adding that she hoped the heavy interest in the card would translate to increased awareness of the library’s offerings — not just books and e-books, but streaming content, household tools, musical instruments and podcast equipment.

The Hello Kitty card is available through Oct. 18, Patrick said. The library has permission to use Sanrio’s characters for one month for free and plans to restock the cards before the collaboration period ends.

WASHINGTON — Thousands of people joined outside the John F. Kennedy Center for the Performing Arts on Friday evening to protest President Trump’s plans for the facility, lending their voices to a chorus of organizations and individuals who have been horrified that he might make good on his threat to close and tear down the storied institution.

The crowd streamed in from the nearest subway stop, crowding streets in the Foggy Bottom area of Washington and locking down traffic as they walked, many carrying signs, as they joined in an event dubbed “Hands Around the Kennedy Center.” At one point some held hands, forming a human chain around the center.

Chris Raleigh, co-founder of Hands Off the Arts, which set up the gathering, said in an interview that he hoped it would show that people are willing to fight to keep Trump’s plans for the building at bay.

One of the most iconic buildings on the Potomac River waterfront, the Kennedy Center has been a focus of Trump’s remake of Washington since 2025, when he began installing his loyalists on its governing board. Late last year, he had his named placed on the center in front of that of President Kennedy. A judge ruled that Trump’s name was illegally added and ordered it removed.

The Kennedy Center board, which remains aligned with the president, voted Tuesday to close the center indefinitely for repairs hours after U.S. District Judge Christopher Cooper blocked their plans to return Trump’s name to the building. On Thursday, the judge ordered the Kennedy Center to provide 30 days’ notice before making any major physical changes to the building, including demolishing it.

Raleigh said he, like others, is concerned that Trump could take the step without notifying the court. “Look at the East Wing,” he said, referring to the demolished portion of the White House. “We got up one morning and there was a giant hole there.”

Raleigh said the Kennedy Center is more in the public eye than the East Wing was. He added that he doesn’t believe the president fully understands why people are so upset, “but that’s our job, right? This may be the line that no one expected, but this is where the line is going to be.”

Protesters talked about the importance of the center as the pinnacle of the nation’s performing arts world.

Bud Wilkinson, a local member of the arts community, set up a chalkboard with Trump’s name written on it hundreds of times. Protesters flocked to him to erase the names and replace them with hearts.

“The Kennedy Center is vital to the arts in Washington. We need it. We need this,” Wilkinson said. “This is not just about putting the president’s name on the Kennedy Center. It’s about censoring the performances and the programming. That’s what started all this. So that’s what the nitty-gritty really is about this. So I want to replace all of this with love. That’s why there’s a heart.”

Alina Baciu talked about the opportunities and relationships that students at the Duke Ellington School of the Arts have with the center and how those relationships might be affected by what’s going on.

Her daughter had opportunities to take advantage of all the center had to offer as a student at the Ellington school, she said. “I mean, they borrowed the beautiful costumes and the beautiful dresses from the Washington National Opera for their performances at Duke Ellington,” she said. They also performed on the center’s Millennium Stage.

“All of those things have gone away because of this craziness. And it just hurts my heart,” Baciu said.

Laura Steinberg, a volunteer for the last 10 years, said the loss of performances has already been heart-wrenching. “This reminds me of that picture from Tiananmen Square, where that young man stood in front of the tank,” she said of the throngs present. “This was my visceral response to this. I’ll stand in front of the wrecking ball if it’s going to come to that. My guess is many of these people would come down because we saw what he did to the East Wing. Nobody thought he would actually do it. So I think the shock has mobilized people.”

Friday’s event followed a tumultuous week in federal courts in Washington, where filings and counter-filings flooded the courts as the administration continues pushing for the president’s vanity projects. The administration has made substantive steps to begin work on a number of projects, despite the fact they are still being litigated. Such projects include Trump’s triumphal arch and the administration’s takeover of East Potomac Golf Links and the U.S. Institute of Peace.

Speaking from the Oval Office, Trump said he was willing to save the center, which he said was losing money. He did not address a question about demolishing it.

“We have a lot of people working very hard on it to save it,” he said. “I can save it easily, but why should we be doing that and then raise money for the rest of our lives to keep it afloat? Because that’s what you have to do, if we get no recognition. I think the Trump administration should be recognized as having saved the Kennedy Center.”

Fields writes for the Associated Press.

You need a boost, right?

We’re living under a dark cloud, with a steady downpour of graft, thuggery and baloney.

There’s the raffling of presidential pardons and the attacks on reporters for doing their jobs, the clownish trade war with Canada, the bungled disaster in Iran, the petty obsessions with the ballroom and the Kennedy Center, the hogwash about a stolen election, the attacks on immigrants and the shameless presidential profiteering while working people suffer the cost of Trump’s countless broken promises.

I could go on, and I will. But rest assured, I have not forgotten about the boost I promised.

For all the affronts, nothing strikes me as more sinister than the Trump administration’s ambitious assault on the planet. Despite nearly daily headlines about the global calamity of overheated oceans, melting glaciers, stark weather transformations and species extinction, Trump keeps shoveling more coal onto a fire that will rage long after he’s dead and gone.

He’s gutted environmental protections and scientific research and dismantled clean energy initiatives. Now his administration is rolling back limits on power plant emissions, attempting to open the California coast to more oil drilling and sabotaging the state’s ambitious goals on emission controls and electric vehicle conversion.

We don’t need AI to threaten the future of humanity. We’ve got Trump.

It’s tempting to duck under the covers and wait for the nightmare to end, but the good news is that a lot of people are standing up rather than rolling over, rebelling against the ignorance and callous disregard that threatens our most precious and fragile shared inheritance.

In August, hundreds showed up to defend California’s authority to govern its own coast at a Santa Monica hearing of the National Oceanic and Atmospheric Agency, and 18,000 more people filed comments online.

The rollback of environmental safeguards is, for many, a call to arms.

“Yes, I am discouraged. … But I am not despairing,” said Bill McKibben, an author and environmental activist who is organizing a worldwide event called Sun Day for next year to promote clean energy. “We’re reacting to multiple crises, and we’re led by a pack of fools, so why would anybody not stand up?”

McKibben launched a national movement five years ago called Third Act, and tens of thousands of people 60 and older have signed on to advocate for climate action, voting rights and civic participation. Third Act now operates in about 30 states, with a robust chapter in Southern California.

Former Times reporter Zan Dubin has worked as both a volunteer and a paid communications consultant for Third Act, and I asked her what someone could expect to do if they became a member of Third Act/SoCal.

Environmentalist and author Bill McKibben is organizing a worldwide event called Sun Day next year to promote clean energy.

(Amanda Swinhart / Associated Press)

“We do it all,” Dubin said, from promoting climate-friendly candidates to running phone banks and testifying at public meetings. She said Third Act co-sponsors protests at Dodger Stadium, and she and others planned to meet at Vin Scully Avenue and Stadium Way for Sunday’s game against the San Francisco Giants. They want the Dodgers to stop doing business with Big Oil and bench their sponsorship deal with Phillips 66.

She also called out Disneyland for its exhaust-spewing Autopia attraction, along with former Times climate columnist Sammy Roth, and Disneyland responded by announcing in 2024 that it was switching to electric cars beginning in 2027.

Dubin, co-founder of National Drive Electric Week, said 170 volunteer-led events were being held nationwide over the next month to promote EVs, and she was leading one Friday in Irvine.

“Action is absolutely the antidote to despair,” Dubin said. “I find that despite the onslaught of these horrifying headlines … taking action invigorates me.”

Claremont resident Margaret Davis knows that feeling. She emailed me in 2023, prior to participating in a Third Act event, and said many retirees have time on their hands, which puts them in a powerful position.

“The climate crisis is the greatest existential threat humans have ever faced, hence we live in a time when we can make the greatest change for the better,” Davis wrote at the time.

When I called her a few days ago, Davis told me she’s now a member of Senior Stewards Acting for the Environment. She lives at Pilgrim Place — a senior community with a focus on justice, peace and environment — where residents meet regularly to study, discuss and advocate for sustainability, biodiversity and environmental causes.

“When I was in college in 1970, we had the antiwar movement and that was the first year of Earth Day,” Davis said. “At the time, I thought Earth Day was just a distraction from what was going on in the world.”

Later, she said, “I came to realize it was the biggest issue of all time.”

Climate activist Sim Bilal stands next to pumps at an oil field in Los Angeles in 2024.

(Allen J. Schaben/Los Angeles Times)

Like Davis, I went to college in the ‘70s, and there’s no denying that our aggressively consumptive generation played a key role in manufacturing a crisis for our children and grandchildren. We’ve got matches in our hands and smoke on the horizon, and if we’re honest with ourselves, we’d see atonement not as a hobby, but as a duty.

As for the next generation, climate activist Sim Bilal, 24, said he too shares the sense that this is both a wickedly frightening time and a moment of opportunity.

“In the last month, we’ve gotten more young people involved,” said Bilal, executive director of Youth Climate Stewards 4 Local Action. “We usually have to reach out to them, but so many people have been wanting to get involved, and they’re so eager, and that’s been affirming for me. The policies are depressing, but the fact that people are reenergized and want to fight back is really exciting.”

Bilal said faith in politics, government and corporations is not high among his peers, but he’s trying to grow a network of young people to cultivate and support future leaders.

“A mentor told me there are two kinds of power — organized people, and organized money,” said Bilal, whose activism began when his grandmother died and he began wondering if her cancer, and global warming, were connected to the oil drilling in his South L.A. neighborhood. “We don’t have the money, but a lot of the work we do is political and civic education, demystifying power, and making people understand they have agency.”

You needed a boost, right?

There you go.

Whatever your age, do not despair.

Get off the chair.

steve.lopez@latimes.com

HENRICO, Va. — In-person voting for this year’s midterm elections began Friday, ushering in the final six weeks for Americans to decide which party they trust to lead Congress through a cost-of-living crisis, a prolonged war in Iran and other pressing issues.

Election administrators say they are prepared and confident the vote will be accurate and secure. Nevertheless, President Trump has continued with efforts to denigrate certain voting methods and reshape how elections are run, through court challenges, an expansive federal hunt for noncitizen voters and a pressure campaign to force election officials to share sensitive voter data.

Friday marked the start of early voting in Virginia. Voters in a handful of other states, including Idaho, Minnesota and South Dakota, can cast absentee ballots in person, typically at a local election office or voting center. More expansive early voting is scheduled to begin in those and other states in the coming weeks.

At a voting location in Fairfax, Virginia, 18-year-old college student Sanya Singhal was among the first to vote early in person Friday morning, arriving well before the site opened to get in line.

“Why not just have a little fun in life, you know, try to be the first early voter?” she said. “I really want to participate in my democracy.”

At a voting location in suburban Richmond, a poll worker rang a bell as the building opened and about a dozen voters in line began to file in. Stephen Gura was excited to be the first.

“This election is critical. We need to stop the Trump agenda. We need to start electing people who will stand up for people in this district,” said Gura, who added that he voted for U.S. Sen. Mark Warner, a Democrat, and Shannon Taylor, the Democratic nominee against Republican incumbent Rob Wittman in the 1st Congressional District.

The Nov. 3 election includes votes for governor and state legislature in most states and will determine whether Republicans maintain control of the U.S. House and Senate. If Democrats retake Congress, it will alter the trajectory of the final two years of Trump’s term, most likely leading to investigations and other oversight efforts.

Voting underway after unusual redistricting and Trump’s bid to control how elections are run

At the suburban Richmond voting center, a steady stream of voters flowed in and out for the first hour of early voting. William Curry, a 74-year-old retiree who described himself as a libertarian-leaning independent conservative, voted for Warner’s Republican challenger, Bert Mizusawa, and Wittman. Curry said he generally approves of the job Trump has done, apart from the war with Iran.

“He’s in a mess he can’t get rid of,” Curry said of the conflict.

On a rainy day in Sioux Falls, South Dakota, Bill Goehring, 67, said he voted early at the county office because he will be traveling later. He voted for a mix of Democrats and independents, and said Trump’s “dictatorial tendencies are bad for America.”

The start of early voting comes at a time of deep angst among many Americans about issues including rising gas and grocery prices, the war in Iran, the looming risks of artificial intelligence and Trump’s aggressive immigration enforcement campaign.

It also follows an unprecedented spate of mid-decade redistricting for the U.S. House that began when Trump urged the Republican-controlled legislature in Texas to redraw its congressional map to help the party. California and other states followed.

The changes affect millions of people: Research shows 1 in 10 Americans this fall is a resident of a different congressional district than in 2024.

Those partisan efforts are expected to continue before the 2028 elections after a landmark ruling this year from the U.S. Supreme Court weakened the federal Voting Rights Act’s protections against racially discriminatory redistricting.

As the start of early voting approached, Trump was focused on efforts to assert federal control over election administration, even as the Constitution bestows the power to run elections on the states and, in some cases, Congress. The nation’s highest court rejected Trump’s bid to restrict mail ballots this week, but several of his administration’s other efforts to influence the voting process and mine state voter lists for illegitimate voters continue.

Virginia’s attorney general said Thursday that Trump’s administration may have violated several of the state’s laws after a whistleblower accused federal employees of misrepresenting themselves on voter lookup tools to hunt for noncitizen voters. In a letter, Attorney General Jay Jones demanded that the Department of Homeland Security confirm in writing whether it had directed anyone to access Virginia voters’ information without first obtaining permission from those voters.

Trump for years has raised the specter of widespread noncitizen voting in U.S. elections, and this year is no exception. But despite his administration’s insistence that hundreds of thousands of people are illegally on voting rolls across the country, research continues to show noncitizen voting is exceptionally rare.

David Becker, executive director and founder of the Center for Election Innovation and Research, said he wouldn’t be surprised if the Republican president continues “his disinformation campaign and his attack on election officials.” But he said he thinks despite that and other challenges, “ultimately the process will hold as it has in past years.”

Advocates suggest voters cast their ballots early

Voting rights advocates have encouraged voters this year to cast mail ballots early, in part because of concerns about recent changes in U.S. Postal Service operations that could delay the application of postmarks to ballots.

“Voting early, whether in person or by mail, is good for all of our communities because it gives voters options, eases lines on Election Day and can even mean faster results,” said Hannah Fried, co-founder and CEO of the voting rights group All Voting Is Local.

The top official at the U.S. Postal Service also encouraged voters who cast ballots by mail to get them in early.

“We say seven days,” postmaster general David Steiner said in an interview. “Everything is solved if people vote early.”

In a news briefing Thursday, Minnesota Secretary of State Steve Simon urged people not to be swayed by stories they might have seen or read that cast doubt on election operations. They would be able to vote “just like they always have,” he said.

“I just want to reaffirm that Minnesota’s elections are fundamentally free, fair, accurate, honest and secure,” he said.

Swenson, Rankin and Raza write for the Associated Press. Swenson reported from New York and Raza from Sioux Falls, S.D. AP writer Mike Catalini in Philadelphia and AP video journalist Nathan Ellgren in Fairfax, Va., contributed to this report.

With a boisterous laugh, Giselle Bonilla recalls her introduction to Hollywood at the age of 12: on the set of “Freedom Writers,” the 2007 drama about at-risk high school students in Long Beach. She played a young version of Eva, one of the film’s main characters.

“I remember the first thing we shot was an initiation scene where I get the s— beat out of me,” she tells De Los, sitting at a coffee shop in Silver Lake on Sept. 11 (more on this date later). “They put this candy blood in my mouth, and I thought it was so fun.”

In retrospect, Bonilla, 31, finds great irony in how that initial foray into professional acting fictionally materialized her Mexican immigrant parents’ worst nightmare.

“We don’t come from money. They hustled all their lives and put my sister and I in private education, because they had this irrational fear that I would join a gang … then the first thing I ended up booking as an actor was getting initiated into a gang,” she says grinning.

Since that unique formative experience, Bonilla has traveled a winding path in and out of the industry, which ultimately led her to direct her first feature: the dark comedy “The Musical,” in theaters Friday.

The movie’s antihero, Doug (Will Brill), is a middle school theater teacher plotting his revenge against his ex-girlfriend Abigail (Gillian Jacobs), also a teacher — and her new boyfriend, the more charming Principal Brady (Rob Lowe).

Doug’s plan? To secretly persuade his young students to put on a musical about the horrors of 9/11 and its aftermath that’s certain to cause controversy and get the principal in trouble.

“I feel like you can be more honest with comedy,” says Bonilla about why this genre appeals to her. “You can get away with everything that you’re angry about and want to yell about. If you make them laugh first, people tend to listen.”

Left to right, back row: Alex Heller (screenwriter), Will Brill (center row) Gillian Jacobs, Giselle Bonilla (director) and Rob Lowe (on the floor) from “The Musical” at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah on Jan. 24.

(Christina House / Los Angeles Times)

Though the actual show is only a small element of the narrative, it turned off distributors, who argued they wouldn’t be able to market a comedy that involved such a delicate subject.

Still, “The Musical” is making it to the big screen as a self-released title thanks to its executive producers, who believed in the film enough to put in more money for a release.

“I’m going to make sure people watch it regardless,” Bonilla says about being very involved in the marketing. “Even though it didn’t sell at Sundance, we still found a way, which is how we made the whole movie. It was nonstop fighting against the universe just to make a comedy.”

Less than a week before production started, Bonilla lost the actors who were originally playing Principal Brady and Abigail. As her film fell apart, she reached out to the industry contacts she had made after working as an assistant for a few years. Miraculously, the screenplay piqued Lowe’s interest. He came on board, essentially saving the project.

Will Brill and Rob Lowe star in “The Musical.”

(Blue Harbor Entertainment)

As a student at the AFI Conservatory, Bonilla had directed a short film version of “The Musical” that writer Alexander Heller, aware of her affinity for comedy, had conceived for Bonilla to direct. The core group of artists who made the short also worked on the feature.

And though she has always pushed for diversity on screen — including in her short films “Virgencita” and “Bullfighter” — for “The Musical,” Bonilla believed the adults had to be white.

“It would be way more damaging if I had pinned a brown person to be behind the staging of a musical about 9/11,” she explains. “It was very clear to me that this was a comedy about white liberalism and how people weaponize tragedy for their own agenda.”

When it came to the kids in Doug’s class, Bonilla wanted to reflect the multicultural mosaic that is the Los Angeles Unified School District. To be able to see herself in “The Musical,” Bonilla wanted a Latina girl as the child with the most ambition to succeed in the arts. That character became Lata: played in the feature by Melanie Herrera in her first acting credit.

“She’s a dancer. But she’s very precocious and has a really confident, type-A personality,” Bonilla says of the young actor. “Melanie gives Reese Witherspoon in ‘Election,’ like, ‘I will do whatever I have to do for the part,’ and I recognized that in myself as a kid.”

Filmmaker Giselle Bonilla on the set of “The Musical.”

(Peter McCollough)

An L.A. native raised in North Hollywood, Bonilla started doing improv at a young age encouraged by her father, Art Bonilla, who grew up in Tijuana and has worked as an actor in the U.S. for over 40 years.

Her mother, originally from Sinaloa, does workers’ compensation insurance, which provided a stable income and allowed her partner to pursue acting.

“It was tough seeing him struggle and not have any agency over work,” Bonilla says of her father. “He’s such a great actor and he’s really funny, but he’s always getting cast in these very small bit parts as a gardener or an immigrant crossing on the border.”

Unsurprisingly, when Bonilla began auditioning for roles as a teenager, similarly one-dimensional and stereotypical characters from a “troubling perspective” came her way.

“They always make the main character in those stories a white person,” she says. “And then we’re painted as these puppies that just keep getting beat up. I didn’t want to contribute to that.”

Bonilla’s interest in being on the other side of the camera solidified after playing an illiterate South Central high school student in the Byron Allen sitcom “Mr. Box Office.” She attended Pasadena City College, where she studied film production, then used the residuals from the show to help pay for her tuition at NYU Tisch School of the Arts.

Attending film school on the East Coast was, as she puts it, a necessary experience, because she grew up rather sheltered.

“I’m a first-gen Mexican American woman and I was supposed to live at home until I get married,” she explains; but it also exposed her to the concept of impostor syndrome.

“I always had this impostor syndrome at NYU, because that was where I first really confronted wealthy people,” she explains. “I had never been in a predominantly white institution before. And that was really eye-opening.”

It was only when COVID restrictions were lifted that Bonilla decided to apply to the AFI Conservatory, where she regained her confidence and met her now close collaborators.

She has, however, never forgotten her biggest and earliest supporters. Since she started directing, Bonilla has cast her father in many of her short films. And in “The Musical,” you can see both of her parents in the audience during the culminating school show.

“My dad is the one that yells at Rob Lowe at the end in slow motion. He’s pissed that I cut his line, but it was a union film, and we couldn’t afford to give my dad a line,” she says. “But he will be the first one to tell you that he’s not an extra. He did a ‘cameo!’”

“The Musical” director Gisella Bonilla poses at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah, on Jan. 24.

(Christina House / Los Angeles Times)

Bonilla’s next project takes inspiration from her memories attending a Catholic school run by nuns in Sun Valley, where a teacher was discovered to be a pedophile. She describes it as “an erotic thriller told from the perspective of virgins.”

Once again, she’ll tackle an unsavory topic and figure out how to bring it to fruition; then distribute it come what may, because she refuses to be boxed in by the industry’s expectations.

“Identity stories are very important. If someone wants to do that, they should be able to do that,” Bonilla says. “But I don’t think our opportunity as Latinos should be limited to painting ourselves as victims against the supremacists.”