people

BREAKINGBREAKING,

US says two people were killed in strike on a vessel in the Pacific Ocean, continuing a campaign denounced as illegal.

The United States military has said that it killed two people in its latest attack on a vessel in the eastern Pacific Ocean.

US Southern Command (SOUTHCOM), which oversees US military operations in Latin America, said on Thursday that “two narco-terrorists were killed during this action”.

SOUTHCOM did not provide any evidence to support its claim that the vessel and the two victims were involved in drug trafficking.

US strikes on vessels in the Pacific and Caribbean, which have killed at least 126 people in 34 attacks since the first recorded incident in September 2025, have been widely denounced as illegal under international law.

The latest strike appears to be the first conducted by the Trump administration in 2026, according to records of the strikes tabulated by the watchdog group Airwars.

This is a breaking news story. More to follow shortly.

A Reddit user was baffled as to how American TV characters never seem to say ‘goodbye’ when ending a phone call

If you’ve ever watched an American film or TV programme, you may have clocked that characters rarely utter ‘goodbye’ before ending a phone conversation.

Instead, they simply cut the call short without a second’s hesitation, seemingly unbothered by what might elsewhere be deemed discourteous.

Yet there’s actually a proper filmmaking explanation behind why characters skip the pleasantries when ringing off – and it boils down to pure practicality.

Baffled by this phenomenon, one Reddit user asked: “Why do most characters just hang up the phone without saying goodbye? Over the past few years, I have seen people just hanging up.

“Sometimes mid-conversation, but mostly not. It’s like saying bye on the phone isn’t the norm anymore. Is this just to save time during the show or is it a cultural thing in the US?”.

Addressing the mystery head-on, screenwriter and producer Michael Jamin clarified matters in a TikTok clip that’s since racked up over 206,000 likes.

On his account @michaeljaminwriter, Michael – whose credits include King of the Hill, Wilfred and Maron – revealed how the television business labels phrases like ‘goodbye’ as ‘shoe leather’.

He explained: “Shoe leather might make a scene feel more realistic – but it doesn’t necessarily make the scene more entertaining.

“In TV, we also have running times. We have to turn in a cut to the network for like 22 minutes. They won’t accept 22 minutes and 30 seconds. Knowing this, we always shoot long maybe 25 minutes knowing that not every scene is going to be great.

“We want to have a liberty to trim and pace up a bit – but we don’t know where.”

Michael explains that whilst trimming the opening couple of minutes proves straightforward, deciding what to axe beyond that becomes increasingly difficult.

He added: “You’re like, if I cut the guy saying goodbye then maybe I get to keep my favourite joke. Eventually, you get to the point where you’re not even writing the bye into the script knowing you’ll just cut it later.”

The admission sparked plenty of reaction online, with one viewer admitting: “Oh I thought it was for dramatic effect like they are too cool to say goodbye.”

Another added: “From now on, I will quit saying goodbye and use that time to maybe go on vacation when I’m old.”

A third wrote: “I’m from Europe and when I was younger I thought that’s the way people in the US end their phone calls…” Whilst another said: “So glad you weighed in on this. I’m a firm believer that it’s more distracting to say goodbye in a film or tv show. Big fan Michael!”

Before hitting the stage, the comedians of the TV series “Jokes with JoySauce” have an on-camera ritual of exchanging immigrant stories about growing up with their families. There is no audience during these moments, just comics being vulnerable with one another.

The tales give insight into the lives they live offstage and their perspectives as Asian Americans that inspire so much of their material. It lets the audience know more about these up-and-coming comedians without the generic stage introductions.

The series is part of the original program curated for JoySauce, available on Amazon Prime. It premiered in early January as part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

Season 1 of “Jokes with JoySauce” is currently airing as part of the launching programming for the channel. Director and creator of the series Ana Tuazon Parsons is excited to watch it grow.

Narumi Inatsugu, from left, Cat Ce, Ana Tuazon Parsons and Jonathan Sposato at The Times’ office in El Segundo.

(Allen J. Schaben/Los Angeles Times)

“I’m still definitely going for that underground punk rock, like, let’s-find-some-cool-people kind of thing for Season 2,” Parsons said. “Bigger and better venue, and more budget, more budget, please.”

While Parsons focuses on cultivating new comedic voices, JoySauce wants to create its own opportunities for people in the community by broadening its mission of ownership and representation.

“We won’t really get the full spectrum of the representation that I believe that we deserve unless we own the pipeline and the platforms and the carriers and really the gateways,” Jonathan Sposato, creator of Joysauce, said.

He decided to bring the platform to the masses in 2022 after growing sick and tired of how much hate his community was going through and wanting to fill in a gap in the media. Media representation was also low for Asian American actors, with only 6% of all Asian characters in 100 titles on streaming platforms in 2022 in leading roles, according to a study by USC Annenberg Gold House.

“I do think positivity wins,” Sposato said. “Comedy is a very necessary tool, a necessary ingredient in the overall mix of what we’re trying to offer.”

His goal is to broaden the concept of Asian American culture through storytelling that would display what the U.S. has to offer while staying rooted in Asia.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” he said.

At a time when attention is a currency, creating a space that’s focused on elevating AAPI voices will help diversify the media landscape.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” JoySauce creator Jonathan Sposato, left, said.

(Allen J. Schaben/Los Angeles Times)

“As a comedian, you cannot complain,” Cat Ce, a comedian whose special “Perfect Chinglish” was licensed by JoySauce, said. “Nowadays, you want it on so many different platforms, you never know which kind of audience you may reach.”

Her work reflects the kind of storytelling JoySauce hopes to amplify. The comedy hour by Ce deals with the cultural differences when dealing with family, friends and romantic relationships as a Chinese American. For Narumi Inatsugu, that universality is the point.

As the chief creative officer of JoySauce, Inatsugu wants to create a space where Asian Americans do not feel outnumbered.

“For so long I thought nobody cared about Asian American stories,” he said.

As a curator of the channel, and host of the upcoming “Chopsticks and Chill,” an interview show where he shares a meal with influential members of the AAPI community, Inatsugu wants to create a platform where the younger generation can see the many opportunities life can offer, regardless of your cultural background.

“It’s community building, it’s letting people know they can be whatever they want, do whatever they want,” he said.

Season 1 of “Jokes with JoySauce” is currently airing and is part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

(Allen J. Schaben/Los Angeles Times)

Throughout his years in the entertainment industry and in production meetings, Inatsugu felt like he couldn’t pitch certain stories because they were aimed at his Asian community. He hopes an outlet like JoySauce can create a safe space for creative minds to feel like they can be themselves and not feel outnumbered, the way he once did.

Everything in the details of a show will make people feel welcomed, from the people making it to the food that’s made available for the cast and crew.

During production of the first season of “Jokes with JoySauce,” Parsons made sure every aspect of the production was AAPI, including the food. Her production team made sure to fill the craft table with food that can be found at any Asian market. The sense of belonging is exactly the reason she built “Jokes with JoySauce” and why JoySauce exists.

“When I’d see the comics come up into the greenroom and their faces, it was like ‘Oh, I feel so like they were just reverted to their childhoods,’” she said. “It was just like they felt like they were at home with their families, and it was so important for me, it made me cry a little bit.”

COLLINGSWOOD, N.J. — The shawarma, falafel wraps and baklava at Jersey Kebab are great, but many of its patrons are also there these days for a side of protest.

A New Jersey suburb of Philadelphia has rallied around the restaurant’s Turkish owners since federal officers detained the couple last February because they say their visas had expired.

In fact, business has been so good since Celal and Emine Emanet were picked up early in the Trump administration’s immigration crackdown that they have moved to a bigger space in the next town over. Their regulars don’t seem to mind.

The family came to the U.S. seeking freedom

Celal Emanet, 52, first came to the U.S. in 2000 to learn English while he pursued his doctorate in Islamic history at a Turkish university. He returned in 2008 to serve as an imam at a southern New Jersey mosque, bringing Emine and their first two children came, too. Two more would be born in the U.S.

Before long, Celal had an additional business of delivering bread to diners. They applied for permanent residency and believed they were on their way to receiving green cards.

When the COVID-19 pandemic began and the delivery trucks were idled, Celal and Emine, who had both worked in restaurants in Turkey, opened Jersey Kebab in Haddon Township. Business was strong from the start.

It all changed in a moment

On Feb. 25, U.S. marshals and Immigration and Customs Enforcement officers arrested the couple at the restaurant. Celal was sent home with an ankle monitor, but Emine, now 47, was moved to a detention facility more than an hour’s drive away and held there for 15 days.

With its main cook in detention and the family in crisis, the shop closed temporarily.

Although the area is heavily Democratic, the arrests of the Emanets signaled to many locals that immigration enforcement during President Trump’s second term wouldn’t stop at going after people with criminal backgrounds who are in the U.S. illegally.

“They were not dangerous people — not the type of people we were told on TV they were looking to remove from our country,” Haddon Township Mayor Randy Teague said.

Supporters organized a vigil and raised $300,000 that kept the family and business afloat while the shop was closed — and paid legal bills. Members of Congress helped, and hundreds of customers wrote letters of support.

Space for a crowd

As news of the family’s ordeal spread, customers new and old began packing the restaurant. The family moved it late last year to a bigger space down busy Haddon Avenue in Collingswood.

They added a breakfast menu and for the first time needed to hire servers besides their son Muhammed.

The location changed, but the restaurant still features a sign in the window offering free meals to people in need. That’s honoring a Muslim value, to care for “anybody who has less than us,” Muhammed said.

Judy Kubit and Linda Rey, two friends from the nearby communities of Medford and Columbus, respectively, said they came to Haddon Township last year for an anti-Trump “No Kings” rally and ate a post-protest lunch at the kebab shop.

“We thought, we have to go in just to show our solidarity for the whole issue,” Kubit said.

Last month, with the immigration crackdown in Minneapolis dominating the headlines, they were at the new location for lunch.

The legal battle hasn’t ended

The Emanets desperately want to stay in the U.S., where they’ve built a life and raised their family.

Celal has a deportation hearing in March, and Emine and Muhammed will also have hearings eventually.

Celal said moving back to Turkey would be bad for his younger children. They don’t speak Turkish, and one is autistic and needs the help available in the U.S.

Also, he’d be worried about his own safety because of his academic articles. “I am in opposition to the Turkish government,” he said. “If they deport me, I am going to get very big problems.”

The groundswell of support has shown the family they’re not alone.

“We’re kind of fighting for our right to stay the country,” Muhammed Emanet said, “while still having amazing support from the community behind us. So we’re all in it together.”

Mulvihill writes for the Associated Press.

Chinese company AutoFlight conducted a public flight demonstration for its 5-tonne-class flying car V5000 Matrix on Thursday. It can carry 10 passengers, and the company says its operating costs are one-tenth of those of traditional helicopters.

Frank Clem, a pickleball pal of mine, recently put out the word that he was collecting whistles to deliver to the front lines of anti-ICE demonstrations in downtown Los Angeles, Highland Park, Pasadena and other locations.

I was out of the country at the time, but shortly after I returned, I thought about Clem when Minneapolis nurse Alex Pretti was shot dead by ICE agents at a protest in Minnesota. It wasn’t long before the Trump administration’s top officials took turns blaming the victim, lying about the circumstances and calling Pretti an assassin.

Pretti’s distraught parents responded with this:

“The sickening lies told about our son by the administration are reprehensible and disgusting.”

And yet entirely unsurprising, given the state of disinformation and the blatant corruption of legal and moral codes of conduct under Trump, who just the other day was blowing gas yet again about the 2020 election being stolen.

How do you stand up to a president who hypocritically pardons drug kingpins and other rabble, including the barbarians who beat up cops and ransacked the Capitol, even as he invades cities to terrorize and abduct working people?

Maybe you blow a whistle, for starters.

I know, it’s a small gesture. But Clem and others are choosing sides, standing up for their communities, and refusing to remain silent as it becomes clear that the ICE agenda is less about law and order and more about the politics of scapegoating.

I came upon a story on Fox11 about a broader whistle brigade in Los Angeles. Musician Hector Flores, of Las Cafeteras, said he had been distributing free whistles to coffee shops because “we’ve got to protect one another,” and a whistle can sound the alarm that ICE agents are on the prowl.

If Trump were honest about rounding up violent criminals, we wouldn’t need this kind of resistance. But arrests of immigrants with no criminal records are increasing, and the majority of them are here to work and support their families. And U.S. employers have embraced and relied on them as essential contributors to the economy.

When I couldn’t immediately get hold of Flores, I called the owner of Cafe de Leche, the Highland Park coffee shop he had delivered whistles to. Matt Schodorf told me he was fresh out of whistles, and I thought of Clem, who agreed to meet me at Cafe de Leche with a special delivery.

Clem, an actor, is someone you want on your pickleball team because he comes to play and he covers a lot of ground. You might have seen him in theater productions, on TV shows or in movies, and you couldn’t possibly not have seen him as the emu farmer in a Liberty Mutual commercial.

Clem walked past a window sign that says “I Like My Coffee Without ICE” and took a seat at Cafe de Leche. He was wearing an L.A. ballcap and carrying a shopping bag containing hundreds of whistles.

A sign reading “I like my coffee without ICE” is posted in the window of Cafe de Leche in Highland Park. Cafe owners Matt and Anya Schodorf have been giving away whistles to customers to be used for ICE sightings and at demonstrations.

(Genaro Molina / Los Angeles Times)

Black whistles. Red whistles. Whistles with strings and whistles with hooks to clip onto key chains.

Enough for a symphony.

“It’s 18, 20 bucks for, like, a hundred whistles,” Clem said, displaying a sandwich-size baggie of 100 multicolored whistles in the shape of small pencils.

Clem has been buying them in bulk on the internet, accepting donated whistles from friends, and making his with a 3D printer. He said he had already given away more than 1,500 the last few weeks at rallies and demonstrations.

People smile, Clem said, “when they see the possibilities,” when they join the chorus and the cause, and rather than retreat in silence, make themselves heard. Stiff opposition to ICE atrocities in Minneapolis has led to the withdrawal of hundreds of agents, so maybe a corner is being turned.

“We’re blowing $20 on coffee, right?” Clem said. “But here’s $20 you can spend on something and really feel like you’re getting some kind of return on it. … Throw me 100 whistles, and we’ll get them into the hands of people that might make a difference.”

Schodorf joined us with a cleaned-out whistle rack that said “Free Ice Alarms” on it, and said he’d be glad to fill the rack with Clem’s contributions. Before long, it was loaded up with 100 whistles and placed on the front counter.

When I asked Schodorf about joining ranks with the whistle brigade, he mentioned his wife, Cafe de Leche co-owner Anya Schodorf.

“She grew up here, but she was born in Nicaragua,” he said, and it’s hard to not to get involved when “they’re just profiling people right off the streets. I mean, nobody feels safe … and they’re charging the brown people, right? My wife would identify as that, and she’s afraid to go out of the house.”

Schodorf said they’ve been scrambling to keep the business running after they lost their Cafe de Leche restaurant in the fire that tore through Altadena a year ago. A photo of them in the ruins of their other shop hung on the wall, along with other photos of the destruction in Altadena.

“I don’t know what to do,” Schodorf said about the ICE tactics in Highland Park and beyond, “but I feel like we want to raise the voices of people.”

His wife entered the shop and greeted friends and customers before joining us. She has been a U.S. citizen for decades, and yet she feels as though the color of her skin makes her a suspect.

Anya and Matt Schodorf, owners of Cafe de Leche in Highland Park, talk about their fears about ICE in the community.

(Genaro Molina / Los Angeles Times)

“You can scream from the top of your lungs that you’re a citizen, and they don’t care,” Anya said. “I honestly can’t think straight … and it’s really hard for me to concentrate.”

Anya said she walks and sometimes runs on Arroyo trails but has begun taking extra precautions, like calling her husband and leaving the line open. She went to a park in Pasadena recently and got worried after entering a restroom.

“I heard … a commotion outside and I got nervous,” Anya said. “And then I came out and saw ICE people kind of harassing the workers, like city workers. They’re city landscapers, and I panicked. I went back into the bathroom, like, what do I do? And why should I be panicky? I’m a citizen.”

Her kids are just as concerned about her as she is.

“It’s my son I really worry about,” Anya said. “He says, ‘Make sure you have your passport.’ Yeah, my kids. They’re really worried. And my son is like, please be careful. … It’s that additional stress that they don’t need — that they have to worry about me.”

The Schodorfs said ICE agents recently grabbed a neighborhood fixture — a guy who sells tamales.

“They’re just picking people off, right and left,” Matt said.

“He’s like 72,” Anya said.

The first whistles delivered by Hector Flores were gone before long.

“It was just a matter of hours,” Matt said. “I think it’s twofold. It’s people who think they might need it just for themselves, but it’s people who feel like they might need it for other people. … It’s been wildly popular.”

“We’re a good country,” Anya said. “But we’re falling into the hands of people that are cruel and they don’t really care about anyone but themselves, and they are enriching themselves.”

Clem said that at rallies, he’s making sure to offer whistles to vendors.

“People selling hot dogs and churros,” he said. “They’re asking how many they can take for their families and friends, right? I want them to take as many as they can. I’ve got 1,500 of these things sitting on my dining room table.”

Clem said he was never really a protester, but “anyone who has eyes can see” the alarming level of corruption coming out of the White House.

“My dad fought in the Battle of the Bulge, right?” Clem said. “My dad fought Nazis and fascists in World War II, and he was always warning me growing up that it could happen here. So now, the least I can do is pass out whistles.”

When Clem’s whistles were on display at the counter, one of the first customers was Hana McElroy. She ordered a coffee and took a whistle.

“I’m a nanny, and I pick up a couple of kids from their preschool and I know and love so many kids with parents in pretty tenuous situations,” said McElroy, who is Irish American. “It’s just been a scary time to be an Angeleno.”

Hana McElroy, right, picks up a free whistle while ordering a cup of coffee from Soleil Hernando at Cafe de Leche.

(Genaro Molina / Los Angeles Times)

McElroy said she knows some of the Latina nannies who take their charges to the little park across the street from Cafe de Leche, and she worries about them too.

McElroy showed me a whistle on her key chain but said it was broken. Soleil Hernando, a barista, told her after she’d taken one of Clem’s whistles that they were free, and she should take as many as she wanted.

McElroy grabbed another.

steve.lopez@latimes.com

Following Bad Bunny’s landmark album of the year win at the 68th Grammy Awards for “Debí Tirar Más Fotos,” Ricky Martin penned a letter of appreciation to commemorate the moment.

In an opinion piece for the Puerto Rican newspaper El Nuevo Día published Tuesday, the Boricua hitmaker said Bad Bunny’s accomplishment stirred deep feelings within him.

“Benito, brother, seeing you win three Grammy Awards, one of them for album of the year, with a production entirely in Spanish, touched me deeply,” Martin wrote. “Not only as an artist, but as a Puerto Rican who has walked stages around the world carrying his language, his accent and his history.”

In addition to becoming the first all-Spanish album of the year winner, the “Nuevayol” artist took home the Grammy Awards for música urbana album and global music performance for the track “EoO” on Sunday.

Martin further called Bad Bunny’s achievement a “human” and “cultural” win, lauding him for not bending to the will of anyone who tried to change his sound in any way.

“You won without changing the color of your voice. You won without erasing your roots. You won by staying true to Puerto Rico,” Martin wrote. “You stayed true to your language, your rhythms and your authentic narrative.”

Martin, who first broke out as a solo musical act in the mid-’90s, became an international superstar off the back of his Spanish-language hits including 1995’s “María,” 1998’s “Vuelve” and “Perdido Sin Ti.”

He reached a new strata of stardom after his track “La Copa de Vida” was used as the official anthem for the 1998 FIFA World Cup. That song charted in over 60 countries and was translated into English. He landed his biggest hit with “Livin’ La Vida Loca,” which was the lead single from his 1999 self-titled English album.

When accepting his album of the year award Sunday night, Bad Bunny addressed the crowd predominantly in Spanish and spoke of the strugglesof the immigrant experience.

“I want to dedicate this award to all the people who had to leave their homeland, their country, to follow their dreams,” he said in English.

“Puerto Rico, believe me when I say that we are so much bigger than 100 by 35 and there is nothing that exists that we can’t accomplish,” the “Dakiti” artist said in Spanish. “Thank God, thank you to the academy, thank you to all the people who have believed in me throughout my whole career. To all the people who worked on this album. Thank you, Mami, for giving birth to me in Puerto Rico. I love you.”

The 54-year-old singer also showed love to Bad Bunny for using his platform to show solidarity for vulnerable communities.

“What touched me most about seeing you on the Grammys stage was the audience’s silence when you spoke,” Martin wrote. “When you defended the immigrant community, when you called out a system that persecutes and separates, you spoke from a place I know very well where fear and hope coexist, where millions live between languages, borders and deferred dreams.”

Martin concluded his letter by thanking Bad Bunny for reminding him and showing other Puerto Ricans that there is power in being true and authentic to yourself.

“This achievement is for a generation to whom you taught that their identity is non-negotiable and that success is not at odds with authenticity,” Martin wrote.

“This was for Puerto Ricans, for all our Latino brothers and sisters who dream in Spanish, for those crossing seas and borders wearing their cultures like a flag. From the heart, from one Boricua to another, with respect and love, I thank you for reminding us that when one of ours succeeds, we all succeed.”

Shaboozey has responded to the backlash over remarks he made at the 2026 Grammy Awards.

In a statement posted on the social media site X Monday, the country singer-songwriter said he wanted to “acknowledge the conversation” spurred by his heartfelt speech after his historic Grammy win for country duo/group performance.

After sharing that his mother, who he said worked “three to four jobs just to provide for [him] and [his] four siblings as an immigrant in this country,” had just retired from a 30-year career as a registered nurse, Shaboozey dedicated his awards to all immigrants Sunday.

While many praised his remarks for uplifting of immigrant communities at a time when they are increasingly being targeted by the federal government, others felt the musician had overlooked the history and experiences of Native Americans and Black Americans by not mentioning them. Native Americans were forcibly removed from their lands in the development of this nation and enslaved people were brought to America involuntarily.

“To be clear, I know and believe that we — Black people, have also built this country,” Shaboozey wrote in his statement. “My words were never intended to dismiss that truth. I am both a Black man and the son of Nigerian immigrants and in the overwhelming moment of winning my first Grammy my focus was on honoring the sacrifices my parents made by coming to this country to give me and my siblings opportunities they never had.”

The “Amen” singer also acknowledged that winning his Grammy on “the first day of Black History Month and becoming the first Black man to win Best Country Duo is Black history.”

“It stands on the foundation laid by generations of Black people who fought, sacrificed, and succeeded long before me,” Shaboozey’s statement continued. “This moment belongs to all of us.”

On the Grammys stage Sunday, Shaboozey had concluded his speech by expressing his appreciation of and support to all immigrant communities.

“Immigrants built this country, literally,” he said. “So this is for them. For all children of immigrants. This is also for those who came to this country in search of better opportunity, to be part of a nation that promised freedom for all, and equal opportunity to everyone willing to work for it. Thank you for bringing your culture, your music, your stories and your traditions here. You give America color, I love y’all so much.”

He was just one of many Grammy-winning artists who directly or indirectly addressed the current political climate regarding federal immigration raids in Minnesota, where two protesters have been killed by federal officers, and in other states including California. Bad Bunny, Billie Eilish and Kehlani were among the others who spoke out.

Kristen Stewart fears the death of classic Hollywood cinema.

As the actor-turned-director drove through the streets of Los Angeles and saw beloved local theaters replaced by major retail chains, she decided to help save theatergoing in the city that started it all.

So she bought a historic movie theater in L.A.

Stewart purchased and is restoring the Highland Theatre, a cultural landmark that once hosted vaudeville acts.

“When people are desperate, they start doing desperate things,” Stewart said in an interview with Architectural Digest. “I think buying this theater feels a little desperate in like the most beautiful way.”

The theater shut its doors nearly two years ago — less than a week short of its 100th anniversary. The owner, Dan Akarakian, told The Times in 2024 that the theater was unable to recover economically from the COVID-19 pandemic.

“Everything that’s already living here is so beautiful. It just needs to be like taken care of,” Stewart said. “I mean, the place is falling down. We definitely need like a lot of help, but it’s worth it.”

The local film and TV industries in L.A. were struggling long before wildfires that ravaged the city early last year dealt another blow, halting production and threatening the homes of stars and crews alike.

Stewart, who first achieved international success with her role as Bella Swan in the “Twilight” saga, said movie theatergoing is becoming a lost art, as “people are watching movies on their tablets and their TVs and likely watching a couple of things at once.” She and her peers struggled to get movies off the ground.

Stewart hopes the theater can become “a space that families can go and that also filmmakers can go and so we can kind of be in service of each other,” she said. “We can be in actual communication with people and not cut off from each other.”

The three-story building has theater rooms and venue space, ideal to host screenings and public community events, she said.

The theater was designed by architect Lewis Arthur Smith, known for other local theaters like the Vista in Los Feliz and El Portal in North Hollywood.

“It’s an opportunity to make a space to gather and scheme and dream together,” Stewart told AD. “This project is about creating a new school and restructuring our processes, finding a better way forward.”

Stewart’s effort to save local cinema comes on the heels of a coalition of filmmakers, led by “Juno” director Jason Reitman, purchasing the 93-year-old Village Theater in Westwood in 2024.

Oscar-winning writer-director Quentin Tarantino bought the Vista, also designed by Smith, in 2021. The theater reopened its doors over two years later.

Stewart, who was raised in the San Fernando Valley, has been a longstanding advocate of the L.A. community. She works closely with the Downtown Women’s Center, which provides housing to homeless women.

The actor decried the lack of stories by and for women in Hollywood during her keynote speech at the annual Academy Women’s Luncheon in November.

“I absolutely f— love this city,” she said. “I like the spaciousness. You can decide how you want to fill it.”

Altadena has never organized itself around a traditional civic center, like a city hall plaza or downtown square. Instead, this decidedly informal community has relied on an informal constellation of shared spaces — parks and playgrounds tucked into the foothills, popular mid-century libraries, an amphitheater carved into a slope, a handful of living room-like bars and cafés.

After last year’s Eaton Fire tore through town, incinerating community infrastructure and scattering residents across the region, the importance of such places has grown dramatically — not only as centers of gathering, but as sites of refuge, planning and healing. Thanks to a determined commitment from residents and officials, these communal sites are starting to return — in many cases better than before — revealing innovative thinking about the ways we can create and use community spaces.

Earlier this month, L.A.-based aid organization Community Organized Relief Effort, or CORE, founded by Sean Penn and Ann Lee, broke ground on one of the hamlet’s newest local gathering spots: the Altadena Center for Community. Designed by acclaimed Japanese architect Shigeru Ban (who will be receiving the 2026 American Institute of Architects Gold Medal Award later this year), the 1,600-square-foot building, located on a county-owned lot on Lincoln Avenue, adapts a prototype that Ban — who has been designing lightweight structures for disaster victims for more than thirty years — first employed in Onagawa, Japan, following the 2011 Tōhuku earthquake and tsunami.

The vaulted, wood-beamed space, supported on its flanks by shipping containers, is designed to be put up quickly, affordably and with minimal waste, said Ban, who estimates construction will cost about $300,000 and be completed in two to three months once permits are approved.

“Every move we make has to be very cost effective,” noted Ben Albertson, the local project manager for Ban’s firm.

The center can host workspaces, meeting rooms, mental health facilities and community events, but programming is still pending, based on an assessment of community needs, noted CORE co-founder Lee.

An architectural rendering of Shigeru Ban’s design for the 1,600-square-foot Altadena Center for Community, located at 2231 Lincoln Avenue. Construction began in January and is set for completion this summer.

(Shigeru Ban Architects / CORE)

“What are the gaps? What do they want to name it?” said Lee. The center’s open, flexible design, she added, will allow programs to evolve over time — inside and out — with the goal of accommodating markets, religious services, yoga classes and other types of support.

Local officials, particularly L.A. County Parks and Recreation, immediately started to address the dearth of places to congregate after the fires. While parts of Eaton Canyon still burned, parks staff organized sheriff-escorted site visits to assess damage and determine which spaces could safely reopen first, said Chester Kano, deputy director of the planning and development agency at L.A. County Parks.

In May, Loma Alta Park was the first major spot to reemerge with significant upgrades, funded in part by an outpouring of donations from local residents and businesses as well as philanthropic sources like FireAid, the L.A. Clippers Foundation and the L.A. Dodgers Foundation.

“There’s been so much trauma. I think just building back the way things were would be insufficient,” says Kano.

County crews first addressed widespread damage, then installed new play facilities — including Landscape Structures’ towering “Volo Aire” jungle gym, featuring three tunnel slides — as well as two refurbished baseball fields, a new computer lab and a renovated pool and gymnasium. Several local artists, including Victor Ving, Eric Junker and Katie Chrishanthi Sunderalingam, have painted colorful murals.

Four-year-old twins Noah and Luke Stafford, who had to evacuate during the Eaton Fire, play on new equipment at Loma Alta Park in Altadena.

(Allen J. Schaben / Los Angeles Times)

The park addresses the need for communal gathering via a new cluster of colorful outdoor furniture known as the Alta Chat Space.

“People didn’t have anywhere to go,” says Kano. “They were meeting on their driveways, literally on top of ash and debris, bringing folding chairs.”

Perhaps the most significant transformation will be to Charles White Park, located a short drive from CORE’s future facility and named for the famed Altadena artist. Long a community focal point, the five-acre park is set to undergo a redesign thanks to a $5-million donation from the Walt Disney Company, and a $5.5-million outlay from California State Parks.

County Parks and Salt Landscape Architects are set to take the lead on the work. New facilities will include a play area and splash pad designed by Disney Imagineers, a community center (with meeting spaces and interpretive exhibits about White), pathways, bathrooms, a small amphitheater, a bronze of White and public art by White’s son, Ian White.

Ian White said his designs are still being finalized, but could include poetry, sculpture, landscape art, and information and quotes relating to notable Altadena residents, including artists, scientists and indigenous tribes.

“It will be a dramatic shift,” noted White. “I must admit every time we have a meeting about it, I’m excited about the potential.”

White is complimentary of Disney’s willingness to take input from the community, despite a flurry of concerns that arose last fall around the release of an early design sketch of the play area, depicting somewhat cartoonish, pinecone-shaped play structures that some locals felt didn’t reflect local identity.

“Disney’s been doing the work, trying to understand the legacy and history of Altadena,” said White, who recently hosted 17 Imagineers at his house. “I think there’s going to be an evolution of their design,” added Kano.

Challenges remain

Despite early victories, there are more than a few remaining “heavy lifts,” as Kano put it. The county has brought in about $60 million to restore parks damaged in the Eaton and Hughes Fires, but about $190 million is still needed.

Arguably no lift is bigger than Farnsworth Park, the beloved recreation space along Altadena’s northeast side. That facility, now largely overgrown and covered with opaque fencing, still needs electricity after the destruction of its power lines and an on-site utility building. Its centerpiece, the lodge-like Davies Building, was all but obliterated by the fire, and its amphitheater, while still intact, suffered notable damage.

A view of the closed and heavily damaged Farnsworth Park in Altadena, which needs about $69 million in repairs.

(Allen J. Schaben / Los Angeles Times)

Thus far, the park — which needs about $69 million in repairs, said Kano — has only received $5 million from the Santa Monica Mountains Conservancy to build a healing and reflection garden along its west flank; and $3 million from the Rivers and Mountains Conservancy to rebuild a restroom and restore some landscaping and other related work.

Liz MacLean, a principal at Architectural Resources Group, a preservation-focused firm that has been advising L.A. County Parks about repairs to Farnsworth’s amphitheater, lived less than half a mile from the park. She and her family are still undecided on whether they will return to the area, making her memories of the park particularly poignant.

“It was a real destination for the community, tucked up in the hills,” noted MacLean. “They’d have a musical in the summer, and people would picnic outside of the amphitheater on the lawn. And every type of sport you wanted to do, there seemed to be a field for it. My daughters have had a bunch of events for their schools up there. Graduations, performances, meetups. The community would vote there. Boys and Girl Scout troops would have events in the banquet hall.”

Altadena’s two libraries, both spared from destruction, have borne outsized responsibility for picking up the slack from these losses, and have hosted community events and workshops for those hoping to rebuild. But starting Feb. 1, the skylit, greenery-filled Main Library will undergo a long-planned renovation and expansion that will put it out of commission for about the next 18 months, officials said. Updates will include access improvements, new mechanical and electric systems, a seismic retrofit, and space reconfigurations.

“There have been people who have said, ‘Please don’t close. What are we going to do?’” said Nikki Winslow, director of the Altadena Library District. “But this has been a long time coming. Our Main Library really needs a renovation.”

As a result, the smaller, recently renovated Bob Lucas Memorial Library and Literacy Center will host far more activity. The district has also installed a temporary satellite library inside a multipurpose room at Loma Alta Park. Stewart noted that the district is looking for more spaces — including the Altadena Community Center — to host events.

Ian White, standing by the sign for Charles White Park, is the son of the park’s namesake and is working on creating public art for the project.

(Allen J. Schaben / Los Angeles Times)

“We’ve become so dependent on all things virtual, but nothing can really replace the human connection, especially coming out of a disaster,” said Carolina Romo, director of the Construction and Asset Management Division of the Los Angeles County Development Authority, which is coordinating with CORE on its new center. “You can’t really address the psychological toll in a virtual environment.”

CORE’s Lee says that such spaces are particularly important in areas where digital expertise is less common. “There’s just so much bad information out there. You don’t know who to trust. So going to a physical space and seeing people that you know you can talk to can make all the difference.”

Rebuilding will take years, and many decisions remain unresolved. But the community, said Architectural Resources Group’s MacLean, needs something solid sooner: “There are things that were lost that were special to everyone. At the end of the day people just want their community back. They want to gather again.”

Armed men burned homes and shops in Woro, a remote village in north-central Kwara State bordering Niger State, authorities say.

Armed men have killed at least 35 people and burned homes and shops in Woro, a remote village in Nigeria’s north-central Kwara State, authorities said.

“This morning, I was told that 35 to 40 dead bodies were counted,” Sa’idu Baba Ahmed, a local lawmaker in the Kaiama region, told the AFP news agency on Wednesday.

“Many others escaped into the bush with gunshots,” Ahmed said, adding that more bodies could be found.

It was the deadliest assault ‍this ⁠year in the district bordering Niger State, which armed gangs have attacked increasingly.

Villagers fled into the surrounding bushland as the armed men attacked Woro, Ahmed told ‌the Reuters news agency by phone. Several people were still missing, he said.

The attack was confirmed by police, who did not provide casualty figures. The state government blamed the attack on “terrorist cells”.

Banditry and armed ‌attacks on rural communities have surged across ‌northwest and north-central ⁠Nigeria in recent years as gangs raid villages, kidnap residents and loot livestock.

You may have read recently how minions of the Trump administration removed an exhibit about slavery from the President’s House in Philadelphia (where George Washington lived, with slaves) as part of its ongoing sop to MAGA sensitivities and campaign to erase history in favor of a fairy tale in which the worst thing Washington ever did was chop down a cherry tree.

The study of history is by nature messy, replete with conflicting interpretations and incomplete puzzles, but it’s what you need to know in order not to repeat it. PBS, lately defunded by conservatives but not disassembled, is among the institutions working to bring it to the people — indeed, the only television outlet seriously devoted to it. (History Channel is just a name.) Premiering Tuesday and continuing weekly is the four-part series “Black and Jewish America: An Interwoven History,” presented by Henry Louis Gates Jr., at the start of what happens to be Black History Month.

Gates, who also hosts the PBS genealogy series “Finding Your Roots,” has presented such documentaries as “Africa’s Great Civilizations” and “Great Migrations: A People on the Move,” has made cameo appearances in HBO’s “Watchmen” series and “The Simpsons.” He teaches at Harvard and is a well-known public figure — a history communicator, scholar and storyteller and a minor TV star the world also knows as “Skip.” Even-tempered and even-handed, he’s a good guide through the minefields of racial history — he keeps you from blowing up. You might find yourself angry at the material, but not with Gates.

“Under the floorboards of Western culture run two streams, continuously,” he says. “One is antisemitism, one is anti-Black racism,” whose purpose here is to explore “the areas of overlap.” They aren’t the only victims of bigotry in American history and modern America; Italians and Irish immigrants had their turn, too. White supremacy, which is very much alive in the land — turn on the news — disdains every people of color. But as people who shared the experience of being “mocked and feared, blamed and banished, envied and imitated,” often allied, sometimes antagonists, theirs is a special case.

Gates has assembled a stimulating, illuminating, maddening, saddening, but often inspiring, story of their relations with the world and one another. (Here and there he reaches a little outside his theme.) At 75, he’s lived through a good slice of the history illuminated here, including “our brief golden age” of the 1960s Civil Rights Movement, and though he structures his series as a pendulum swinging between worse and better news, he scrupulously bookends it in a hopeful mood, with a Seder to start and a discussion with students to end. His insistence that no one is safe until everyone is safe, can seem to portend a future in which no one will ever be safe, though as a teacher I assume he’s more sanguine. His manner, at least, is encouraging.

The Seder, which begins with a singing of “Go Down Moses (Let My People Go),” gathers a tableful of Black, white and biracial Jews — each distinguished enough to have their own Wikipedia pages — in a roundtable discussion. Participants include New Yorker editor David Remnick, author Jamaica Kincaid, journalist Esther Fein, rabbi Shais Rishon, Angela Buchdahl (the first East Asian American to be ordained as a rabbi); and culinary historian Michael Twitty, who provides the doubly meal — kosher salt collard greens, West African brisket and potato kugel with sweet and white potatoes and Creole spice.

Though both Jews and Black people faced (and face) discrimination, their American journeys were launched, says Gates, “on different trajectories,” one group chased from nominally Christian countries, the subject of durable medieval superstitions, the other dragged from their homes. Though the mass of Jewish migration, escaping Russian pogroms and Nazi Germany in succeeding waves, occurred in the late 19th and early 20th centuries, some arrived before the revolution; but the Constitution, which enshrined religious freedom, granted them legal rights. (This presumably did not help the Jews of African descent Gates says were present here early on.) Black people, kidnapped and enslaved, had none, and as freedom was gained, new laws were written to hold them in place.

Gates posits a sympathy between immigrant and first- and second-generation Jewish Americans in the 20th century and disadvantaged Black people, based on a common experience of oppression; Jewish newspapers used the word “pogrom” to describe violence against Black people in the South. And Jews, many raised with a sense of social justice, were disproportionately represented among white activists in the Civil Rights Movement. This would change: Where Martin Luther King declared “I’m more convinced than ever before that our destiny is tied up with the destiny of our Jewish brothers and vice versa, and we must work together,” later Black activists, like Stokely Carmichael preferred to go it alone, promoting self-determination and even separation.

Still, many of the stories here are based on Black and Jewish friendships. We learn of W. E. B. Du Bois and Joel Spingarn, who sat together on the board of the NAACP and to whom Du Bois dedicated his 1940 autobiography “Dusk of Dawn.” Of Tuskegee Institute founder Booker T. Washington and philanthropist Julius Rosenwald, a president of Sears, Roebuck and Co., who built schools — more than 5,000 nationally, eventually — for systemically disadvantaged Black students. (Graduates included Maya Angelou and John Lewis.) Of Chicago rabbi Abraham Heschel, bringing 15 other white rabbis down to Selma, Ala., in 1964 at the request of King, where their arrest made headlines — which translated to political pressure.

In music, we meet Louis Armstrong, who as a boy worked and stayed with a Jewish family, and wore a Star of David, and his manager Joe Glaser. We’re told the story of Billie Holiday‘s lynching ballad “Strange Fruit,” written by Abel Meeropol (under his pseudonym Lewis Allan), recorded by Milt Gabler for his Commodore label and performed regularly by Holiday at Barney Josephson’s Cafe Society, New York’s first truly integrated nightclub. And we hear Paul Robeson, daring to sing in Yiddish in a concert in Moscow, in support of Itzik Feffer, a Jewish poet imprisoned (and later murdered) by the Soviets.

As a social and political history covering two intersecting storylines for more than the length of the nation, it’s packed with incident and facts — the Klan resurgent after World War I (six million members, it says here); the 1936 Berlin Olympics, where Jesse Owens triumphed and the U.S. committee pulled two Jewish sprinters from competition; racist Nazi policies, borrowed from American Jim Crow, and the Holocaust. Also the domestic destabilizing effects of wars in the Middle East. Jews and Black people will find themselves on the opposite sides of some questions.

Even at four hours, it’s a survey course, streamlined but not simplistic, and as such it will fly through some points and elide others; there are whole volumes dedicated elsewhere to what constitutes a single sentence here, and libraries dedicated to some of these figures. (Why not read some?) The view is not singular, and as such, there’ll be something for everyone to question, especially as Jews and Black people are often described as a community, when neither is heterogeneous. (Jews don’t even agree on what makes a Jew.)

But whatever goes back and forth between then, the world has its own ideas. “People who hate Jews,” says Gates, “uncannily hate Black people too. Because when the stuff hits the fan, they’re coming after both of us.”

Survivors, including a seriously injured child, taken to hospital as state governor declares three days of mourning.

A bus returning from a religious festival in northeast Brazil has veered off the road on a curve and overturned, killing at least 16 people, including four children, officials said.

The bus had been carrying about 60 people when it tipped over in the rural interior of Alagoas state on Tuesday, ejecting some passengers while others were trapped beneath the wreckage.

The Alagoas regional government said in a statement that seven women, five men and four children were among those killed. The accident remains under investigation and was described as “highly complex”.

Brazilian media reported that the bus had been returning from celebrations for Our Lady of Candelaria, a religious festival in the state of Ceara that attracts thousands of devotees every February 2.

“The bus went off the road on a curve, overturned, and some people were thrown out,” said Colonel Andre Madeiro, director of the Alagoas Aviation Department, which took part in the rescue operation.

“Some were trapped under the vehicle. It was a very bad accident, even atypical,” he told a news conference.

Images posted on the X social media platform of the reported crash site featured a severely-mangled bus lying on its side as injured passengers sat nearby waiting for help.

Survivors of the crash, including a seriously injured child, were taken to hospital, where they remain under medical care.

“I express my solidarity with the families and friends at this time of such great pain,” Governor Paulo Dantas wrote on social media. Three days of mourning will be observed in the state, he said.

Deadly road accidents are common in Brazil.

In October, 17 people died in the northeastern state of Pernambuco when a driver lost control of a bus.

More than 10,000 people died in traffic accidents in Brazil in 2024, according to the Ministry of Transportation, including in December 2024, when at least 32 people were killed when a passenger bus and a truck collided on a highway in southeastern Brazil’s state of Minas Gerais.

Also in 2024, a bus carrying a football team flipped on a road, killing three people.

PROVO, Utah — Graphic videos showing the killing of conservative activist Charlie Kirk while he spoke to a crowd on a Utah college campus quickly went viral, drawing millions of views.

Now, attorneys for the man charged in Kirk’s killing want a state judge to block such videos from being shown. A hearing was held Tuesday. Defense attorneys also want to oust TV and still cameras from the courtroom, arguing that “highly biased” news outlets risk tainting the case.

Prosecutors, attorneys for news organizations, and Kirk’s widow urged state District Court Judge Tony Graf to keep the proceedings open.

“In the absence of transparency, speculation, misinformation, and conspiracy theories are likely to proliferate, eroding public confidence in the judicial process,” Erika Kirk’s attorney wrote in a Monday court filing. “Such an outcome serves neither the interests of justice nor those of Ms. Kirk.”

But legal experts say the defense team’s worries are real: Media coverage in high-profile cases such as Tyler Robinson’s can have a direct “biasing effect” on potential jurors, said Cornell Law School Professor Valerie Hans.

“There were videos about the killing, and pictures and analysis [and] the entire saga of how this particular defendant came to turn himself in,” said Hans, a leading expert on the jury system. “When jurors come to a trial with this kind of background information from the media, it shapes how they see the evidence that is presented in the courtroom.”

Prosecutors intend to seek the death penalty for Robinson, 22, who is charged with aggravated murder in the Sept. 10 shooting of Kirk on the Utah Valley University campus in Orem. An estimated 3,000 people attended the outdoor rally to hear Kirk, a co-founder of Turning Point USA, who helped mobilize young people to vote for Donald Trump.

To secure a death sentence in Utah, prosecutors must demonstrate aggravating circumstances, such as that the crime was especially heinous or atrocious. That’s where the graphic videos could come into play.

Watching those videos might make people think, “‘Yeah, this was especially heinous, atrocious or cruel,’” Hans said.

Further complicating efforts to ensure a fair trial is the political rhetoric swirling around Kirk, stemming from the role his organization played in Trump’s 2024 election. Even before Robinson’s arrest, people had jumped to conclusions about who the shooter could be and what kind of politics he espoused, said University of Utah law professor Teneille Brown.

“People are just projecting a lot of their own sense of what they think was going on, and that really creates concerns about whether they can be open to hearing the actual evidence that’s presented,” she said.

Robinson’s attorneys have ramped up claims of bias as the case has advanced, even accusing news outlets of using lip readers to deduce what the defendant is whispering to his attorneys during court hearings.

Fueling those concerns was a television camera operator who zoomed in on Robinson’s face as he talked to his attorneys during a Jan. 16 hearing. That violated courtroom orders, prompting the judge to stop filming of Robinson for the remainder of the hearing.

“Rather than being a beacon for truth and openness, the News Media have simply become a financial investor in this case,” defense attorneys wrote in a request for the court to seal some of their accusations of media bias. Unsealing those records, they added, “will simply generate even more views of the offending coverage, and more revenue for the News Media.”

Prosecutors acknowledged the intense public interest surrounding the case but said that does not permit the court to compromise on openness. They said the need for transparency transcends Robinson’s case.

“This case arose, and will remain, in the public eye. That reality favors greater transparency of case proceedings, not less,” Utah County prosecutors wrote in a court filing.

Defense attorneys are seeking to disqualify local prosecutors because the daughter of a deputy county attorney involved in the case attended the rally where Kirk was shot. The defense alleges that the relationship represents a conflict of interest.

In response, prosecutors said in a court filing that they could present videos at Tuesday’s hearing to demonstrate that the daughter was not a necessary witness since numerous other people recorded the shooting.

Among the videos, prosecutors wrote, is one that shows the bullet hitting Kirk, blood coming from his neck and Kirk falling from his chair.

Brown and Schoenbaum write for the Associated Press.

Though we’re solidly into 2026, a trend has emerged on social media: Reminiscing on the year 2016.

Through throwback posts, people have been traveling back to the year when dog and flower crown Snapchat filters, Instagram eyebrows, the mannequin challenge and the Chainsmokers were everywhere.

But why, you may ask? On social media, 2016 is remembered as the last carefree era, a time when people posted whatever they wanted without overthinking it, when folks actually danced at parties instead of pointing their phones at the DJ booth to “capture content.”

2016 also brought many cultural milestones to L.A., from Kobe’s final game to the rise of selfie culture to all things Issa Rae. In the spirit of nostalgia, we’ve rounded up 16 moments that bring us back to that time. So let’s crank up Beyoncé’s “Lemonade” album and take a ride down memory lane, shall we?

I can’t believe it’s happening to us.

“The Kelly Clarkson Show,” the Daytime Emmy Award-winning series hosted by the Grammy-winning musician, is ending after a seven-season run. Kelly Clarkson announced Monday that she had decided to step away from hosting the daily talk show.

In a statement, Clarkson said she made her decision to prioritize spending time with her children. The former singer had two children, in 2014 and 2016, with ex-husband Brandon Blackstock, who died in August at age 48.

“I have been extremely fortunate to work with such an outstanding group of people at ‘The Kelly Clarkson Show,’ both in Los Angeles and New York,” Clarkson said in a statement. “This was not an easy decision, but this season will be my last hosting ‘The Kelly Clarkson Show.’ Stepping away from the daily schedule will allow me to prioritize my kids, which feels necessary and right for this next chapter of our lives.”

The syndicated talk show launched in September 2019 after Clarkson, who won over TV audiences as the first-ever winner of “American Idol,” in 2002, returned to the world of musical reality competitions as a coach on “The Voice” in 2018. “The Kelly Clarkson Show” showcased the “Since U Been Gone” singer’s affable, approachable charm in her sit-down interviews with celebrities and everyday heroes, as well as her talents in popular segments including “Kellyoke,” which saw Clarkson sing covers of other people’s songs.

“I am forever grateful and honored to have worked alongside the greatest band and crew you could hope for, all the talent and inspiring people who have shared their time and lives with us, all the fans who have supported our show and to NBC for always being such a supportive and incredible partner,” Clarkson added in her statement. “This isn’t goodbye. I’ll still be making music, playing shows here and there and you may catch me on ‘The Voice’ from time to time. … You never know where I might show up next. But for now, I want to thank y’all so much for allowing our show to be a part of your lives, and for believing in us and hanging with us for seven incredible years.”

The seventh season of “The Kelly Clarkson Show” kicked off in September and production will continue as planned. Clarkson will continue to host Season 7, with a few yet-to-be-announced guest hosts. The episodes for Season 7 will run through September.

Writer Neil Gaiman denied sexual misconduct allegations first brought forth against him over a year and a half ago in a statement released Monday.

Gaiman, the bestselling fantasy author behind “The Sandman” comic books, and novels and shows “American Gods” and “Good Omens,” called the allegations, which emerged in the summer of 2024, a “smear campaign” that are “simply and completely untrue.”

“These allegations, especially the really salacious ones, have been spread and amplified by people who seemed a lot more interested in outrage and getting clicks on headlines rather than whether things had actually happened or not,” Gaiman wrote.

Five women first accused the 65-year-old British author of sexual misconduct in the summer of 2024, appearing in the Tortoise Media podcast “Master: The Allegations Against Neil Gaiman.” The women claimed Gaiman had them call him “master” during their alleged sexual encounters.

Eight women then accused the author of assault, abuse and coercion in an article published by New York magazine just over a year ago.

Scarlett Pavlovich, Gaiman’s former nanny, filed a lawsuit against the author and his estranged wife Amanda Palmer, almost exactly a year ago, accusing the couple of human trafficking. She alleged that she was brutally and repeatedly raped and sexually assaulted by Gaiman while working for the couple without pay.

“Gaiman repeatedly physically and emotionally abused Scarlett, raping her vaginally and anally, humiliating her, forcing her into sexual conduct in front of Gaiman’s child, and forcing her to touch and lick feces and urine,” the complaint states. Gaiman called Pavlovich “slave” and ordered her to call him “master,” the complaint states.

The abuse took place while Pavlovich was providing babysitting services for the couple in New Zealand in 2022, according to the suit.

All other allegations against the author stemmed from the 1990s to 2022, when he was living in the United States, Britain and New Zealand.

The author has sold more than 50 million copies of his books worldwide, and many have received film and television adaptations over the years. His work drew a large female readership, typically uncommon for comic-book writers. The allegations clashed with the self-proclaimed feminist writer’s public persona.

Gaiman has spent the last year out of the spotlight, after publishing company Dark Horse Comics cut ties with him shortly after the New York magazine article was published. Gaiman was also dropped from various film and TV adaptations of his work, including the final season of Amazon’s “Good Omens” and the streamer’s new “Anansi Boys” TV series.

He was also left out of press for the final season of Netflix’s “The Sandman” last year and Disney halted development of “The Graveyard Book” months after the initial allegations.

The author last publicly addressed the allegations a day after the New York magazine article was released, and wrote he had stayed quiet “both out of respect for the people who were sharing their stories and out of a desire not to draw even more attention to a lot of misinformation.”

At the time, Gaiman wrote that he “could have and should have done so much better,” admitting that he “was obviously careless with people’s hearts and feelings, and that’s something that I really, deeply regret. It was selfish of me. I was caught up in my own story and I ignored other people’s.”

Gaiman’s most recent statement comes just days after an unidentified Substack user who goes by TechnoPathology posted the latest in a series of articles over the last year defending the fantasy author.

Gaiman claimed he hasn’t been in contact with the anonymous poster but would “like to thank them personally for actually looking at the evidence and reporting what they found, which is not what anyone else had done.”

He said “the actual evidence was dismissed or ignored” by most reporting, including “mountains” of “emails, text messages and video evidence that flatly contradict” the claims.

The author also announced in the statement that he’s been working on a book throughout the “strange, turbulent and occasionally nightmarish year and a half.” The project is his longest since the 450-plus-page “American Gods,” he said.

“It’s a rough time for the world,” Gaiman wrote. “I look at what’s happening on the home front and internationally, and I worry; and I am still convinced there are more good people out there than the other kind.”

Tehran, Iran – Iran’s economic outlook appears increasingly grim more than three weeks after the start of what became one of the most comprehensive and prolonged state-imposed internet blackouts in history, impacting a population of more than 90 million people.

Iranian authorities abruptly cut off all communications across the country on the night of January 8, at the height of nationwide protests that the United Nations and international human rights organisations say were suppressed with the use of deadly force.

Most of Iran’s internet bandwidth, local and international phone calls and SMS text messages have been restored over recent days. But most of the country is still unable to freely connect to the global internet amid heavy filtering by the state.

The increased bandwidth allows more people to circumvent state restrictions using a variety of proxies and virtual private networks (VPNs), but solutions are often costly and temporary.

Last week, Information and Communications Technology Minister Sattar Hashemi told reporters his ministry estimates that the Iranian economy suffered at least 50 trillion rials (about $33m at the current exchange rate) in damages on a daily basis during the blackout.

But the minister admitted that the true toll is likely much higher, and said that other ministers and economic officials have privately offered heftier estimates that he did not expand upon.

‘Can’t do anything without the internet’

The government of President Masoud Pezeshkian has said the decision to fully block connectivity was taken outside of its control by the Supreme National Security Council.

Pezeshkian, who had made scaling back internet filtering a main campaign promise, has refrained from talking about Iran’s largest internet blackout to date, instead focusing on economic reforms and cash subsidies.

The administration has promised to offer online businesses financial support, but the losses have already been sudden, acute, and too heavy to bear for many.

Simin Siami, a travel agent working in Tehran, told Al Jazeera that her company lost most of its income and had to lay off a number of employees.

“Most international flights were cancelled, and there was no way to purchase tickets or compare existing flights,” she said, adding that her company was also unable to book hotels for customers, who were initially even unable to renew their passports.

“Unfortunately, that limited our services to selling tickets for local flights and booking local hotels, and cancelled all our previous international tickets and bookings.”

Saeed Mirzaei, who works at an immigration agency in the capital, said 46 employees at his company had to go on mandatory leave for weeks amid the shutdown.

He told Al Jazeera that they suddenly lost all contact with foreign counterparts, were unable to get updated information from embassies, and missed deadlines to apply for universities on behalf of their customers wishing to leave a heavily sanctioned Iran for better opportunities.

“We can’t do anything without the internet because our work deals directly with it,” Mirzaei said.

National internet a ‘bitter joke’

During the blackout, Iran’s theocratic establishment even struggled to sustain basic services using the so-called National Information Network, a limited nationalised intranet.

The connection to the intranet was slow and patchy, many companies remained disconnected from it, and those that were allowed to connect retained only a fraction of their customer base amid general economic stagnation across the country.

Hashemi, the communications minister, said a demand by hardliners within the establishment to move away from using the international web in favour of a domestic connection was a “bitter joke” that is not feasible to enforce.

He said his ministry estimates that the country’s online businesses could survive under a blackout for roughly 20 days, signalling that the state had no choice this week but to gradually restore internet bandwidth.

Figures for economic damages incurred by the blackout published by officials reflect only the visible costs and do not account for hidden losses, according to Abazar Barari, a member of Iran’s Chamber of Commerce.

“In the import and export sector, processes are heavily dependent on the internet from the very initial stages – such as price negotiations, issuance of pro forma and other invoices – to coordination with transportation companies and the verification of documents. As a result, the internet shutdown effectively disrupted foreign trade,” he told Al Jazeera.

“During this period, customer attrition also occurred, with the damage being particularly severe in certain food commodities, as many countries are unwilling to tie their food security to unstable supply conditions.”

‘They have no right to do this’

In a tumultuous country with one of the highest inflation rates in the world, numerous Iranians who tried to make money online to stay afloat are now deeply anxious as well.

From owners of small online businesses to teachers, chefs, crypto traders, gamers and streamers, people are taking to social media to ask others for extra support after the gradual reconnect this week.

Mehrnaz, a young video editor in Tehran, said she only went back to work this week after her company put her on forced leave without pay from the start of the protests in the city’s business district in late December.

“I was on the verge of having to move back to my parents’ house in another city. I’m only 25, and I hit near-zero for the second time this year. There might not be another time,” she said, pointing out that the first time was during the 12-day war with Israel and the United States in June.

Iran’s National Post Company announced on Sunday that postal deliveries experienced a 60-percent fall at the height of the blackout, mainly damaging small and home-based businesses that depended on mailing their products.

But beyond livelihoods, many in Iran are also angered by the fact that the state can cut off communications on command, violating the people’s right to benefit from the internet.

“They had the nerve to create a tiered internet and decide which type of use is ‘essential’,” said a woman who asked not to be identified for safety reasons.

“My child wants to search about his favourite animation movies, my mom wants to read news on Telegram, and my dad wants to download books. I want to go online and write that they have no right to do this.”

At this year’s Grammy ceremony, the Recording Academy called on artists Post Malone, Lauryn Hill and Reba McEntire to honor the musicians who died last year.

The annual In Memoriam segment paid tribute to artists including Roberta Flack, D’Angelo and Ozzy Osbourne. From heavy punk numbers to jazzy R&B ballads and solemn country-infused performances, the academy celebrated those who have shaped music, whether the artistry or the business.

It started off with a candlelit tribute from McEntire, Brandy Clark and Lukas Nelson. The trio performed McEntire’s “Trailblazer.” McEntire lost her late stepson, talent manager Brandon Blackstock, last year. As the performance continued, images of people like Connie Francis, Roy Ayers, Joe Ely and Ace Frehley appeared on the screen behind.

Then Post Malone, backed by Andrew Watt, Slash, Duff McKagan and Chad Smith — all artists who worked with Osbourne over the past few years — covered Black Sabbath’s “War Pigs,” complete with bursts of fire and endless guitar riffs. The camera continued to pan over to teary-eyed Kelly and Sharon Osbourne, daughter and wife of the Black Sabbath frontman, who attended the ceremony.

Then, it was Hill’s turn to pay tribute to late R&B pioneer D’Angelo. Behind dark shades and covered in diamonds, the singer started off by saying, “Make time for the people you love while you can.”

The singer was backed by a massive band and started to sing her own track “Nothing Even Matters.” She was soon joined by musicians Lucky Daye, Leon Thomas and Jon Batiste. As they continued to blend the sounds of “Brown Sugar” and “Devil’s Pie,” the giant ensemble shifted gears to pay tribute to Flack.

Throughout the remainder of the segment, Hill acted as a conductor, calling on each musician to sing their parts. They were soon joined by Chaka Khan and John Legend, who sang “Where Is the Love?” By the end of the performance, the setlist came back to the Fugees’ “Killing Me Softly With His Song.” The entire stadium erupted in applause, got on their feet and started to dance along with everyone on stage.

In between the live performance, the academy also showed video tributes for Brian Wilson of the Beach Boys, Bob Weir of the Grateful Dead and Sly Stone.

Bad Bunny’s “Débi Tirar Más Fotos” was named album of the year at Sunday night’s 68th Grammy Awards — the first time a Spanish-language LP has won the Recording Academy’s most prestigious prize.

Bunny delivered the speech primarily in Spanish.

“I want to dedicate this award to all the people who had to leave their homeland, their country, to follow their dreams,” he said as the audience rose to its feet.

“Puerto Rico, believe me when I say that we are so much bigger than 100 by 35 and there is nothing that exists that we can’t accomplish,” he said in Spanish. “Thank God, thank you to the academy, thank you to all the people who have believed in me throughout my whole career. To all the people who worked on this album. Thank you, mami, for giving birth to me in Puerto Rico. I love you.”

“For all the people who have lost a loved one and even then have had to continue moving forward and continue with so much strength, this award is for you all.”

Intricately arranged with the sounds of the singer and rapper’s native Puerto Rico, “Débi Tirar Más Fotos” was released to rave reviews in January 2025 and quickly reached No. 1 on the Billboard 200 album chart. Last summer, Bad Bunny supported the project with a 30-date concert residency at San Juan’s José Miguel Agrelot Coliseum; he followed that with the announcement of a world tour that avoided the United States, in part, he told I-D magazine, because of his concern that immigration agents might turn up at shows.

Prior to Sunday’s win, “Débi Tirar Más Fotos” — the title translates in English to “I Should Have Taken More Photos” — was named album of the year at November’s Latin Grammy Awards. Next weekend, Bad Bunny (whose real name is Benito Antonio Martínez Ocasio) will headline the halftime show at Super Bowl LX in Santa Clara.

He won earlier in the night for música urbana album and global music performance.

The other LPs nominated for album of the year were Justin Bieber’s “Swag,” Sabrina Carpenter’s “Man’s Best Friend,” Clipse’s “Let God Sort Em Out,” Lady Gaga’s “Mayhem,” Kendrick Lamar’s “GNX,” Leon Thomas’ “Mutt” and Tyler, the Creator’s “Chromakopia.”

In 2025, Beyoncé took the prize with “Cowboy Carter.”

Boasting a bigger population than some UK towns and even cities, one village still remains without official town status, despite its Gothic Chapel and train station

A picturesque village that has been deemed the ‘largest in the UK’ is so big that people think it’s a town.

Nestled along the Sussex coast is the large village of Lancing, home to around 19,000 residents. Situated between Worthing and Shoreham-by-Sea, it’s renowned for its shingle beaches and panoramic sea views.

The village offers a charming, peaceful life alongside the Sussex coast, with a close-knit community feel. It’s also perfect for a seaside day out, with coastal paths and along the seafront is its award-winning café, The Perch, which offers brunch, burgers, an ultimate sharing roast, and homemade desserts

It has its own train station, hotels near the beach, a Mermaid School, and impressively, the largest school chapel in the world at the Lancing College Chapel. Lancing also boasts the rare Widewater Lagoon, the tranquil Sensory Garden, and even its Premier League training grounds.

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With a population of around 19,000, Lancing is known as the ‘largest village in the UK’, with claims that it could be the biggest in Europe. Yet, it fails to gain recognition as a town, even though it’s larger than established towns across England, and even some cities!

The town of Winchcombe in Gloucestershire has a population of around 5,000, while the city of Wells in Somerset has an estimated 12,000 residents, give or take. However, it’s believed that the residents of Lancing are quite proud to have their status as the ‘UK’s largest village’.

James Brown, director at Robert Luff and Co estate agents, previously told Sussex Live: “I think a lot of people are surprised it isn’t a town. Although we are quite glad it maintains its village status, as it helps us, and people living here like having that title. But it is likely that it will become a town with new developments taking place, and if or when this happens, it could attract more businesses to the area.

“Lancing is especially popular with people moving out of Brighton & Hove who are looking to move somewhere a bit cheaper than Shoreham, so it becomes an obvious choice.”

Yet, the boundary between a village and a town is not as clear as you may think. While we might assume the UK would have established a firm definition by now, neither the National Planning Policy Framework nor the national planning practice guidance offers one.

“Instead, we’re left with a delightful mix of historical interpretations, local authority classifications, and the occasional dictionary reference,” noted planning organisation Land Tech.

The House of Commons Library’s research briefing City and Town Classification of Constituencies and Local Authorities (2018), sought to clarify the various classifications with the following population guides:

• Villages and small communities: Under 7,500 residents
• Small towns: 7,500 to 24,999 residents
• Medium towns: 25,000 to 59,999 residents
• Large towns: 60,000 to 174,999 residents
• Cities: 175,000+ residents

However, this isn’t a rigid system, as numerous cities have minuscule populations, including the famously compact St Davids in Wales. The progression from town to city is equally uncontroversial.

Despite its village status, Lancing still attracts visitors for a day out at its famed beach. One shared on TripAdvisor: “Great beach, very clean and tidy. Great for families and winter walks. Great views and very clean. Lovely beach huts to see as well.”

Another added: “A really good beach with plenty of facilities around for eating, exercising and for kids too. Great for dog walking. Good sea views.”

Do you have a travel story to share? Email webtravel@reachplc.com

PORTLAND, Ore. — The mayor of Portland, Ore., demanded U.S. Immigration and Customs Enforcement leave his city after federal agents launched tear gas at a crowd of demonstrators — including young children — outside an ICE facility during a weekend protest that he and others characterized as peaceful.

Witnesses said agents deployed tear gas, pepper balls and rubber bullets as thousands of marchers arrived at the South Waterfront facility on Saturday. Erin Hoover Barnett, a former OregonLive reporter who joined the protest, said she was about 100 yards from the building when “what looked like two guys with rocket launchers” started dousing the crowd with gas.

“To be among parents frantically trying to tend to little children in strollers, people using motorized carts trying to navigate as the rest of us staggered in retreat, unsure of how to get to safety, was terrifying,” Barnett wrote in an email to OregonLive.

Mayor Keith Wilson said the daytime demonstration was peaceful, “where the vast majority of those present violated no laws, made no threat and posed no danger” to federal agents.

“To those who continue to work for ICE: Resign. To those who control this facility: Leave,” Wilson wrote in a statement Saturday night. “Through your use of violence and the trampling of the Constitution, you have lost all legitimacy and replaced it with shame.”

The Portland Fire Bureau sent paramedics to treat people at the scene, police said. Police officers monitored the crowd but made no arrests Saturday.

The Portland protest was one of many demonstrations nationwide against the Trump administration’s immigration crackdown in cities including Minneapolis, where in recent weeks federal agents killed two residents, Alex Pretti and Renee Good.

Federal agents in Eugene, Ore., deployed tear gas on Friday when protesters tried to get inside the federal building near downtown. City police declared a riot and ordered the crowd to disperse.

President Trump posted Saturday on social media that it was up to local law enforcement agencies to police protests in their cities. But he said he has instructed Homeland Security Secretary Kristi Noem to have federal agents be vigilant in guarding U.S. government facilities.

“Please be aware that I have instructed ICE and/or Border Patrol to be very forceful in this protection of Federal Government Property. There will be no spitting in the faces of our Officers, there will be no punching or kicking the headlights of our cars, and there will be no rock or brick throwing at our vehicles, or at our Patriot Warriors,” Trump wrote. “If there is, those people will suffer an equal, or more, consequence.”

Wilson said Portland would be imposing a fee on detention facilities that use chemical agents.

The federal government “must, and will, be held accountable,” the mayor said. “To those who continue to make these sickening decisions, go home, look in a mirror, and ask yourselves why you have gassed children.”