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MIAMI — The Trump administration has extended protections shielding about 11,000 Lebanese from deportation, allowing them to stay and work in the United States for another six months.

The decision, announced Thursday by the Department of Homeland Security, marked a rare reprieve for people protected by temporary measures that have been harshly criticized by Republicans. The extension comes amid ongoing fighting in southern Lebanon between Israeli troops and Hezbollah fighters.

The decision was automatic, meaning that the administration missed the deadline by which it was supposed to decide on whether to extend the measure called Temporary Protected Status for Lebanese people living in the U.S. who are covered by the program. By statute, the status automatically extends for six months if the department misses the deadline.

It was an unusual outcome for an administration that has canceled the protections that had covered people from 13 countries, including Venezuela, Haiti, Nicaragua and Syria from deportation.

TPS was created by Congress in 1990 to prevent deportations to countries suffering from natural disasters or civil strife, giving people authorization to work in increments of up to 18 months. More than 1 million immigrants from 17 countries were protected by TPS at the beginning of the Trump administration, after the Biden administration greatly expanded its use.

The program has been at the center of a controversy.

Republicans and critics of TPS argue that the program and its protections deviate from their original temporary intent, taking on a quasi-permanent character when extended. Its defenders assert that it is a fundamental humanitarian program that prevents vulnerable individuals from being forced to return to dangerous conditions.

The DHS notice said that former DHS Secretary Kristi Noem and current Secretary Markwayne Mullin, who has led the department for the last two months, “were unable to make an informed determination on Lebanon’s TPS designation.”

The extension allows existing beneficiaries to keep their protections through Nov. 27, “if they still meet the eligibility requirements for TPS,” according to the notice. The work permits that were already issued for Lebanese TPS holders will be valid until the same day.

This is the second time the Trump administration has automatically extended a TPS designation. The first happened nearly a year ago with South Sudan, but the protections were terminated in November 2025, after the six-month extension period.

There are dozens of lawsuits challenging the termination of TPS at federal courts in different states. The Supreme Court is set to make a decision on TPS that protected Haitians and Syrians during the summer, and the result is expected to have an impact on all the other cases.

Advocates welcomed the extension.

“Extending Temporary Protected Status means Lebanese nationals in the United States will not be forced back into dangerous conditions but allowed to stay and continue supporting their families and contributing to their local communities,” said Kelly Razzouk, vice president of policy and advocacy at the International Rescue Committee.

José Palma, national coordinator of the National TPS Alliance — an advocacy group that has fought in federal courts against the cancellation of TPS for several countries—welcomed the extension of protections for the Lebanese.

“But we need to find a permanent solution for all TPS beneficiaries,” he warned.

Salomon writes for the Associated Press. AP writer Rebecca Santana contributed to this report.

Anyone trying to avoid the payment may face much higher fees

Millions of people face the prospect of having to pay an extra £1,000 if they want to take a holiday abroad in 2026.

One in five people on NHS waiting lists plan to holiday abroad without travel insurance, according to a recent survey, risking falling ill overseas and incurring hefty healthcare fees. There are currently more than 7.1million adults waiting for consultant-led treatment – and a further 1.7million waiting for a diagnosis – with many unable to take out insurance policies due to the high cost.

Of the 95% who are on, or have been on, a waiting list in the last three years and refuse to miss their holiday, 15% have paid up to £1,000 extra to ensure they’re protected. Many insurers keep their premiums low by not covering existing medical conditions, meaning patients on waiting lists with potentially serious conditions will need to take out specialist cover.

Those waiting for a condition to be diagnosed will find it particularly difficult to find appropriate travel insurance – and one in four plan to holiday without the correct cover. One in 20 currently waiting to be seen by the NHS have found accessing specialist travel insurance so difficult, or so expensive, they haven’t holidayed abroad because of it.

The poll of 2,034 adults commissioned by Wellsoon from Practice Plus Group found adults with hernias are the most likely to holiday without the correct cover, followed by those with cancer. The hardest conditions to find insurance for are heart or blood pressure issues followed by musculoskeletal issues including arthritis, hip or knee pain, back pain, neck or shoulder pain.

A spokesperson for Practice Plus Group said: “It’s a story we hear regularly from people who have a health issue they want to be addressed before they go on holiday, but they’re on a waiting list. They’re worried about going away when they’re in limbo, potentially needing to seek medical help a long way from home and not knowing how much it might cost.

In April 2021, the Financial Conduct Authority introduced new requirements to help consumers with more serious pre-existing medical conditions (PEMCs) better navigate the travel insurance market. Firms that sell travel insurance are required to signpost consumers to one of two directories of specialist firms that provide this type of insurance – one of which is the MoneyHelper directory, provided by the Money and Pensions Service.

A spokesperson from the Money and Pensions Service, which provides a directory of specialist firms that offer travel insurance for pre-existing conditions, said: “If you have a pre-existing health condition you must disclose this to your insurer. Otherwise, when you come to make a claim, it could be rejected.

“Depending on your circumstances, you may be asked to complete a medical exam. This will allow insurance providers to tailor your travel insurance policy to cover your needs. Taking specialist medical travel insurance will give you peace of mind that your medical condition is covered in the event of a claim.

“Our MoneyHelper service provides contact details of companies which specialise in this.”

Cary Elwes may not have been born in Los Angeles, but it’s probably fair to consider the native Brit an honorary Angeleno. The “Princess Bride” star was born in and spent his formative years kicking around London; he moved to L.A. in 1990, on his brother’s recommendation. He met his wife, photographer Lisa Marie Kurbikoff, at a cookoff in Malibu about a year later and the two married in 2000. A daughter, Dominique, arrived in 2007.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Elwes has spent his years in California not just establishing his family life, but also further enmeshing himself in Hollywood. He’s appeared in everything from “Saw” to “Ella Enchanted,” and played a corrupt government agent in a couple of “Mission Impossible” movies. His latest role is as a former cop turned private detective in Peacock’s new crime thriller, “M.I.A.,” streaming now.

“I’ve been out here for quite a bit now and while [2025’s] fires were pretty devastating — changing a lot of the landscape and people’s lives in ways that none of us could have imagined — I’m hopeful,” Elwes says. “I feel like we’re going to build back stronger and better. Things can seem dark sometimes, but I still have a spark of hope in my heart.”

Here’s how Elwes would spend his perfect, hopeful Sunday in Los Angeles.

This interview has been edited for length and clarity.

10 a.m.: Coffee and a chat

We wake up around 10 a.m., which is kind of late for me. Then we’ll have our coffee. I tend to lean toward Gelson’s beans, which I find have a particular flavor I tend to like. I do like my coffee. It’s probably the only addiction I really have.

Anyway, after I finish up my coffee, I’ll typically ask my wife and daughter what they’d like to do for the day. My daughter is 19, and she’s terrific. I always tell my wife she’s the best production we’ll ever do together.

Noon: Leisurely lunch

My wife is very fond of this Italian restaurant in Woodland Hills called Casaléna. It’s right off Ventura Boulevard and it’s terrific. Even their salads are extraordinary. It’s fairly new, too, but it’s always booked out solid so you really have to make a reservation in advance. Luckily, my wife and daughter are organized, so if they want to go there, they’ll have planned ahead.

2 p.m.: Head to the movies

We like to go see movies at the Imax at Universal CityWalk. The quality of that theater is very, very good and seeing films on the biggest screen possible is important to us.

My wife and I went on a date to see “Michael” in Imax, which was sold out and it was phenomenal. Antoine Fuqua did a great job and our friend Colman [Domingo] was honestly transformative as Joe Jackson. And Jaafar Jackson, who’s Michael’s nephew, is remarkable. It’s an extraordinary film, but sold out with people cheering and dancing? That made it a phenomenon. People were interacting with the movie as it played and it was remarkable.

If we’re not interested in whatever’s playing at the time, we might go for a hike in Tapia Park. I grew up watching “MASH” as a kid and when I realized they filmed there, I thought “How blessed am I to be living just a few miles from where such an iconic series was made?”

It’s a really beautiful park too. If you take a long hike, you’ll see waterfalls and lots of wildlife. On a nice afternoon, taking the dog out there for a walk? You can’t beat it.

There’s so much rich history here. I remember going on the Universal Studio Tour for the first time when I visited L.A. as a kid. They had a thing where they’d pick a couple of tour guests and the guide would put you on camera in front of a blue screen and you’d reenact a scene from a movie. The tour also took you by the “Jaws” shark coming out of the water and through an old western town, and I found out years later that a director friend of mine had been making westerns there when I was a kid and I didn’t even know it.

That tour was fantastic. With parting the sea for “The Ten Commandments” and then the boulders coming down the hill during the rockslide? Absolutely magnificent.

5 p.m.: Pick a Getty, any Getty

Depending on what time our movie ends or if we just end up going for a walk instead, we might go over to the Getty Center. We love it there. Usually we’ll go in the afternoon — maybe we’ll have a late lunch up there — and sometimes we’ll go to the Getty Villa instead, which luckily survived the Palisades fire.

We just love being around art. We’ll walk through the entire collection, plus whatever exhibit they have on at the time. We’ll go to LACMA sometimes, too, or even the Academy Museum to see whatever new exhibits they have.

Culturally, we really try to keep busy. Sometimes we’ll want to sit at home and play Spite and Malice or watch a show on TV, but mostly I try to go out and encourage my family to do the same, especially because we live in such a wonderfully diverse, cultural city.

7 p.m.: Taco time

I always leave meal decisions up to the girls, and sometimes they like to go out and get tacos. We like the fish tacos at Escuela. It’s pretty close to Quentin Tarantino’s movie theater, the New Beverly Cinema, which we like to go to as well. I took my daughter to see “Jaws” there, in fact, which she loved.

9 p.m.: More movies

I’m trying to educate my daughter in the films and TV shows that I watched growing up. She’s taking a film history class in school. She wants to be an actor as well, so I want her to have an understanding of the history of film and history of performance, so I show her the great performances that inspired me as a kid and encourage her in that way.

When I grew up in England, we literally had two channels, both in black and white. Young people can’t quite wrap their heads around that now, but it really did make you pay attention because you had to be sitting in front of the television to catch a show or movie you wanted to watch.

I remember that the BBC, particularly on weekends, would have matinee screenings of movies. We actually had pretty good quality TV in England growing up, but they’d also heavily focus on British films from the ‘40s all the way through to the ‘60s so I got my education from that particular style of films, like the postwar films, ‘50s films, and the Ealing comedies. David Lean and Laurence Olivier, Ralph Richardson … a lot of the films they were in or directed really helped shape who I am today.

Alec Guinness and Peter Sellers had a very strong influence on me as a kid, too, so I really want to try to share with my daughter why these films meant so much to me.

10:30 p.m.: Books in bed

I’m not really a late-night person anymore. I used to be when I was a kid, but now, unless we’re out on a date, my wife and I are homebodies.

IF you’re searching for a place to cool off without the crowds this weekend, this lake has been described as a ‘secret oasis’.

Tucked away in Surrey is Divers Cove which not only has bright blue swimming waters, but lakeside sauna pods and a cafe.

Divers Cove is a 7.3-acre reservoir in Surrey and is described as a ‘haven for wild swimming’.

One visitor said: “It’s a fabulous place to go for a swim in natural and beautiful surroundings – it’s like a secret oasis in the middle of Surrey.”

Another added: “I really don’t want to say too much about Divers Cove, but this is because rather selfishly I want it kept a secret!”

Others described it as ‘gorgeous’ and the water as being ‘gin clear’.

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After a cold dip at Divers Cove, swimmers can warm up in one of the lakeside saunas, which is open on weekends.

The handcrafted pods aren’t far from the waters and can be booked from £11.99 per session.

During the winter season, there are ice barrels by the side for a chilly dip before warming up in the sauna.

The capacity of a sauna pod is eight people – but they can be booked for sole use too.

Also on the lakeside is a small cafe selling fresh pizzas, drinks and snacks.

While Divers Cove is popular for locals who have memberships, there is a ‘pay as you go’ option for visitors costing £11.99 which run from 9am to 6pm.

There are a few conditions of swimming at Divers Cove for safety – visitors will need to wear a wetsuit if the water temperature is under 16C.

You can check the temperature on the website before heading down for a swim.

And everyone entering the water must wear brightly coloured swim hats.

Swimmers can bring their own or hire these out at the venue.

For those keen to get into wild swimming, Divers Cove runs an ‘Introduction to Open Water Swimming Course’ as well as improvement sessions too.

The lake is an hour from central London – on public transport, the easiest way to get there is on the Thameslink to Redhill.

Then take a bus to Waterhouse Lane which is a short walk from the Divers Cove.

NEWARK, N.J. — Protesters clashed with armed federal immigration officers in front of a New Jersey detention center where advocates have demonstrated for days while asserting that people detained there are staging a hunger strike over poor living conditions.

Groups of demonstrators, many wearing gas masks and other face coverings, linked arms in a human chain in front of Delaney Hall in Newark on Wednesday night, videos and photos posted on social media show.

Some used trash cans, old mattresses, umbrellas and other materials as makeshift shields and barricades as they confronted U.S. Immigration and Customs Enforcement officers. Others attempted to block people and vehicles from entering and exiting the building or threw orange traffic cones and other objects in the direction of the ICE officers lined at the entry gate.

The group chanted, “You will hang!” and, “Every cop, every fed, shoot yourself in the head,” and other taunts at the officers, many of whom wore helmets and tactical vests.

The ICE officers used pepper spray to try to disperse the protesters, according to videos posted to social media. Some used their batons to beat and push back protesters as the officers attempted to clear the roadway for vehicles.

At least one truck driver got out of his vehicle to vent his frustration when some protesters tried to block vehicles driving on the road in front of the detention center. People detained inside could at times be seen waving to protesters from Delaney Hall’s windows.

The U.S. Department of Homeland Security, which oversees ICE, said about six demonstrators were arrested for assaulting law enforcement officers.

“Assaulting and obstructing ICE law enforcement is a crime and felony,” the agency said in a statement. “Anyone who assaults law enforcement will be prosecuted to the fullest extent of the law.”

On Thursday, demonstrators again returned to Delaney Hall.

New Jersey Gov. Mikie Sherrill also said state health department officials were “denied full access” to the facility for a health inspection. The Democrat said the officials were only allowed to inspect a limited part of the facility as she called on ICE to “de-escalate” the situation.

“As I’ve said repeatedly, refusing to provide full access raises serious questions about what ICE is trying to hide from public view,” Sherrill said in a statement that also repeated her calls to shut down the facility outright.

Earlier Wednesday, Democratic members of Congress from New York City toured the facility as part of an oversight visit. A private prison company runs the detention center, which sits along an industrial stretch of Newark Bay.

Reps. Jerry Nadler, Daniel Goldman and Adriano Espaillat, who all represent Manhattan, described dire conditions where people held in the facility are fed small portions of often spoiled food and their varied medical needs are ignored.

Homeland Security spokespersons have denied any hunger strike, abuse or poor conditions inside the center and dismissed criticism from opponents as political posturing.

In this week’s episode of The Envelope podcast, we kick off Emmy season with Carrie Preston, who plays an offbeat investigator in Robert and Michelle King’s “Columbo”-inspired comedy “Elsbeth.”

Kelvin Washington: Welcome back to The Envelope. I’m Kelvin Washington, alongside the usual suspects, Yvonne Villarreal, also Mark Olsen. It’s good to have you all here. Everybody doing well?

Mark Olsen: Yeah, I’m doing great.

Yvonne Villarreal: Good to see you.

Washington: Well, first of all, I didn’t get the green [wardrobe] memo. It’s OK. Leave me out.

Villarreal: I’m trying to blend in with the chair.

Olsen: That’s why you pop

Villarreal: You do pop.

Washington: Well, you took what I was going to say. You don’t blend in. You always stand out.

Villarreal: Thank you.

Washington: That’s true. All right, so we’re kicking off Emmy season in here. And there’s obviously a million different things to have seen. We’ll start it off with Yvonne — I’ll go to you. What have you seen? Give me a couple of things that stand out to you that you’re enjoying.

Villarreal: Look, I’m always gonna mention “The Pitt.” Season 2 really captivated me. Also, there’s “Pluribus.” Can never go wrong with Rhea Seehorn. Also, one that — surprisingly for me, just given the subject matter — I really enjoyed this season, is “The Testaments.” And I think it’s because of, you know, the young cast and feeling that sense of hope that these young teenage girls are gonna get us out of this. Those are my picks so far.

Washington: Did you say that we need that?

Villarreal: We do need that.

Washington: OK, I just wanted to make sure.

Villarreal: I won’t mention reality TV, because I know it makes Mark a little…

Washington: Let’s make him a little squirmy.

Olsen: Maybe one of these days, I’ll try!

Villarreal: “One of these days”?

Washington: Twenty-five years into it.

Villarreal: “Real Housewives of Rhode Island” is all I’m going to say. I’ll just leave it there.

Olsen: Rhode Island?

Villarreal: Rhode Island.

Washington: Mark, I’ll go to you next, but just to your point there, Yvonne, I haven’t seen much of it, but I did have some guests at the morning show that I anchor from “Love on the Spectrum.”

Villarreal: Oh yeah.

Washington: Folks love that show. I mean, when I tell you that we had a couple of the guests come in and they’re walking around, people were screaming, “Can I get their picture?” So you’re talking about reality TV, just that, that’s a big one there.

Villarreal: They’re stars. And hearing who’s broken up already. I won’t spoil it, because you should watch that one.

Olsen: Wait a minute, how do people on your morning show rate “The Morning Show”?

Washington: Oh, that’s a good question. Some of the [story] lines or the feel hits a little too real, too close to home at times, that’s for sure. But I think it’s run its course a little bit as far as the watercooler [chatter] around the job a little. You know, it’s had some seasons here. But there are some things that, you know, some us look at each other like, “Clearly someone in the business is on there writing that show because that was too close to home.”

Villarreal: Lots of conniving.

Washington: But that’s all sensationalized. We’re just an ordinary morning show. None of that going on.

Villarreal: There’s no Billy Crudups out there.

Washington: Watch how I turn over here to Mark and we switch subjects. What about you, Mark? What are you watching? What do you enjoy?

Olsen: You know, it’s funny, I find as we’re in sort of like post-peak TV, I definitely find that I’m liking my TV to just feel like TV. And so I definitely like the Bill Lawrence universe, [that] kind of comfort watch — the new show “Rooster” with Steve Carell and Danielle Deadwyler, who’s just like so charming, so good on that show. I have really grown to like that show. I really enjoy the week-to-week. Even as I’ve maybe fallen off with some of his other shows, it’s funny how he’s always giving you a new show, like, “Oh I like this one!” And again [with] the week-to-week, “Oh it’s my day to watch ‘Your Friends and Neighbors’! Let me see what my good friends Jon Hamm and Olivia Munn are all up to.”

Washington: Are your neighbors like that?

Olsen: I have not had any disputes over dogs with my neighbors, no.

Washington: By the way, have you been, you mentioned Steve Carell, like he’s in his ‘zaddy’ era. It’s amazing what a beard does for a lot of people. No one ever necessarily thought of him as a heartthrob and all of a sudden I’ve heard, I’ve seen some things on Threads or whatnot, and they’re like, “Oh girl, I didn’t know Steve Carell…”

Villarreal: Some of us have known all along, OK?

Washington: I digress.

You guys mentioned a couple for me. “The Pitt” is unexpected — I was going to say every episode, really every 10 minutes. So that’s always a wild ride. And in “Paradise,” the shift from the previous season for me, because, you know, it’s not that I’m spoiling it, but just the shift into the outside and prior to, that dynamic to me was interesting. Almost like two different shows between Season 1 and Season 2. That for me is interesting to see how folks do and Sterling K. Brown, where’s he in all of this? So those are the ones that I’m looking at there.

I swing to you, [Yvonne]. You had a chance to speak with Carrie Preston, of course, in “Elsbeth.” Kind of a “Columbo”-style of a show, if you will. Tell us a little bit more about that.

Villarreal: This is the thing. We should never discount what’s happening on broadcast TV.

Washington: Good point.

Villarreal: “Elsbeth” is one of those shows that is so compelling. It really expanded, Robert and Michelle King’s “Good Wife” universe. They’ve had the spin-off, “The Good Fight,” and “Elsbeth” is in that universe, but it feels totally different. It’s this comedy procedural that follows Elsbeth, who we were introduced to as this eccentric lawyer, and in “Elsbeth” she’s moved from Chicago to New York as this NYPD consultant and de facto detective. And she has these really unconventional, unorthodox, eccentric methods to solving cases. And it’s really fun to watch and it was really fun to have this conversation with her.

Washington: All right, well, let’s get into it. Here’s Yvonne and Carrie now.

Carrie Preston, star of CBS’ “Columbo”-esque hit “Elsbeth.”

(Christina House / Los Angeles Times)

Yvonne Villarreal: I’m always very eager to talk about this character that I’ve spent 15 years tracking. You made your debut as Elsbeth Tascioni in “The Good Wife,” and she leaves a memorable impression early on, with just three minutes [of screen time]. I did time it. What do you remember about the call about this character and what [creators Robert and Michelle King] told you about who she was?

Carrie Preston: They had offered me the role, and I was working on some other things and I had just dyed my hair red, but they didn’t know this yet. And so they all knew me as a blond and I thought, “Oh my gosh, I hope they’re going to be OK with this character being a redhead because in their minds I’m not that.”

But [Robert] called and he said, “We’re thinking about this character like a female Columbo.” I didn’t really watch a lot of “Columbo,” but I understood what he meant, which was, this is a person who is going to be coming at things in an unexpected and unorthodox way and people are going to underestimate her. I took that to heart. But nonetheless, I was going in as a guest. As a guest, you’re going into somebody else’s house, you wanna follow their rules, you don’t wanna jump in their pool and start swimming around without asking permission. So I was a little tentative with it, but I took myself to the set before we started shooting just to show them, “This is what I look like now, are we still good? Because I can’t change the hair right now ’cause I’m doing this other thing.” Luckily, they were like, “Oh I think that actually works really well for the character.” And little did I know, I was gonna then be the redheaded actor for a good 16 years now, or whatever it is. I look back at that time, I was just finding my way with this character and figuring out, “How can I make her something different but not too different that I don’t fit in with the world of the show and the landscape of that universe?” And so looking back, you can see how I was tiptoeing around and it took a little moment before they really let me just let what my instincts were telling me to do, fly.

Villarreal: Because you knew she would be coming back in some capacity.

Preston: I didn’t know. I did two episodes at the end of their first season. Did not get a call at all in Season 2. And I thought, “OK, well, I guess I was a little too weird or I wasn’t really what they were thinking.” You kind of start talking to yourself and then you go, “I can’t read their minds. I’m just gonna keep doing what I’m doing.” And that was a really fun time. Then they called in Season 3 and that was when they said, “OK, we’re gonna do a little arc; we want this to flesh this character out.”

Villarreal: She went on to appear in many episodes of “The Good Wife” and also [its spin-off] “The Good Fight.” Then they have the idea during the pandemic of, “We want to do a show centered around Elsbeth.” And I imagine that’s a thrilling call to get, just like that first call that you received. As an actor in this sort of fickle industry, where you’ve put in the time, when you get a call like that from these prolific TV producers that are really respected, and they say, “We see you as being able to lead a network series.” How do you wrap your brain around that?

Preston: It was kind of a slow buildup to that because even when I was doing “The Good Wife, “ at the end of that series they were talking about, “How can we spin off the show?” And some people like yourself and people who are in the industry, fans, et cetera, were saying, “Why don’t you spin it off with Elsbeth Tascioni?” And Robert King reached out and said, “Would you be interested in this?” And so I said, “Of course, I would do anything to be be doing that.” Then I heard they’re doing this spin-off and it’s starring Christine Baranski and Rose Leslie and Cush Jumbo — pretty much everybody but me. And I was like, “OK, well, I guess that’s what they’re gonna do.” But I did reach out again and said, “I’d love to be a part of this.” And they said, “Yes, we’re definitely gonna bring you on and have you continue as a guest.” I went and did other things. I did “Claws.” I had already been working on “True Blood.” So I was doing all these other shows and thinking, “OK, I guess this is their spin-off. I’ll just be a guest again, and that’ll be that.”

And again, people would keep calling and saying, “Hey, what if you did a spin-off of the spin-off?” And still I dared not dream. It really wasn’t until 2020 that it felt like it was more plausible, possible. They were coming to the end of “The Good Fight.” They had this idea. And it seemed like a good one, and it seemed like a good business model, frankly, to have Elsbeth Tascioni, maybe one or two other series regulars, and then bring in all these amazing guests. It still took another three years before we actually did a pilot that, then, got picked up. So it was just these many, many steps before we actually got to this. So each time, I tried not to hold on to that dream too much, but at the same time, treasure every moment, even treasuring just the thought that they pitched me as the center of a show to a network that hired them to write a script. Even that, I was like, “Wow, this is incredible.” When we finished the pilot, I looked at the crew and I said, “We need to really honor this moment because this might be it. This might be the last time [I’m] ever playing this character. And we came together, and we made something really special. Whether or not it’s going to go to series, we all know we did something really wonderful.” And I burst into tears. I was so grateful for that opportunity. So every moment is a moment of gratitude and humility, to be honest.

Villarreal: Was there any part of you that thought, “I don’t know if I can do this”? Or because you were reaching for it for that length of time, when it finally happened, you’re like, “I can do this.”

Preston: There is this sense of wanting to make sure that I am doing everything I can to make this situation collaborative, to lead in a way that is not overbearing, to be a part of an ensemble, not just with the cast but with the crew. All of these things that I’ve been meditating on for decades. And I direct as well, so I know what it’s like to lead, and I’ve learned from watching really great leads, and not-so-great ones that get caught up in certain things, that rob them of an opportunity of creating something in a collective way. So I was excited to take all of these things that I’ve learned along the way and funnel them and channel them into this opportunity. Every day is a blessing, every day is challenge, and every day I feel like I do something that I know I can do better the next day. I try to meditate on that, because I want this opportunity that I’m having to be as special for the 300 people that are around me who are doing this with me. That’s really my goal.

Villarreal: In the series, obviously, we’ve come to know Elsbeth as this Chicago lawyer; here she’s a New York City police consultant. I really want to know what Elsbeth would be like in Los Angeles. What do you think that looks like?

Preston: Elsbeth finds beauty wherever she goes. I think it would be tough for her because she so likes to be right in the middle of all of humanity and [in] L.A., you’re isolated a lot in your cars — having to kind of keep yourself sequestered from other people just because that’s how people get around. I bet she’d be on the subway, she’d be on transit, she’d be on buses, she‘d be out in the malls, she would be out on the beaches, meeting people, talking to people, learning about Venice Beach as compared to Sherman Oaks. She would be all about finding all the different vibes and how she fits in.

Villarreal: You’re known for being a scene-stealer supporting player. This role in particular sort of encapsulates that. Is playing a lead rather than a supporting player a particular kind of challenge? Do you have to learn how to have your character take up space differently?

Preston: I approach it the same way that I approach anything I do as a co-star, a supporting actor, a guest star, whatever. I’m there to serve the script and to work with the people who are around me to elevate a scene and make it work. And to make the the job of everyone around me easy. I really feel like when you come at it with that collaborative spirit, you don’t think about, “Oh, I’m the lead.” You don’t think about where you fall into that hierarchy. You’re just there to make the scene work. And I like that. Because then I don’t feel pressure to be something more than what that is. You’re building a house every day, and you’ve got to start with foundation and then move all the way up. You can’t just come in and the house is already built. That takes more than one person. And I like that, and I feel like Elsbeth is like that too. She’s very much about the other person. For me, if you’re ever stuck in an acting scene and you don’t know what you’re doing, you need to just focus on the other person, and then all of that other stuff starts taking care of itself. What does this person need? What am I giving this person? What am trying to get from this person? Just all the like the basic building blocks of acting and then you can get out of your own head and let the choices happen.

Villarreal: Something that’s so striking about the character is her physicality. She sort of darts into frame, or she’s crouching, even the movement of her hands as she’s reenacting what might have happened. What was that like, finding the movement of Elsbeth?

Preston: It started from the beginning. The scripts, at the beginning, would write in these pauses. They would just say “pause” in the middle of a sentence. And I was like, “Huh, what is that?” That became the most fascinating thing to me. “What’s happening there? What’s happening with this woman when she’s not speaking?” And, so, that’s where the physical stuff started coming. And in “The Good Wife” and “The Good Fight,” there was a little bit of an evolution of that. The tote bags were brought in very early on by Brooke Kennedy, who was the producing director and one of the main directors on “The Good Wife.” She said, “I want her to always have something going on.” And I was like, “Great, I love that.” That’s a gift for an actor. I’m someone who, if you give me a prop, I’m gonna do something with it. I just like that. It’s fun. I’ve trained for the theater. So I love that idea. There’s a term that sometimes we use — I don’t know if it’s OK to say it — but sometimes we call each other “props-titutes.” If you get a prop, you can’t help it; you’re gonna have to do a thing with a thing. And so the bags and all that stuff — I started thinking, “Oh, I guess [with] this woman, her mouth is saying one thing, her mind is thinking another and her body’s doing a third thing.” As soon as I came up with that little weird math equation, things started locking into place.

Robert King directed the pilot. He created the show with Michelle King. Robert loves any kind of physical comedy. Marx Brothers, Three Stooges, Lucille Ball, all of that stuff. He just loves it. He worships that stuff. We were doing a scene and he said, “I don’t want you to just walk up. Let’s have you like lean in like Charlie Chaplin or something.” And I was like, “Great!” So he had me lean into frame and wouldn’t you know, that just became then the signature thing for this new iteration of this character. And it became kind of a metaphor for the whole show. This woman is not ever gonna approach things straight. She’s always gonna approach things at an angle. That’s another fun, creative thing that you can run with. Then the writers and the directors and the other actors, we all just started playing with that. And I have to do these scenes where I sum up the entire crime. Sometimes it’s like a five-page monologue. Well, you don’t have that much time to memorize that stuff because you get the script and I’m learning 50 pages of dialogue every eight or 10 days. So the physicality helps me remember it. And I imagine it helps Elsbeth piece it together.

Villarreal: Are you like at home just [mimics exaggerated movements]?

Preston: Yes, I’m coming up with things.

Villarreal: Is Michael [Emerson, the actor], your husband, like, “What’s going on here?”

Preston: He lets me do my thing. What I’ll say to him is, “I’m gonna go close the door and talk to myself for a while.” And he’ll go, “OK.” I learn my lines by myself. I record my own cue lines. It all has to happen alone. Because I know I have to go back over and over and over again. And when somebody is running lines with me, I’m very concerned about how bored they must be. So I just have to do all that on my own. The funny thing is I learn my lines a lot when I’m on the train. I go back and forth between New York City and the Hudson Valley a lot. It’s like an hour and 20 minutes. So the people on those trains are seeing this crazy lady, because I’ve got my ear things in and I’m looking at my [script].

Villarreal: Do you have your own bags?

Preston: I’ve go my own bags, and I am sure if they don’t recognize me as Elsbeth, they just think I’m another insane person who lives in New York City and no one cares. The kooky redheaded lady on the train.

Villarreal: Let’s talk about that other element that’s so crucial to Elsbeth, which is the hair and the wardrobe. You talked earlier about how you dyed your hair for another role, and you didn’t know you’d be locked in for this long with it, but it’s such a feature of her. Obviously we’ve seen her wear wigs in the show.

Preston: Which was fun, to go back to my original blond look.

Villarreal: And you mentioned Lucy earlier, Elsbeth in the tutu this season was so, so good —

Preston: One of the best compliments that Jon Tolins, our showrunner, ever gave me was when he saw the dailies from that day of the tutu and dancing with the little 6-year-olds. Oh, my God, I was in heaven. He just wrote, “Lucy level.” And I was like [playfully belts a note], “This is a dream.” Because I decided this woman would really want to be trying to do her absolute best. She would really be wanting to try to dance the best way that she knew how, but her body doesn’t know how to do that. But her mind wants to. Plus, I like to entertain the crew. They often don’t laugh because the crew has seen everything and they’ve seen me do a million things. But if I can get them to laugh, that’s a win.

Villarreal: Her style is so intriguing — sometimes I’m like, this is what “And Just Like That” should have had, some of these wardrobe pieces.

Preston: Well, that’s Dan Lawson, our costume designer.

Villarreal: What does that do for you? And please tell me there is a bag closet. I’m obsessed with the bags.

Preston: Oh yes. If you were to walk into the costume shop and see my section, it’s like a circus had a party under a rainbow. There’s four or five racks of clothes, and they go on what seems like a mile. And then there’s [a] whole wall of the totes. And Dan finds special totes that he’ll shop for, but then he also has some of the totes made because he wants them — we decided early on it would be totes, of course, but like after the opera episode, she would then have an opera tote. We had to make very specific totes that would do callbacks to previous cases and things like that. Dan thinks about everything.

Villarreal: Do they put things in the totes?

Preston: They do, but early on there were a lot of things in the totes, and I was starting to have to go to physical therapy because people don’t understand when you’re working on a scene, it takes six hours to shoot a scene, and if I’m coming running in with totes on my shoulders a hundred times it’s gonna take a toll on my body.

Villarreal: But you also need things in them so they don’t fall down easily.

Preston: Carol [McLennan], who’s my on-set costumer, she’s constantly putting top sticks so that they’ll stay. She’s finding creative ways to safety-pin them on. The continuity of the bags, you have to make sure that they’re exactly the way they were for every take. It’s like I have a child — three children, my totes.

Villarreal: Such a feature of the show is obviously the sort of revolving door of guest stars. This season you’ve had Stephen Colbert, Griffin Dunne, Beanie Feldstein and Patti LuPone, who was in the finale. Are you ever just lost in the fact that you’re acting opposite these people? Is there a moment that stands out from that?

Preston: Dianne Wiest. I’m a huge, lifelong fan of Dianne Wiest, like top five. And when I found out she was gonna be in the episode where she plays a nun, a murderous nun, I just thought, “I’m not gonna be able to contain myself.” I usually reach out to everybody before to send them an email or a text or something and just tell them how thrilled I am that they’ve said yes. So I wrote her a thank-you for saying yes/stalker-level fan email. And she wrote back. And she’s like, “Oh, Carrie, I’m so happy to hear that.” It was just like, “Oh, my God, I could just hear her voice.” When she showed up — I mean, she’s Dianne Wiest. And she is wearing a nun’s habit, and I couldn’t stop staring at her face. She would catch me staring at her and then she would just smile, with that sweet gorgeous face of hers and I would say, “I’m sorry, I’m sorry. I know that it’s probably making you uncomfortable. I just am absolutely honored. I do not even understand how I got to be so lucky to have someone like you doing this.” And you could say that for every single person on the show. I fangirl on them in the way that the character fangirls on Diane Lockhart. You know what I mean? The same little spirit lives inside me that is Elsbeth. I have wonder and appreciation. And it’s become more infectious. She has become more infectious the more I play her.

Villarreal: There was the moment where, in the Griffin Dunne episode, where he’s threatening towards her. I’m trying to remember if there’s been a moment like that where I felt threatened for your character. What was that like filming with him?

Preston: It was wonderful. Robin Givens, who was our director, [and] who, as we know, is an actor as well, she was really directing us to reach a pretty scary place. I like it when our show gets scary like that because we have to remember that she’s hanging out one-on-one with murderers. She’s going into their space. And as unthreatening as she is, that in and of itself is threatening. And we need to remind the audience of that from time to time. She pushes buttons because she’s trying to get them to admit something, or she’s pinning the fly to the bulletin board and watching it squirm. And this one, I realized as I was playing it, I was like, “I’ve got to play up the flirtatious side because that’s what he gets really guarded about, the fact that he’s a womanizer. So if I play that up, it’s gonna infuriate him.” And so he backs me up, and then we realize there’s no way out. It’s great, but it’s scary. But she knows that he’s not gonna do anything to her because he still thinks he’s gonna get away with murder. But we added this one [look], and I wanted to make sure [it was kept]. I said, “Please, Robin, please don’t let them cut this.” I look back at him at the very end going, “Gotcha. I got you just where I wanted you. You fell into my trap.” And they kept that in the cut. I was very happy about that because we build these things together, and sometimes they just have to cut them for time. But they didn’t.

Villarreal: Because you’re also thinking with your director’s hat. And I know it must be hard to even think about whether you can direct an episode of “Elsbeth.” But is that something on your bucket list? Or would it just be too difficult to manage?

Preston: I love this job so much. This is the dream job, and I want to make sure that I am doing everything I can to do that in the best way that I can, every day. And I do feel like having directed myself before in the past, in things where I was just a part of the ensemble, the way I choose to direct, I found that I was shortchanging the acting a little bit. I don’t want to do that on this show. I do think it would cost the crew to have me do both things, and I care about them so much. I don’t have to prove that I can do both. The one thing I could do is direct the first episode of the season because I would be able to prep. Otherwise I wouldn’t be able to prepare. I feel like I trust our directors. I love our writers. I love our crew and I love how things are going.

Villarreal: We know Elsbeth as this person with a keen ability to read people, who can sniff out liars, murderers. What was so interesting this season was to see her vulnerable side in her personal life. And see that she has her blind spots too. Were you excited when you saw that they were going to explore this side of her? And what was that like to play?

Preston: I think it’s always a good thing to deepen the character as you go along because, you know, we’re a police procedural; we have to figure out how to put a crime each episode, just structurally. But we want texture to the character, and having that vulnerable side really gave us that. As an actor, if you can find the drama in the comedy, it makes the comedy stronger, and vice versa. It was a wonderful way to stretch myself as an actor. It’s important to always show the heart of a character that you’re playing. The more specific you are, the more universal it is. And I think people can relate to her in that way. Everybody has felt heartbreak or confusion or duped or confused or distrustful of their own intuition and all of that stuff. And so the complexity of that was, of course, great to play.

Villarreal: Are you, Carrie, as perceptive as Elsbeth?

Preston: I do have a little bit of an empath in me. I do feel like I can read a room really quickly and I can kind of tell what people are thinking or what people are feeling. A vibe. I don’t know what it is, but it’s an empathic kind of nature. I have way more boundaries than I think Elsbeth does, but I’m not nearly as brilliant as that woman. I don’t know how many people in the world are. That’s what makes her so special. But I key into that side of her and I can relate to it.

Villarreal: Final question for you. The show will return for a fourth season. What do you want to see from Elsbeth? Who’s your dream guest star? It must shift because you guys are getting everybody.

Preston: We’re getting wonderful people who are interested in the show and I’m so proud of that and I know Jon is too. Jon Tolins is our showrunner. We’ve really, both of us, made it our personal missions to create an environment — and he creates scripts — that people want to come and participate in, and a welcoming place where somebody gets to play a delicious character for eight or nine days and then go on with their busy careers. I never would have dreamed that, for example, Steve Buscemi would have wanted to be on a show like “Elsbeth,” but he did and he asked to be on it. That blew our minds and it still is blowing our minds. So I could not even dream of most of the people that have come on. That said, you know, I’ve said this before, I’m a huge Meryl Streep fan. I would love for her to come on. We think often about, maybe we should see a parent of Elsbeth, a mother maybe. So we play around with different ideas for that, and that would be nice to see because we’ve seen Elsbeth as a mother, but we haven’t seen her as a daughter. We’ve seen her as a friend but we haven’t seen deep into her her origin story. So I think that could be a fun thing to tap in Season 4. But I trust Jon and the writers.

Villarreal: I want Diane Lockhart to stop by.

Preston: I know, wouldn’t that be great? Or Alicia. But I don’t know. We got Sarah Steele who played Marissa [in “The Good Wife” and “The Good Fight.”] That was amazing. But like Michelle King was saying in an interview [for an L.A. Times’ Screen Gab event] yesterday, this show has kind of found its own place separate from that universe. It’s nice if we have people from that universe pop in, but it’s not required. And a lot of our fans never even watched those shows. So that speaks to what Jon and the writers are doing and what we’re, as a collective, bringing to the audience.

Villarreal: Thank you so much for being here. I, for one, can’t wait to see what the bag selection is like in Season 4.

Preston: Me too.

JOHANNESBURG — The government in South Africa and Afrikaner advocacy groups on Wednesday rejected the position of the Trump administration that there’s a humanitarian emergency affecting white people in South Africa.

The argument served as the rationale for raising the U.S. refugee cap, but only for white Afrikaners. The Trump administration said Tuesday that it will admit an additional 10,000 white South Africans into the U.S. as refugees this year, increasing its annual cap, but blocking people from other countries from entering through the program.

President Trump’s announcement on the Federal Register that he was increasing the refugee cap because of “an unforeseen emergency refugee situation.” He blamed the South African government for “recent increases in the incitement of racially motivated violence,” but Trump gave no specific information.

The South African government’s international relations department said Wednesday that accusations of systemic persecution of white Afrikaners are unfounded, pointing out that some beneficiaries of an immigration program have chosen to return to South Africa.

“This reality is further corroborated by the actions of individuals who, despite having availed themselves of this preferential immigration program, have since resolved to return home,” spokesman Chrispin Phiri said.

Afrikaner trade union, Solidariteit, argued that refugee status isn’t a viable solution for Afrikaners, who should thrive in South Africa instead. Spokesman Jaco Kleynhans said that the organization hadn’t discussed any “unforeseen emergency refugee situation” with the Trump administration, but respects the autonomy of U.S. refugee policy toward Afrikaners.

The union “is in no way aware of anything that the Trump administration could be referring to,” Kleynhans said.

AfriForum, a lobbying organization for the country’s white Afrikaner minority with more than 300,000 members, said it “does not have information” regarding the specific assertion that there’s an emergency refugee situation.

The organization’s CEO, Kallie Kriel, said the group’s focus is “fighting to create the circumstances in South Africa where there is no need for Afrikaners to leave.”

Trump suspended the U.S. refugee program on his first day in office and, since then, has turned it into a vehicle to allow Afrikaners — a group of white South Africans descended mainly from Dutch settlers — into the United States. Advocates say the decision to focus a decades-old program on one group has left people around the world fleeing war and strife stranded and with few options.

Refugee groups have questioned why white South Africans are being prioritized ahead of people from countries facing war and natural disasters. Vetting for refugee status in the U.S. often takes years.

The Trump administration’s preference for white Afrikaner refugee admissions, according to Dr. Bryony Fox, a social justice researcher at Stellenbosch University, raises questions about selective humanitarianism, inconsistent refugee protection and favoring privileged groups, while ignoring other refugee populations experiencing severe hardships.

“This risks politicizing refugee protection in a way that may ultimately weaken the legitimacy and universality of the refugee regime itself,” she said.

Gumede writes for the Associated Press.

Spotify Technology SA announced several new initiatives — from concert ticket perks to a major AI-generated music licensing deal — that the Swedish audio streaming company said will help fuel growth over the next four years.

At the first investor day led by new co-chief executives Gustav Söderström and Alex Norström, Spotify outlined a vision revolving around features that will allow people to personalize their listening experience, whether with music, podcasts, audiobooks or working out. Investors liked what they heard, pushing Spotify shares up as much as 18% over the course of the presentation.

Spotify addressed one of Wall Street’s biggest concerns about artificial intelligence by announcing a major new licensing deal with Universal Music Group NV. The agreement will let Spotify launch a tool to let fans create covers and remixes of their favorite songs from artists and songwriters who opt in. Powered by generative AI, the tool will be available as a paid add-on for Spotify Premium users. It will open up additional revenue streams for Spotify and create a new source of income for artists and songwriters on top of what they already earn on the platform, according to the companies.

Spotify has been working with the music industry on ways to harness the power and consumer interest in AI without violating artists’ rights. Last October, the company announced an agreement with the biggest record labels to use AI in a “responsible way,” but didn’t specify at the time what those tools would look like.

“This era of generation doesn’t need to threaten the future of music,” said Charlie Hellman, Spotify’s head of music. “Because we built the system legal, trusted and aligned, we can make sure that the value flows back to the people who created it.”

In another big announcement, the company laid out plans to work with Live Nation Entertainment Inc. to offer Spotify subscribers the option to purchase two tickets to their favorite star’s concert before they go on sale to the general public. The move could help resolve some of the issues fans have had in beating ticket resellers to face-value tickets, while encouraging customers to stay on as subscribers even as Spotify raises monthly fees.

Fans have long complained about the ticketing process for live performances, which often pit people against bots and scalpers, leading to high prices and sold-out shows.

“It’s frustrating for fans,” said Rene Volker, head of live events. “It’s frustrating for artists too, who look out at a crowd and wonder, are the fans who built my career actually here?” The new “Reserved” perk is designed to relieve some of that tension. “No racing bots, no chasing around online for presale codes. Just two tickets held for you,” she said.

The presentations Thursday were designed to comfort investors and prove that Spotify can still innovate. Wall Street has been skeptical that the company can rein in costs while staying ahead of competitors, particularly as it relates to AI. Those concerns have weighed on shares this year, sending them down 25% through Wednesday’s close. While the company makes most of its money through subscriptions, the executives sought to reinforce the idea that they have other levers to pull in order to generate sales beyond monthly fees and that people are willing to spend more for certain features.

The company outlined its growth targets through 2030, including a compound annual growth rate in the mid teens, a gross margin of 35% to 40% and an operating margin above 20%. Spotify remains committed to its long-term goal of 1 billion subscribers, $100 billion in revenue and over 40% in gross margin, the executives said.

Spotify sees its podcast and audiobook features as complementary to music and said the combination of the multiple verticals has helped broaden its community and convert users from free listeners to paid subscribers. Today, more than 500 million people have streamed a video podcast on Spotify, up nearly 50% from a year ago. And in just a few years, Spotify has captured about 20% of the audiobooks market in the US, executives said. People who use all three verticals — music, podcasts and audiobooks — are engaging with Spotify almost every day of the month, according to the company.

Giving people the tools to personalize their listening experience helps keep them in Spotify’s universe — creating what executives described as the “all day user.”

Personal Podcasts, for example, lets people write a prompt in the Spotify app and AI will create a unique podcast in response.

“We see this much more as a daily brief and a recommendation engine than something that would replace you listening to one of your favorite podcasts,” Söderström said in an interview. He noted that 60% of users in mature markets for Spotify don’t yet listen to podcasts, so features like Personal Podcasts could get them to dive into the medium.

The company said its podcast business has been profitable for two years.

Spotify’s Audiobook+ tier gives listeners more than their allotted 15 hours of audiobook listening per month for an additional fee. It has 1 million subscribers and is on track to generate $100 million in annualized revenue, the company said. To capitalize on the demand, Spotify will start selling even more audiobook hours to super users. Additionally, it will allow podcasters to offer memberships, so subscribers can access special episodes and other content. Spotify will take an undisclosed slice of revenue from the memberships.

Carman writes for Bloomberg.

The minibus, carrying nine people, drove through closed crossing barriers during the morning rush hour near the town of Buggenhout.

At least four people have been killed, including two children, after a train travelling at high speed hit a minibus carrying special needs children crossing a railway in Belgium.

According to Belgian authorities on Tuesday, the minibus, carrying nine people, drove through the closed crossing barriers during the morning rush hour near the town of Buggenhout, about 30 kilometres (20 miles) northwest of the capital, Brussels.

Moreover, a spokesperson for the Belgian rail operator Infra-Bel told the RTBF public broadcaster that the train was travelling at an estimated 120 kph (75 mph) as it approached the crossing and had “no time to brake”.

“The impact was extremely violent,” Frederic Sacre said.

Spokesperson for the East Flanders public prosecutor’s office, Lisa De Wilde, said the bus driver, 49, and an escort, 27, were killed along with two children aged 12 and 15.

Five children were injured and were hospitalised in a serious condition, she said, adding that the cause of the crash had not yet been established.

“What we do know is that the barrier was closed and the red light was on,” she said.

Federal Police spokesperson An Berger also said that the minibus driver appeared to have ploughed through the barrier.

“The van came from Kerkhofstraat, a road running parallel to the railway line, and turned left toward Vierhuizen, crossing the railway at a point that was closed at the time. The van was hit by an oncoming train,” Berger said.

Prime Minister Bart De Wever said on X that he was “deeply moved by the horrific accident in Buggenhout”.

“My thoughts go out to the affected families,” De Wever added.

European Commission President Ursula von der Leyen also said she was “heartbroken” about the “tragic accident”.

“My deepest condolences go out to the victims’ families and their loved ones,” von der Leyen wrote on X.

It is believed that about 100 passengers were aboard the train and that none were hurt. Rail traffic in the area was also stopped.

Several injured people have been transported to hospitals to be treated for chemical burns.

A chemical tank has imploded at a Nippon Dynawave Packaging facility in the US state of Washington, killing several people and critically injuring others, authorities said.

Emergency responders on Tuesday remained at the site in the city of Longview in Cowlitz County, about 70km (45 miles) north of Portland, Oregon, the Longview Fire Department said in a joint written statement with Nippon and the Cowlitz County Sheriff’s Department.

Multiple patients who suffered from chemical burns and other injuries were transported to nearby hospitals. Authorities said the implosion posed “no immediate threat to the surrounding community”.

The statement said that officials “can confirm fatalities related to the incident” along with “multiple critical injuries”, but did not provide figures.

At least nine workers and one firefighter were taken to hospitals from the site, said Scott Goldstein, the Cowlitz 2 Fire and Rescue chief who was among those who responded. The number of deaths was “undetermined”, he said at a news conference.

PeaceHealth St John Medical Center in Longview told ABC News it had seen nine patients related to the incident, including one who had died. Six of the patients were in fair condition, and two other patients had been transferred to other facilities, the hospital told ABC.

The joint statement said that a tank containing “white liquor”, a chemical solution of sodium hydroxide and sodium sulfide used in the production of paper pulp, had ruptured at about 7:15am local time (14:15 GMT).

Goldstein said at the news conference that the 80,000-gallon (about 300,000-litre) tank was approximately 60 percent full.

In southern California, meanwhile, authorities have been monitoring an overheating industrial tank containing methyl methacrylate, a highly flammable chemical used in the production of plastics. The worst-case possibility of an explosion was ruled out on Monday at the GKN Aerospace facility in Garden Grove after a crack relieved some of the mounting pressure, officials said.

Orange County Fire Authority spokesman Greg Barta said in an update on Tuesday morning that the temperature in the tank was holding steady and that crews were working to ensure that people evacuated could get home as soon as possible.

May 26 (UPI) — An implosion at a manufacturing facility in Washington killed multiple people and injured 10 others, including a firefighter, local authorities said Tuesday.

The implosion at the Nippon Dynawave Packaging facility in Longview, Wash., happened around 7:20 a.m. The facility is a pulp and paper mill, and the implosion involved a vat of a chemical used in paper treatment called white liquor.

White liquor is made of sodium hydroxide, sodium sulfide and disodium carbonate, Cowlitz County fire chief Scott Goldstein told NBC News.

The Longview Fire Department said there was no immediate threat to the public, but the implosion killed multiple people and caused chemical burns and other injuries to others. Officials transported multiple people — including one firefighter — to hospitals in Longview and Vancouver.

Officials haven’t specified how many were among the dead. The Seattle Times reported that emergency responders were also searching for potentially missing people.

Goldstein said some of the injuries were minor while others were more critical.

Washington State Department of Ecology spokeswoman Anna Izenman told The Times that spill responders were on site evaluating any potential environmental impacts from the incident. She said white liquor can’t be collected and cleaned up in the same manner as oil; it can only “self-neutralize” with water over time.

WASHINGTON — The Supreme Court on Tuesday rejected Florida’s long-shot attempt to sue California and Washington state over the issuance of commercial driver licenses to truckers who don’t speak English and are not authorized to be in the United States.

The case stems from a crash in Florida last year that killed three people. The driver, Harjinder Singh, is accused of making an illegal U-turn that caused the accident. Singh, who is from India, was carrying a valid commercial driver’s license from California and had earlier been granted one by Washington state.

Republican-led Florida has accused the Western states, led by Democrats, of openly defying immigration laws and asked the justices to rule that states lack the authority to issue CDLs to people who are not citizens or legal permanent residents.

The Supreme Court typically hears appeals of lower-court decisions, but it sometimes takes on what are known as original lawsuits in which states sue each other in the nation’s highest court.

Justices Clarence Thomas and Samuel A. Alito Jr. dissented from Tuesday’s order, as they often do when the court rejects an original lawsuit, saying that the court has no choice but to hear such cases.

Separately, a federal appeals court has blocked a Trump administration proposal to impose new restrictions that would severely limit which immigrants can get commercial driver’s licenses to drive a semitrailer truck or bus.

NEW ORLEANS — At least four states have adopted laws this year making it a crime to disrupt worship services, a reaction to a high-profile protest inside a Minnesota church that prompted outrage from faith leaders.

The Republican lawmakers sponsoring most of the legislation say those gathering at sacred sanctuaries deserve protection beyond what existing trespassing laws provide. They also say these new laws will prevent escalating clashes between congregants and protestors as many churches, mosques and synagogues remain on edge over recent mass shootings and acts of violence targeting religious groups.

“People should go to church to be able to sit in peace, worship as they please, without having to worry about people coming in and harassing them,” said Idaho Sen. Mark Harris, a Republican who co-sponsored legislation criminalizing protests inside places of worship. “I think the thing that happened in Minnesota was kind of a shock to some of us, that churches would be used as a place to berate people.”

Critics in both parties have warned that the laws infringe on free speech rights.

Here’s a look at the situation.

The laws make it a crime to interfere with worship

Bills have been signed into law in Republican-dominated Idaho, Louisiana and Oklahoma. In Kansas, a bill is becoming law without the signature of Democratic Gov. Laura Kelly.

Similar bills have been introduced for this year’s legislative sessions in at least seven other states and in Congress. Nassau County, New York, passed a similar measure this year. In 1994, President Bill Clinton signed a law making it a federal crime to intentionally injure or interfere with or intimidate someone entering a place of worship or a reproductive health facility.

The details in the bills differ, but they all make it a crime to interfere with religious assemblies.

Laws against trespassing already apply to disruptions on the grounds of churches or other private property. But legislators say the new laws would boost penalties and bar other protest activity like holding signs near places of worship.

The penalties could be harsher than for trespassing. In some states, people could face up to a year in prison and fines as high as $10,000 for first offenses. The laws also give the states a way to prosecute cases if local authorities decline to do so.

A protest in Minnesota touched off the call for action

Thirty-nine people, including two journalists, were charged in February for roles in a protest during a St. Paul, Minnesota, church service. The protesters had learned that one of the church pastors was also an official at U.S. Immigration and Customs Enforcement who had been overseeing an intensive Minnesota operation.

The U.S. Department of Justice charged the protesters with conspiracy against religious freedom and interfering with the right of religious freedom. The protesters and journalists have pleaded not guilty and the cases are pending in federal court.

Louisiana Rep. Gabe Firment, a Republican, said he was inspired to introduce legislation that allows protestors to be forcibly removed from churches and other places of worship after seeing videos showing the fearful expressions of children at the Minnesota church.

“The first thought that came to my mind was those poor kids,” Firment said. “You certainly have a right to protest, but just like you don’t have the right to come into someone’s home and act like that, you don’t have the right to come into private church property to do that.”

Oklahoma Sen. Todd Gollihare, a Republican, wrote his bill after anti-abortion protestors disrupted his church service last year. His law bars blocking highways within one mile of a service or approaching someone to hand them a flyer within 100 feet of a place of worship.

His Republican colleague, Sen. Kendal Sacchieri, described the law as extreme and said she was afraid of the precedent it would set.

Court challenges could await the laws

The Nassau County ordinance is already facing a court challenge from the New York Civil Liberties Union, which says there’s no history of residents facing intimidation, harassment or violence outside places of worship — and that the statute denies people their constitutionally protected rights of expression in public places.

Kevin Goldberg, vice president at Freedom Forum, which advocates for First Amendment rights, said that if the laws are challenged in courts, governments would have to show there’s a need for them. “You can’t be guessing, you can’t be speculating,” he said. “There has to be some evidence that there’s an actual threat going on — that there’s been a problem there, that you can reasonably forecast there will be a problem.”

In Louisiana, Democrats raised concerns about mandatory jail time for disrupting services and warned that the laws were too arbitrary, suggesting that they could be applied against a congregant for singing out of turn as a pastor delivers a homily.

“If the spirit just hits me and I start singing during the middle of his homily, and it disrupts his homily in a way where he’s got to say ‘Hey, take a seat’, I mean that would materially disrupt his service and now I’m going to jail for 30 days,” Rep. Edmond Jordan said during a March hearing in the Louisiana Legislature.

The law’s proponents said police officers and judges would have discretion about how to apply the law.

Brook and Mulvihill write for the Associated Press. Mulvihill reported from Haddonfield, N.J.

WASHINGTON — Last June 16, armed immigration agents broke the locks to forcibly enter an Oxnard auto body shop. Juan Carlos Ramirez, a U.S. citizen, filmed as they arrested his father.

Then the agents pepper-sprayed Ramirez, slammed him onto the hoods of two vehicles, punched his face and kneed him in the side, according to a legal claim he later filed against the federal government.

Local attorney Vanessa Valdez denounced Ramirez’s arrest at an Oxnard City Council meeting the next day. The following month, Valdez found herself in a similar situation when agents raided the cannabis company Glass House Farms.

Despite identifying herself as a legal observer, she said, agents — or possibly National Guard — deployed tear gas and shot her six times with rubber bullets. She ran and then, unable to see, crawled on all fours to escape.

Vanessa Valdez, a Ventura-based attorney, has filed a claim against the federal government, alleging she was hit with tear gas and six rubber bullets during the Glass House Farms raid last July.

(Christina House / Los Angeles Times)

“They were just shooting aimlessly, it seemed like,” she said. “I thought maybe they had fractured a rib because that’s how painful it was. I couldn’t sleep face down for three weeks.”

Ramirez and Valdez are among the dozens of U.S. citizens and immigrants who are seeking financial compensation for damages they say they suffered during President Trump’s immigration dragnet. For Valdez, that includes the cost of hospital visits, lost wages as she recovered, anxiety medication and seeing a therapist.

After reviewing public accounts and legal documents and interviews with more than a dozen lawyers and immigrants, The Times found that claimants from across the country are seeking at least $260 million.

In a statement, Homeland Security spokesperson Lauren Bis wrote that ICE officers are held to the highest professional standard and receive regular training. Bis said that when agents are faced with danger, they use their training to protect themselves and the public.

“The pattern is NOT of law enforcement using force. It’s a pattern of violent agitators attacking our law enforcement,” she wrote.

Asked about Valdez, Bis said law enforcement deployed chemical irritants including pepper balls, but not rubber bullets, after agitators attempted to breach the perimeter at Glass House Farms. She said Ramirez refused officer’s commands and physically attacked them, so they pepper-sprayed him in self-defense.

Lawyers who are experts in tort claims said the bureaucratic process is lengthy and complex, and any damage award would likely be lower than what a claimant is seeking.

Still, seeking redress through the Federal Tort Claims Act is one of the few legal remedies available for those seeking financial compensation for deaths, physical injuries, emotional trauma, unlawful detention or property damage caused by federal employees.

The number of claims is expected to rise.

Federal agents, some wearing street clothes and some wearing uniforms and protective gear, form a defensive line against hundreds of protesters outside the Metropolitan Detention Center in Los Angeles on Jan. 30.

(Allen J. Schaben / Los Angeles Times)

In recent months, advocacy organizations have prepared practice advisories for attorneys interested in filing tort claims, and law groups across the country have begun holding training sessions on the process.

“There is no question in my mind that a lot of people — hundreds, thousands — have been harmed significantly and will be legally entitled to large damages payouts, which are going to come from the federal government,” said Jonathan Feinberg, a Philadelphia-based attorney.

Feinberg, who specializes in cases involving excessive use of force by police and abuses of detained immigrants, is president of the board of directors for the National Police Accountability Project, which focuses on law enforcement misconduct.

“We’re going to be talking about Minneapolis in 2030,” he added.

Before they can sue in federal court, individuals must first request a review by the agency that they say is responsible, such as Immigration and Customs Enforcement or Customs and Border Protection. The agency has six months to respond and deny the claim or offer a settlement.

If the agency doesn’t respond or denies a claim, the claimant can then file suit.

Unlike civil rights lawsuits, in which juries decide the verdict, in tort cases, judges make that call. Only the agencies are named as defendants, not individuals.

The Times reviewed the claims of nearly 80 people filed since the start of 2025. The vast majority remain in the review stage. Lawyers anticipate most will not be settled, unleashing a flood of lawsuits starting this summer.

Federal law since 1871 has established that people can sue state and local officials for violating their constitutional rights. But the law left out federal actors.

One hundred years later, the Supreme Court allowed for damages lawsuits against federal officials who violate a person’s civil rights, though decisions in recent years have substantially narrowed that ability.

Democrats in California are pursuing legislation that would make it easier for residents to seek financial damages for constitutional violations committed by federal agents. Similar laws were already enacted in Maryland, Illinois and Connecticut, though the Trump administration has sued to block the latter two.

But there is a different route — tort claims.

Tort cases can be difficult to win, in part because the government can claim a “discretionary function exception,” which shields the agency from liability when the situation involves a policy-driven judgment call.

“So that’s what a lot of plaintiff’s lawyers are really anxious about, that the Trump administration is going to say, ‘Well, we’ve got our own immigration policies. Of course a lot of people disagree with them, but the statute is designed to give us the right to make those policy judgments,’” said Benjamin Zipursky, a Fordham University law professor who studies torts.

“Now, if I were the plaintiff’s lawyer, I would say, ‘Yeah, but shooting somebody in cold blood because you’re just mad about their political views, and they’re not really threatening your life at all — that’s not a policy judgment,’” he said.

The law office of John Burris, an Oakland-based attorney who represented Rodney King after he was severely beaten by Los Angeles police officers in 1991, has taken on damages clients in Minnesota. He said he anticipates filing around 80 tort claims stemming from the immigration enforcement actions there.

A memorial for Renee Good at the location where she was fatally shot in Minneapolis.

(Eric Thayer / Los Angeles Times)

Burris said the experience has given him flashbacks to the period before King’s beating and the subsequent protests over police brutality, when officers felt they could act with impunity.

“There’s 1779798656 a more fundamental understanding that bad stuff does happen,” he said. “Everyday people are not as willing as they once were to just accept a police officer’s perspective.”

Public disapproval over immigration enforcement rose after federal immigration agents in Minneapolis shot and killed two 37-year-old U.S. citizens, Renee Good, a mother of three, and Alex Pretti, an ICU nurse, in separate incidents.

Other deaths took place before the Minnesota operation: 23-year-old Ruben Ray Martinez, who was killed by an ICE agent in Texas who fired repeatedly through the open window of his car; Keith Porter, 43, who was killed in Los Angeles by an off-duty ICE agent after shooting his gun into the air on New Year’s Eve; and Jaime Alanis Garcia, 57, who fell 30 feet from atop a greenhouse while fleeing agents at the Glass House Farms site in Camarillo.

Lawyers for the families of Good, Martinez and Garcia confirmed they are pursuing tort claims. Lawyers for the other families did not respond to requests for comment.

Additional highly publicized cases have also resulted in tort claims: Marimar Martinez, who was shot five times by a Border Patrol agent in Chicago; Mahmoud Khalil, the Columbia University student and Palestinian rights activist who spent 104 days detained after the administration labeled him a national security threat; Aliya Rahman, a disabled woman on her way to a doctor’s appointment in Minneapolis who blacked out at a detention facility after ICE agents detained her.

New claims appear to be filed weekly. Seventeen men, women and children who were detained in a military-style raid at a Chicago apartment complex filed claims this month seeking about $5 million each.

In many of the cases, Bis said, the claimants impeded or assaulted agents. Pretti’s death remains under investigation, she said.

Willy Wender Aceituno stands in the parking lot where he was arrested last November by ICE agents in Charlotte, N.C.

(Jesse Barber / For The Times)

Willy Wender Aceituno was already a plaintiff in a class-action lawsuit filed by the ACLU of North Carolina challenging the policy allowing warrantless immigration arrests after he was stopped twice in a span of minutes by immigration agents last November. In March, he also submitted a tort claim.

Aceituno is a Honduran-born U.S. citizen who voted for Trump. On the day he was arrested, a group of masked agents checked his identification and left. Aceituno then filmed as a second group surrounded his red truck.

“If you break it, you will pay for it,” he tells them in Spanish seconds before one agent smashes the window with a baton. “Why did you do that, sir?”

Aceituno suffered cuts when agents threw him to the ground, which was covered in shattered glass. They placed him in an SUV with other detainees and drove him around Charlotte, N.C., before releasing him, still bleeding, more than 2 miles from his vehicle.

The moment brought back Aceituno’s childhood memory of watching his father be arrested by the Honduran military and disappeared.

“I remember they broke down the door, entered, put him in handcuffs and threw him to the ground,” he said. “I thought, ‘It’s happening again.’ To see the other Hispanics in the car made it feel like this is racial persecution. This is about skin, not criminality.”

Bis, the Homeland Security spokesperson, said Aceituno acted erratically, escalated the situation and refused to comply with officers’ commands.

Lawyers said many people, especially immigrants, who have viable claims have chosen not to pursue them out of fear of being targeted for deportation. Some were deported before they could sue.

“Even now, our clients wake up some days thinking, ‘What am I doing suing the federal government?’” said Iván Espinoza-Madrigal, executive director of the Massachusetts-based Lawyers for Civil Rights. “You have to have a lot of courage to be able to stand up against an administration that has put a bull’s-eye on you and that has targeted you based on your identity.”

Others have turned to mutual aid or online fundraisers to pay for medical bills or to repair property damage. On the website GoFundMe, donation campaigns describe shattered car windows, broken limbs, head trauma and mounting bills.

Some damage can’t be fully recompensated, Espinoza-Madrigal added.

Members of the Haitian community hold signs in support for the extension of Temporary Protected Status during a rally last month in Miami.

(Carl Juste / Miami Herald / Getty Images)

One of the organization’s clients is Jose Pineda, a Salvadoran man with Temporary Protected Status. A year ago, Pineda was stopped by ICE officers on his way to work in East Boston as a landscaper. They wouldn’t accept his Social Security and work authorization cards as proof enough that he was not deportable, and detained him without explanation, according to his tort claim.

So Pineda spent nearly two days in a holding cell at the ICE Boston Field Office with around 50 other people. He couldn’t sit or sleep and received minimal water and food.

Bis said agents “briefly questioned” Pineda because he matched the description of the subject of an operation, and that he was released after being identified.

When he was released, the claim alleges, his documents were returned but $600 in cash that he was saving to pay rent was not. The incident left him with frequent headaches, anxiety and memory loss, and exacerbated his gastritis. His absence from work resulted in a demotion from lead foreman to an assistant role.

“Whenever I drive, if someone stays behind me for three, four or five minutes, I start to imagine that it’s them again,” he said in an interview.

Pineda’s arrest also caused recurring nightmares that leave him shouting and thrashing around in bed. Out of fear that he could inadvertently harm his wife, they now sleep in separate beds.

May 26 (UPI) — Authorities in Laos were in a race against time and the weather Tuesday as day 7 of an operation to rescue seven people trapped in a flooded cave in a mineral-rich region north of the capital, Vientiane, came to a close.

The group, all locals, became trapped by landslides triggered by heavy rains on Wednesday after entering the remote cave, which is accessible only on foot, in the central province of Xaysomboun on a hunting and gold prospecting mission.

The landslides blocked the cave entrance and caused it to flood with muddy water.

The group have not been heard from since, but one person who managed to reach safety reported at least one area of the cave was not underwater and specialist cave rescue divers from neighboring Thailand who had joined the operation said they had found pockets of air.

“I’m confident that they are still alive because there is still air in the cave,” said Metta Tham Rescue head of operations Kengkard Bongkawong.

He said that with water levels still rising after torrential rain forced rescuers to retreat Sunday night, they were pumping water out 24 hours a day and placing fixed ropes inside for rescuers to follow.

“The route is not complicated but the problem is the space. It’s so narrow that we have to crawl and tilt to pass through; also the rocks are really sharp,” said Kengkard.

Kengkard took part in the dive operation in 2018 to rescue 12 members of a youth football team and their coach after they had been trapped for more than two weeks in a flooded cave in Thailand’s Chiang Rai province.

The Metta Tham Rescue team was joined at the site Monday by Finnish diver Mikko Paasi, and Thai cave diver Norrased Palasing, also both veterans of the Tham Luang cave rescue in 2018.

The rescue turned into a huge international operation involving 10,000 specialists, from cave rescue and medical experts to Elon Musk, who had his engineers develop a mini rescue. submersible.

The mini sub was never used but two divers, both former Thai Navy SEALS, were killed in the operation.

When actors from TV’s top comedy series recently gathered for The Envelope’s Emmy Comedy Roundtable, any lessons they’d learned over the years about how not to break quickly went out the window — this year’s guests made each other laugh early and often.

Contributing to the hilarity were Danielle Deadwyler, whose English professor in HBO’s “Rooster” has her life disrupted by a bestselling writer; Donald Faison, who reprises the role of Christopher Turk, now chief of surgery, in the revival of ABC’s medical sitcom “Scrubs”; Sabrina Impacciatore, who embodies the vain managing editor of a failing regional newspaper on Peacock’s “The Paper”; Justine Lupe, who plays Morgan, a flighty but loyal sister and podcast co-host in Netflix’s rom-com “Nobody Wants This”; Lamorne Morris, who portrays New York City journalist Robbie Robertson in Prime Video’s Depression-set “Spider-Noir”; and Chris Perfetti, who features on “Abbott Elementary” as awkward but well-intentioned social studies teacher Jacob Hill.

In the course of our conversation, participants discussed surviving bad reviews, what fans misunderstand about comedy and, yes, how they keep a straight face during funny scenes (if not on The Envelope roundtable). Read excerpts from the conversation below.

What is the last thing that made you laugh out loud, whether it was meant to be funny or not?

Lupe: I have a one-and-a-half year-old. She’s just starting to talk. She doesn’t really say a lot of words at once, but she started doing this thing where, when she’s going poop, she just goes, “Oh, wow. Oh, wow.” And every time it’s just so cute.

Perfetti: I also do that when I poop, so please tell her it’s normal… I don’t know, guys. It’s scary times. I don’t find myself laughing out loud very much anymore. I guess to that end, I watch Jimmy Kimmel’s monologue every night and I think that it’s pretty drop-dead gorgeous. It’s so funny, and he’s using that platform in such a gorgeous way.

Faison: My daughter was playing a volleyball game against a very formidable opponent. I’m just going to put it out there: LeBron James’ daughter. She was serving and pushed everybody back with her serve. Boom! Everybody backs up. Now she’s got everybody out of bounds, then she taps it real soft and it falls in front of them. I laughed out loud. I was just so impressed, and my daughter looked at me like, “You mother—. Don’t you enjoy that!”

Impacciatore: A couple of days ago I was fighting with my boyfriend and it was a very bad fight and I really wanted him to understand my reasons. I was trying to put on my trousers and unfortunately I put two legs in one [side]. He started to laugh so loud and I was so upset. And then I started to laugh loud too. But it’s horrible when it happens, because I’m a very serious person when I fight.

Donald, the last season of “Scrubs” concluded in 2010. Now Dr. Turk is back working at the hospital with his buddy J.D. (Zach Braff) and a lot of the original cast. What was it like stepping back into that world?

Faison: When the pandemic happened, Zach and I did a rewatch podcast of “Scrubs,” and that’s where all of this started to formulate again. In doing the rewatch podcast, we researched what the fans liked, what we liked, and what we thought was funny. And we were very honest about it. If it sucked, we said it sucked. Then the T-Mobile [ad campaign with Faison and Braff] happened. So for the past five or six years, I’ve been playing Turk to Zach Braff’s J.D. When the revival came around, it was easy to slip back in because we had been doing this banter for so long. The only thing that’s different is that he’s older, but maturity has not set in with him yet. He’s a 50-year-old kid who’s really good at cutting people open and training younger people, but for the most part, he’s still silly.

Chris, “Abbott Elementary,” which follows several teachers at an underfunded public school in Philly, is heading into its sixth season. That means you’ve been playing Jacob for quite some time. Do you ever find the line between your personalities blurring?

Perfetti: The line between Chris and Jacob is definitely blurring. When we first started, I was shocked that [creator] Quinta [Brunson] saw me as this person. We weren’t alike at all, but I trusted that she saw something [in me] she wanted to exploit. Now, I would be so lucky to steal some of what he’s got going on. He’s unbelievably loyal and ambitious and really comfortable in his own skin. He leads from that place. And I need to shut the hell up and stop telling the writers things about my own life because now they’re showing up in the show. So truly the line between Chris and Jacob is getting weirder.

Danielle, “Rooster” takes place at a fictitious college. You actually have several degrees, including multiple master’s. Did you draw on your own experience in academia for “Rooster”?

Deadwyler: I was a student, and that’s a very different dynamic than being an administrator or a professor. But I dig education. I dig the intention of the environment, the debate, the ongoing pushing of the self and weaving that into your personal life. It’s all super connected. So I just brought that to the show.

You’re renowned for your work in intense films like “Till” and “The Piano Lesson.” Do you use a different muscle for comedy?

Deadwyler: I was always saying to the [“Rooster”] team, ‘Hey, guys, I feel good. I can breathe. I have energy to do things. Is that normal for people?’ So yes, it’s a completely different muscle. But [co-star] Steve [Carell] says this beautiful thing that characters don’t know whether they’re in a comedy or a drama. And that’s about as true as it gets. You bring full rigor and development and discipline to the making of a role, regardless of what genre.

Justine, how much do you relate to your character Morgan in the interfaith romantic comedy “Nobody Wants This”? Or is it more like you want to fix her?

Lupe: I don’t know if I want to fix her because that’s what’s compelling about her. I have so much fun playing the mess of Morgan. I relate to her. I started off where she was kind of a semiautobiographical story of [show creator] Erin Foster’s relationship with her sister, Sara. Then immediately the ship left the dock when I took the character. Justine has now taken over this idea of who this person is, and it’s a lot more sloppy and unbridled. The mess of her is actually me, because I’m a little bit sloppy as a person.

The show really captures the relationship between siblings, and sisters in particular.

Lupe: I identify with the idea of being someone who’s evolved past their original home life, and then going back into circumstances with your family, and regressing immediately. I wanted to play with that dynamic. Morgan might think that she’s evolved past certain things and then the minute she’s codependent with her sister, they devolve back into the bratty kid-like versions of themselves that are like picking on each other. I know the feeling, when you go back home and you’re like, “Wow, have I grown up at all?”

Lamorne, “Spider-Noir” is based on a Marvel comic and is set in an exaggerated version of 1930s New York. Audiences have the choice to watch the series in black and white or in color. How does the tone change between the two styles?

Morris: I watched both and they both have their own unique qualities. I would say the way folks should watch it is the way we traditionally watched TV as a people. You start in black-and-white and then when color was introduced, you would go back and watch those same films when they added color to it. While we’re filming it, [I was thinking] “How are they gonna make this visual effect look cool in black-and-white?” And then you watch it in black-and-white and you go, “What the f—?!” And I go back and watch it in color and go, “Holy — it looks great in color, too.” Everything down to the wardrobe [and] the set design, you watch it in black-and-white and it looks bold and as vivid as if it were in color. But then when you watch it in color and you go, “Holy crap, that house is blue, that suit is orange.” So just go watch it in both versions.

Sabrina, your character in “The Paper” wants to be the managing editor of the Toledo Truth Teller, but she’s really all about the clickbait. How much did you know about that conflict in modern journalism?

Impacciatore: I made sure not to know anything about it because Esmeralda doesn’t have a clue. Esmeralda is not a real journalist. Esmeralda is there for some mysterious reasons that I’m trying to figure out. She’s the queen of bull—, so I made sure not to know anything about journalists. And because I had played Valentina in “White Lotus,” I wanted to make sure that this character is going to be completely different from her. She must be out loud, she must be big. So I made some choices about her, for example, the nails. I still have these nails because I’m still shooting, but usually I don’t have long nails. But these nails started to make me think in a different way, to move my hands in a different way. Like these are guns, weapons to manipulate people. [Touches Morris with her nails.]

Morris: Consider myself manipulated.

Impacciatore: I’m the opposite. I have no filters in life. I am my own worst enemy. I’m too transparent. I don’t know how to hide feelings. So I thought, “What does she do?” Because it’s a documentary, she thinks one day she will be a star. So I have her have hair like Rita Hayworth the first day I arrived on set. They were looking at me like, “What is she doing?” They didn’t get it, so I had to explain that she wants to be a star. Once you start to play a manipulative person, you see manipulation everywhere. It’s like now I’m losing a bit of innocence, because I don’t trust anybody anymore. Now randomly I say, “Are you trying to manipulate me?”

“The Paper” and “Abbott Elementary” are mockumentaries. Does it make a difference in how you’re performing when it’s shot in that style?

Perfetti: On our best day, we’re trying to dupe people into believing that it’s real life. But similarly, I think Jacob thinks that he will be the star of this documentary whenever it comes out. He’ll be an executive producer on it. So there’s very much an element of having one foot in the audience’s experience. His outrage is heightened because he knows it’s being captured on film. I grew up doing plays and so it’s an easy dynamic to borrow from. When you’re on stage, even on your best days, you always have even a pinkie in the audience’s experience. You have to be able to be in conversation with them. The mockumentary format really allows for that and I think it informs the show in a really beautiful way.

Impacciatore: The first time that I watched “The Office,” I thought, “This project is incredible, but the light is so horrible. I will look so ugly.” I was trying not to be chosen for this project because I was so scared to be so ugly. So when I arrived on set as the character, I brought my own ring light and I said, “Guys, Esmeralda, because she knows she’s in a documentary, she needs her own lighting.” I got away with it. To me, comedy is a very serious thing.

What do audiences underestimate or misunderstand about what it takes to make a comedy?

Deadwyler: The assumption is that you’re being funny, and it’s not that at all. When you [Chris] just talked about doing plays, I was thinking theater is the thing that enabled me to really lean into the joy and transition into working on “Rooster.” There’s a rhythm and a quality of engagement that I learned completely in the theater world that applied to the gelling and the cohesion of “Rooster” in all of the scenes. So leaning into drama enables you to lean into the hilarity or the quirkiness or awkwardness of humor.

Morris: If the script is funny, it’s going to be funny if you’re an actor playing it real. And obviously you have throughout history those characters who know how to add to that, who can ham it up in such a way. Chris Farley and those guys. The Belushis, the Will Ferrells. They can take something really funny and just say, “I’m gonna add my stamp to it so when you see this type of humor, you know it was from me.” Then you have your Judd Apatows of this world who can create a funny environment and all the actors are basically playing it real and playing it straight.

Faison: People think you’re actually that funny or you’re that quick and you can come up with those jokes that fast. But really you’re saying somebody else’s words and you’re being somebody else. Somehow I got labeled as a stand-up comic. I’ve never done stand-up in my life, but I’ve been in so many comedies that people think, “He must be funny in real life.” I imagine Jack Black must hate going outside because everybody’s, “Do that skandosh, sliggidy, diggity thing that you do!”

Deadwyler: They want you to do that you do for drama, too.

Morris: “Make me cry”?

Deadwyler: They want you to give them the feeling that they know you for, because that’s all they’ve witnessed of you. They want me to ride a horse. They want me to cry. And it’s like, “I’m just trying to get these chicken wings and go home.”

And trying to break out of that, whatever that is, and move on to the next thing that you want to do.

Faison: For a long time it was very difficult as an actor to do anything else other than comedy, because you could get typecast. That’s something that happens right away. You could be the best friend for the rest of your life if you’re not careful.

Morris: I came up in traditional comedy. Second City, Chicago. When I was a kid, I didn’t care about anything else other than like making people laugh. So in plays and things, I was always cast as the comic relief, back in my ham-it-up days. Up until the beginning of my TV career with “New Girl.” I didn’t know who I wanted to be on that show. I didn’t know who I was and I’m thankful to the staff for just allowing me to grow into that character. But what I grew into was a f— clown. I just was like, “Oh man, I get to do this for seven years.” I loved every minute of it.

When you get recognized out in public or somebody knows they know you from something, who have you been misidentified as? Or do they simply call you by your character’s name?

Faison: I was at sushi once and it was actually another famous person that came up to me, I’m not gonna say their name. And he looks at me and goes, “Alfonso?” I said, “Nope.” And he hightailed it out so quick. I was like, “I gotta call Alfonso Ribeiro and tell him that somebody thought that I was him at a restaurant.” I’m glad to be recognized, but I am not Alfonso Ribeiro.

Morris: People think I’m everybody, but there’s one guy I get. Malcolm Barrett. This has been going on for 15 years. A good friend from theater school, we did every play together, he called me when I moved to L.A. and was like, “Dude, congratulations on your AT&T commercial!” I was like, “What AT&T commercial?” And he’s like, “The one where you’re playing Pop-a-Shot basketball.” And I’m like, “That’s not me.” Years later, everyone, people would come up to Malcolm all the time and say, “Congrats on ‘New Girl.’”

Perfetti: I cannot go to Philadelphia because I suddenly now have 5 million new family members. I don’t get mistaken for an actual person, but I do love the moment where you pass them on the sidewalk or on the subway and you see the wheels churning in their mind.

Lupe: I have a yoga teacher that still calls me Willa [her character from “Succession”]. I’ve been going to her for like a year and she’ll be like, “And Willa, you want to move into down dog.”

Justine, you’ve been referred to as a scene-stealer more than once for your work in “Succession” and “Nobody Wants This.” What do you make of that?

Lupe: That was the thing about “Succession.” I started when I was 26 and I felt like I got to be a fly on the wall in so many incredible scenes with all-star actors. To even be even seen among that kind of company, it makes me so happy. I feel the same way about “Nobody Wants This.” I look around and I’m like, “Wow, these are just incredible people that I’m working with.” So it’s nice to know that people are even registering my existence.

Perfetti: Willa is responsible for what I think may be one of the funniest TV moments ever. I can’t remember which season where you read your reviews and throw the iPad overboard, but it lives in my mind rent-free. The sound you make, the way that you just kind of stare off into the distance afterward, it’s one of the greatest things I’ve ever seen.

Do you read reviews of your work?

Morris: I did a movie called “Sandy Wexler” with Adam Sandler and he said to me, “Hey buddy, when a film comes out, don’t read the reviews.” He’s like, “Who cares? We got our own thing going.” … It allowed him to stay true to who he is for his fan base, which is larger than life. If you start caring so much about what people think about your art, it’s going to change what got you there in the first place. That’s what Jamie Foxx talked about after winning an award, you don’t want to switch it up all of a sudden because everybody looks at you like you’re this great actor, you won this thing, and you start doing things differently.

Impacciatore: On set, if someone gives me a feedback about something that he liked, I don’t want to hear that because it feels like a trap. And I don’t want to know what worked and what didn’t work because I want to be free. I want to explore things. Reading a review … it’s something rational that is describing something irrational. Like to me, acting is an irrational act. It’s wild when it happens. It’s going somewhere else and not even knowing what you did.

Faison: I tend to not look at reviews. This was the first time ever in my life … when “Scrubs” came out this time around. It’s because we made it for the fans. It was strictly for the fans. So when we put it out and the critics were very nice this time around, that was cool. And then you get to Reddit and Instagram and you’re waiting for them to be like, “You guys suck!” “How dare you?!” And that didn’t show up. It was like, well, I’m gonna read the reviews then.

Lupe: I once had a critic call me a “bargain-basement Gwyneth Paltrow.”

Morris: You’re like, “Gwyneth Paltrow, you say?”

Lupe: As long as the word Gwyneth is in there, I’m OK.

Morris: If someone calls me “a bootleg Eddie Murphy,” I’m retiring.

Faison: “He kind of reminds me of a poor man’s Richard Pryor.” Why, thank you.

Lupe: There was like a part of me where I was like, “Well, if I can make it through that, then whatever. Who cares? It’s just fun to hear people’s perceptions of what you’re putting out there. How people interpret it. Because sometimes you can’t see the forest through the trees. If you have enough perspective, it’s interesting to hear the dialogue about the things that you’re working on.

Deadwyler: If it’s productive, I find that critical analysis is useful. But if it’s critical stabbing, that’s useless to me.

Faison: I have a question for all of you guys. When it comes to acting on set, do you prefer to see what you just did or do you prefer to trust what the director says? When it comes to comedy, I wanna see what the f— we are doing just to make sure we’re in the rhythm.

Lupe: I don’t watch it in the moment. I’ve gotten easier on myself watching things after they’re released. When I first watched my work, I just wanted to like, in all honesty, tear my face off. It was really a tough experience.

Morris: If I trust the director, I never look at the monitor. No knock on, like first-time directors, because I work with a lot of first-time directors that I trust, but there are some from time to time that just go, “It’s great,” every take. And so sometimes I have to go, “Just give me a second, let me see.” … A couple of times [they’d tell me], “Everything you did was brilliant.” And I know for a fact it wasn’t. So now I don’t trust s— you say.

The Envelope’s 2026 Emmy Comedy Roundtable: Lamorne Morris, from left, Justine Lupe, Chris Perfetti, Danielle Deadwyler, Donald Faison and Sabrina Impacciatore.

Chris, the cast on “Abbott” are so good at bouncing lines off one another. How are you not breaking all the time, or are you?

Perfetti: It’s certainly gotten harder as we’ve gotten closer. We’re all trying to make each other break now. But we’re pretty good. The show is sort of made on the fly and we’re constantly throwing jokes away or trying to see how far we can push something. I think a lot of what we find funny on “Abbott” is people trying to avoid pain. Even when it’s ridiculous, it doesn’t feel too hard to keep our feet on the ground. We’re also so blessed with the mockumentary [format]. The story is very much told by the camera. So I’m always on, and something that comes up in that take might make it into the final cut because there’s three cameras going at all times. But Quinta probably breaks the most because … she genuinely forgets about some of the jokes that she writes. And so when she hears it again, it takes her by surprise.

Lupe: There is something to that energy of people enjoying being in that kind of space with each other, like on the verge of laughing. Riding the line of being just about to break, it’s so much fun. The chemistry between them is so palpable. When you see a break like that, you’re like, “Wow, they’re really enjoying each other.”

Morris: [It’s hard when] I’m literally loopy, it’s late and I know this actor I’m working with is a f— killer. I start laughing before we roll, and I’m like, “This is gonna be so difficult.”

Lupe: And then it’s like that thing when you’re like a little kid, where someone’s like, “Stop laughing” and it makes it worse because you are trying so hard not to laugh.

Impacciatore: If there is that moment where we can break, there is a real abandonment and there is a real freedom … It’s the most beautiful feeling about being an actor. It’s about feeling less lonely.

Faison: Danielle, you’re working with Steve. First of all, he’s gonna break everybody. I’m pretty clear that everybody on set’s gonna laugh because he’s just got that. But has anybody made him break yet? And who is that person? I know if I made Steve Carell break in the middle of a scene, I’m dancing for a while. I’m gonna be calling my mom like, “Yo, he f— laughed at my joke!”

Deadwyler: I know that they wilded out the day the bed broke [during a fight scene with co-star Phil Dunster]. But I have not seen him break in that way. He is so rigorous. He’s about building the character, building a dynamic, trying to tell a full story.

Lupe: He also must have so much practice from “The Office.”

Deadwyler: He’s strong.

Faison: I laugh harder at “Saturday Night Live” when they break than when they keep it together.

As technology becomes more and more advanced and accessible to people, cruise ships have to put rules in place to make sure passengers are safe, and their privacy is protected

People are being warned that they could be fined or kicked off a cruise ship they’re a passenger on for wearing 1 luxury item when onboard. Several cruise companies have introduced a number of new rules in 2026 to ensure the safety of passengers travelling on board.

As technology continues to advance and people snap up the latest gadgets, cruise operators are keeping their policies up to date to safeguard holidaymakers and protect their privacy while travelling at sea. Whether you’re sailing with Disney, Virgin, P&O or Fred. Olsen., each cruise liner has their own set of rules that could land passengers in trouble.

Don and Heidi, a couple who have clocked up 100 cruises between them, regularly share updates and handy tips on TikTok, and have been keeping a close watch on shifting cruise policies over recent months.

With the rise of people wearing smart glasses, such as the very popular Meta Glasses, cruise ships have been forced to take steps to protect their passenger’s privacy when they’re traveling on cruise liners.

Don said: “Cruise lines are instituting new policies and in 2026, these behaviours will get you fined, banned, or removed from the ship entirely.

“One, recording other passengers without their consent using technology like Meta Glasses is a serious violation of privacy policies and fellow cruisers are reporting it.”

One of the cruise companies who has banned the items is Royal Caribbean who quietly updated its prohibited items list to tighten onboard safety and cybersecurity.

Recently, Royal Caribbean updated the verbiage on its prohibited items list to read: “‘Smart’ glasses from any of several manufacturers that can record video and audio are not allowed to be used in certain areas onboard the ship, including, but not limited to, public restrooms, Youth Program areas, medical areas, as well as the casino.”

Royal Carrabian’s app confirmed that if a guest fails to abide by the policy, the chief security officer and captain are authorized to confiscate the smart glasses.

Don continued: “Two, flying a drone from the ship is banned on nearly every cruise line. Get caught launching one and you’ll be escorted off at the next port.

“Three, fights on cruise ships are all over the news and lines are done looking the other way. Passengers involved in physical altercations are now being banned from certain cruise lines for life.

“Four, getting caught with prohibited items in checked luggage and you get escorted to a security meeting. Try to bring something more serious on board and you could be handed over to authorities at the next port.

“Five, this isn’t optional. It’s international maritime law. Skip the muster drill and crew will track you down to complete it. Refuse entirely and you’ll be removed from the ship before a set sail.

“Six, lighting up on your balcony, in your cabin, or anywhere else outside the designated smoking areas can get you fined and repeat violations can get you escorted off the ship.

“This includes vaping. Don’t forget to share this one with your cruise mates for your next sailing.”

The power of power, you know?

The power of friendship, the power of persuasion. Power of positive thinking, power at the plate.

Megan Grant’s power.

If there’s one thing in American sports that’s going to get people to sit up, lean forward and engage, it’s the home run. We all dig the long ball.

If anything can get someone to run home and turn on a softball game, it’s a big-time slugger from a big-time school mashing homers like nobody before.

Heard about Grant? She’s the UCLA softball player who’s hit an NCAA-record 40 home runs (so far) this season.

UCLA senior Megan Grant leans over and holds her helmet between pitches during a super regional game against UCF on Friday at Easton Stadium.

(Gina Ferazzi/Los Angeles Times)

Forty! In 147 at-bats! That’s a home run every 3.68 at-bats!

If you’re wondering, Mark McGwire hit a home run every 7.3 at-bats in 1998, the year he finished with 70. And Barry Bonds went deep every 6.52 at-bats in 2001, when he hit his MLB-record 73 home runs.

Whenever she gets asked about her historic home runs, the red-hot, red-haired hitter is like, shucks: “I mean, it’s incredible,” she said. “I’m just honestly blessed to be able to say the number 40. But, yeah, that’s all I can say.”

She just wants to be thought of as a hard worker and a good teammate. But what Grant is going to be remembered for most is as the founding member of softball’s 40-home run club.

Her 40th home run came in her 58th game this season and on her seventh career grand slam — Grant Slam? — in the Bruins’ NCAA regional final victory over South Carolina last weekend.

Forty, a round number of round-trippers with a ring to it. And a sweet echo coming so soon after the Bruins women’s basketball team won its first NCAA championship, history to which Grant also contributed as a reserve before softball beckoned.

Side quest completed, the left-handed-hitting senior stepped back into the box to help the Bruins chase a 13th championship on the softball field.

Grant is soaking up the experience, and encouraging her younger teammates to, too: “‘Enjoy this, it’s so rare to be here’ … and, ‘Hey, we can do this, we can do it together.’”

A .469 hitter, she leads the nation in slugging percentage (1.333), on-base percentage (.650) and OPS (1.983). She bats second in UCLA’s NCAA record-breaking lineup that shattered Oklahoma’s 25-year-old previous record of 160 home runs. UCLA hit seven home runs during two super regional wins against Central Florida this weekend to push that record to 200.

With a 9-1 win Friday and a 14-4 victory Saturday, the Bruins advanced to the Women’s College World Series for the 34th time and for the third time in Grant’s astounding tenure.

UCLA senior Megan Grant (43) high-fives teammates during a win over UCF Friday at Easton Stadium.

(Gina Ferazzi/Los Angeles Times)

Tip your helmet and toss Grant her bouquets — flower power — because there she is popping up on ESPN’s “SportsCenter” and on the MLB Network. One of three finalists for the USA Softball Collegiate Player of the Year award, she’s got guys discussing her exploits on a dad pod otherwise dedicated to NBA takes. Fans dressed up as chefs as a tribute to her nickname, “Chef Megan.”

Star power, power broker. Grant is a lift-all-boats attraction for a sport that’s been steadily carving out space in the public consciousness.

All over the country, college softball teams have been breaking attendance records. And ratings are up, up, up; ESPN said this has been its most-watched college softball regular season since 2009, with games averaging 292,000 viewers. The MLB-backed Athletes Unlimited Softball League is entering Season 2; Grant was drafted No. 4 overall by the Portland Cascade.

“People will pay to see her play,” said Lisa Fernandez, UCLA softball legend and associate head coach.

Fernandez also is the general manager of the AUSL’s Utah Talons, for whom UCLA’s other senior slugger Jordan Woolery will play this summer.

The Bruins imported the latest in a lineage of Bay Area dynamic duos. The Oakland Athletics had the Bash Brothers, Jose Canseco and Mark McGwire; the Golden State Warriors gave us the Splash Brothers, Stephen Curry and Klay Thompson. And now UCLA has Walnut Creek’s Woolery and Grant, of San Bruno — the Bruin Bombers.

They’re the first teammates in NCAA history to each hit 30-plus homers in the same season, with 74 between them.

And, yes, chefs! Like Curry before her, Grant is cookin’ the competition, breaking the 31-year-old NCAA single-season home run record with No. 38 on May 9 against Nebraska.

Included among the record wreckage she’s leaving in her wake: Stacey Nuveman’s UCLA single-season record of 31 homers. For her career, Grant needs only one more to tie Nuveman’s Bruins record of 90.

But Grant’s got to get a pitch to hit first. After UCF walked her six times in two games, she has 74 walks this season and 69 base hits. She also has 13 hit by pitches.

“It’s very similar to Barry Bonds, right?” Fernandez said. “It’s either a walk or a home run. Like, you pick.”

The tale of the tape measure behind Grant’s greatness is the down-to-the inch precision of her preparation. The Mamba-esque magic is in the embracing behind-the-scenes monotony, powering through it.

“She was the hardest worker, always working. Never enough,” said Ray McDonald, Grant’s coach at the San Mateo-based Warrior Softball Academy since she was that kid with an electric, bat-busting swing. “It was eating and sleeping, hitting, and you know, shower. The essentials.”

“When we recruited her, Ray, he was like, ‘Coach, you better be ready to work,’” said Fernandez. “And I’m like, ‘Oh, I know how to work.’ And [then] I was like, ‘Oh my gosh, now I understand how people must have felt when I played.’

“There is an aspect of this game that people don’t realize unless you are in it. To be great, there’s a — for lack of a better word — monotony to the process. Can you master the same move over and over again? And she’s committed to it. To her drills, to the process, to her routine, all of it. There’s a lot of people who are committed to it when they’re not doing well: ‘Oh, got to get back to my drills.’ She has been committed to that process from the day she stepped on campus.”

The process includes working on her mind. That deep, deep breath before every deep, deep home run is a way to stay centered. To stay in the moment — and it is a moment.

For softball. For UCLA. For Grant, who, with all this power and responsibility, is hitting it out of the park.

Sometimes it seems as though the only thing that stands between a functioning democracy and a full-on Trump autocracy is a thin, black-robed line.

Although the Supreme Court, in general, and conservative appellate courts, in particular, have bowed and granted President Trump permission to do pretty much anything he wants, they haven’t thoroughly capitulated to his endless grasping for ever more power. (The way invertebrate congressional Republicans have.)

At the lower-court level, judges have repeatedly ruled in ways intended to check Trump, most notably when it comes to violating civil and constitutional rights in pursuit of his indiscriminate immigration dragnet.

The tendency to slow-walk his administration’s response to those rulings — and ignore others that Trump thinks he can safely snub — only contribute to the perception of presidential lawlessness and a sense that our judicial system is being strained to something approaching a breaking point.

Go ahead, if you’d like, and dismiss those concerns as just so much overwrought hand-wringing, or the mindless anti-Trump blathering of your friendly political columnist. A new survey of legal experts — including federal judges, top-tier lawyers and scores of professors from some of the country’s leading law schools — finds widespread concern about the brittle state of our legal system.

And it’s not just the fears of a lot of shaggy-thinking liberals.

“The nation is strong as is its commitment to the rule of law,” said one appellate judge, a Republican appointee. “The current president presents the greatest threat in decades.”

The survey was conducted by Bright Line Watch, a nonpartisan academic group that monitors the health and resilience of American democracy, in conjunction with the Safeguarding Democracy Project at UCLA’s School of Law.

Conducted between mid-February and early March, the poll anonymously surveyed 21 federal judges, 113 lawyers, 193 law professors, 652 political scientists and a nationally representative sample of 2,750 Americans.

What leapt out to UCLA’s Rick Hasen, director of the Safeguarding Democracy Project, was that “across the ideological spectrum and across judges, lawyers and law professors, there was considerable agreement that the rule of law in the U.S. is under tremendous stress.” That consensus, he said, suggests “a real risk to democracy.”

Most legal experts agreed that Trump is using executive power excessively, with a majority doubting the conservative-leaning Supreme Court would handle cases involving the Trump administration impartially. The experts also expressed concern about politicized law enforcement — Trump seeking to persecute his perceived enemies — executive branch overreach, and the failure of Congress or the Supreme Court to do more to rein in the rogue president.

Eight in 10 of those surveyed said federal officials fail to comply with court orders somewhat or very often, and nearly 9 in 10 said political appointees in Trump’s Justice Department mislead federal judges somewhat or very often.

Talk about contempt of court — not to mention our vital system of checks and balances.

There was, unsurprisingly, a split among conservatives and liberals who took part in the survey. (The study defined legal conservatives as those saying the Supreme Court should base rulings on its understanding of what the Constitution meant as originally written. Liberals, who made up most of the respondents, were defined as those saying the court should base its rulings on what the Constitution means in current times.)

Conservatives, for instance, were more likely than liberals to see former President Biden as a greater threat to the rule of law than Trump. Liberals were more likely than conservatives to see evidence of Trump politicizing the Justice Department.

There were also differences between legal experts — those most intimately involved in the judicial system — and the public at large. The experts were more concerned about Trump’s excesses and threats to the rule of law, which, Hasen said, stands to reason.

The legal system is not something most people encounter daily in the same way they do, say, gasoline prices or the cost of groceries. “Yet,” Hasen said, “it’s one of these background things that really matters.”

Why?

Hasen put it this way: “Imagine that a person had a dispute with their neighbor and it ended up in small claims court before a judge and the judge made the decision not based on the merits of the case but based on whether he was friends with one of the parties, or didn’t like people who were similar to one of the parties.”

Now imagine that kind of corrupted, perverted system of justice writ large.

If, for instance, “people know that the government can successfully seek retribution from people who criticize it, people will be less likely to criticize the government,” Hasen said, leaving the country worse off by muzzling those who would hold their elected leaders to account.

Or if, say, rioters overran the U.S. Capitol and tried to steal an election and, instead of being punished, received cash payouts from the federal government, what incentive would there be to follow the law?

Happily — and who couldn’t use a bit of good cheer right about now — all is not lost.

People “can demand that their elected representatives take steps to assure that the rule of law will be followed,” Hasen said, and can insist “that the government [not] play favorites or seek retribution against perceived enemies.”

That’s the power people have, come election time. That’s why voting matters.

There are lots of things riding on the outcome in November, not least the sanctity and integrity of our legal system.

Bear that in mind when you cast your ballot.

Homicides in Los Angeles are down to levels not seen since the 1960s. Neighborhoods once awash in gang violence now sometimes go weeks, even months, without a shooting. And the follow-home robberies and street takeovers that captured the public’s attention in recent years have largely subsided.

By many measures, the city is safer than it has been in generations — and yet voters following L.A.’s hotly contested mayoral race might think the opposite.

The challengers to Mayor Karen Bass have zeroed in on homelessness and public drug use to argue she hasn’t delivered on public safety, while also criticizing how the Police Department has operated and been funded during her tenure.

Mike Bonin, a former L.A. City Council member, said the fact that Spencer Pratt — the former reality TV star who has been attacking Bass from the right — has gained so much traction in the race is proof of how Bass and other candidates to the left have failed to change “prevailing narratives that the city is unsafe.”

Mayoral candidate Spencer Pratt hosts a campaign block party on 10th Avenue in Los Angeles on May 20, 2026.

(Robert Gauthier / Los Angeles Times)

Pratt has been particularly active on social media, where he has shared artificial-intelligence videos created by fans depicting him as various superheroes coming to the rescue of a city that, under Democratic rule, has turned into a dystopian hellscape.

In a March 26 post on Substack, Pratt railed against the thousands of drug-related calls that emergency officials respond to every month. He has said that if elected mayor, he would order the police and fire chiefs and the county health director to “treat every encampment as a grave-disability zone.”

“No new laws needed,” he wrote. “No endless task forces.”

Flanking Bass on the left is Nithya Raman, a progressive City Council member who was once the mayor’s political ally.

Raman has argued that Bass has thrown too much money at the LAPD, with raises for police officers coming at the expense of other basic services such as park maintenance and street paving. Raman said the LAPD pay increases have “bankrupted” the city, depriving other services of much-needed funding. In campaign ads, Raman has cast herself as a more sensible alternative to Bass. Raman has said she would work to reduce traffic deaths and prioritize safety on the city’s buses and trains.

When she first ran for office in 2020, Raman called for defunding the police, saying the Los Angeles Police Department should be a “much smaller, specialized armed force.” Since then, however, she has voted for some budgets that increased spending on law enforcement.

In response to questions from The Times, Raman said she would work to find ways to overhaul public safety.

“I’ll propose budgets that expand unarmed response, work with LAPD to improve 911 response to more quickly answer calls for help that don’t require armed officers, and will appoint leadership at the Police Commission who will actively partner with the City Council to work on reform,” she said.

Representatives for Pratt and Bass didn’t respond to requests for interviews with the candidates.

Bonin said Bass — who supported various police reform measures while Congress — has shocked some of her supporters with how “aggressively pro-police she has been.”

When she ran for mayor in 2022, Bass vowed to retool the recruitment and hiring process in order to restore LAPD staffing to 9,500 officers. That hasn’t happened. The number of sworn officers recently fell below 8,600, despite Bass striking a deal with the police union to offer higher starting salaries and new retention bonuses.

Mayor Karen Bass takes part in a candidate forum on May 5, 2026, in Sherman Oaks.

(Eric Thayer / Los Angeles Times)

On Thursday, the City Council approved a $15-billion budget for the upcoming fiscal year, which included funds to hire 510 new officers — just enough to offset turnover and maintain current staffing levels.

Raman has said the LAPD should not shrink any further because there aren’t enough officers to respond to 911 calls “in a timely fashion.”

Samantha Stevens, a Los Angeles political consultant and former legislative staffer, said people seem willing to back Pratt because he acknowledges that their sense of safety has been shaken — even if he has offered few concrete details about how to tackle crime beyond cracking down on homelessness.

Pratt’s critics say that his plan relies on funneling homeless people into a shelter system that doesn’t have the capacity to handle them all. Others have noted that the aggressive tactics he has proposed would probably face legal challenges.

L.A. City Councilmember Nithya Raman, who is running for mayor, makes a campaign stop at the site of a home burned in the Palisades fire.

(Eric Thayer / Los Angeles Times)

“He’s kind of a case study in somebody who has a lot of opinions but has no idea of how the city is run,” Stevens said.

Fernando Guerra, a political science professor at Loyola Marymount University, said Pratt seems to have tapped into a deep well of discontent among Angelenos who believe that crime and homeless have spiraled out of control. The challenge for Bass, he added, is that although the numbers suggest that crime has decreased, many people associate the sight of encampments spilling onto public sidewalks as “a breakdown” that indicates the city is becoming less safe.

“You want to go back to the days of Daryl Gates, you’ve got Pratt,” he said, referencing the former LAPD chief whose controversial police sweeps in the late 1980s yielded thousands of arrests while alienating large segments of South L.A.

“If you want more of the same from the past 20 years, you’ve got Bass,” Guerra added. “And if you want something new, then you’ve got Raman, but she has to explain what exactly she wants to do.”

Although Pratt and Raman appear to be the strongest challengers to Bass, several long-shot candidates have also made public safety a key issue in their campaigns. Some have gone after Bass for her support of LAPD Chief Jim McDonnell. Hired by Bass in 2024, McDonnell has touted the impressive drop in crime under his leadership, but also faced criticism over an uptick in shootings by police and aggressive crowd control tactics during protests against the Trump administration’s immigration policies.

Police Chief Jim McDonnell attends a news conference at LAPD headquarters on May 21, 2026.

(Genaro Molina / Los Angeles Times)

Rae Huang, a minister and housing rights advocate, said if elected mayor she would immediately replace McDonnell with someone who has the “ability to really reimagine what public safety really looks like.”

“I’m the only one with the guts to say that out loud,” Huang told The Times during a recent campaign stop at a bookstore in the West Adams neighborhood.

In social media posts and interviews, Huang has frequently referred to the LAPD as “one of the biggest legal gangs in the world,” and said she would work on diverting money from the police budget to scale up programs that have shown promise in sending unarmed specialists to deal with emergencies that involve people experiencing mental health crises.

The city is already running two such pilot programs, but under Bass they have remained underfunded, Huang said. Last week, the City Council signed off on expanding one of the programs.

Huang said she would also invest more heavily in addressing the city’s lack of affordable housing, which she said is an underlying cause of crime and homelessness.

The Los Angeles Police Protective League has poured hundreds of thousands of dollars into attack ads against Huang and Raman.

Adam Miller, a tech entrepreneur, has tried to strike a balance in his mayoral campaign, advocating for changes while acknowledging that many people still feel unsafe despite the historic drop in violent crime.

He criticized a recent vote by the L.A. City Council to limit so-called pretextual stops, in which officers pull people over for minor traffic infractions in order to investigate more serious offenses. The stops have been blamed for enabling racial discrimination.

Miller said that “constraining the Police Department is the opposite of what we should be doing.” He called for “leveraging” AI and modernizing the department’s archaic computer systems, which he said could allow the LAPD to catch up to other agencies that have embraced new technology.

Miller told The Times that he recently went on a ride-along with officers from the Rampart Division, which he said was eye-opening.

“At the highest level I think Angelenos don’t feel safe anymore,” he said. “They don’t feel safe in their neighborhoods, but more recently they don’t feel safe even in their own homes.”

Statistically speaking, the city might be safer than it’s been in decades, he said — but that doesn’t necessarily matter to voters.

“I don’t think it’s just perception,” he said. “I think it’s reality that crime has spread.”

A family’s long-awaited Easter getaway turned into a nightmare after travelling hundreds of miles only to find their booked resort shut and fenced off

After months of planning a relaxing family break abroad, one couple thought they had everything organised down to the last detail. But what awaited them at the end of a nine-hour journey across Europe was something they never could have prepared for.

The couple, who asked not to be identified due to the man’s occupation, had booked a stay at the Waterside Elegance Sky Pad at the Your Nature Resort in Belgium through Booking.com last October. Having previously visited the resort, they were eagerly anticipating their return with their two young sons in April, only to arrive and discover the site appeared to be closed.

Instead of checking into their accommodation and settling in for a long-awaited family holiday, the couple claim they were met by locked entrance gates, construction fencing and an eerily empty car park. Signs displayed outside the resort also appeared to indicate the site was no longer operating.

The Waterside Elegance Sky Pad is a luxury duplex cabin located within the 280-hectare Your Nature Eco Forest Resort in Antoing, Belgium. The £105 million resort has reportedly been fenced off and forced into bankruptcy, leaving holidaymakers stranded after it allegedly exceeded €15 million in losses, according to Forbes.

In a lengthy Reddit post, the man explained how the family’s entire trip had been carefully planned around the needs of their children, including their eldest son who is autistic and non-verbal. But after arriving at the resort entrance and, by chance, speaking with a site manager, the couple claim they were informed the resort had gone into administration months earlier in October.

This is despite Booking.com allegedly repeatedly reassuring the family their holiday would go ahead as planned, with emails recognising the reservation remained valid. The Reddit post also claims the company accepted tourism tax payments and issued a check-in voucher just weeks before the family travelled to Belgium.

“If you think your holiday is secure because you have a confirmed booking voucher, think again,” he warned.

Speaking to The Mirror, the man detailed how the family were left scrambling after the revelation, with hundreds of pounds spent on Le Shuttle crossings, fuel, food and overnight accommodation in France. He also claimed Booking.com later suggested alternative accommodation options, though the family considered them unsuitable.

Booking.com is understood to have refunded the original accommodation costs, though disputes between the two parties are said to remain ongoing.

The family are seeking compensation for more than £400 in additional travel expenses incurred during the ordeal. They claim the online travel agency is refusing to accept liability, despite allegedly issuing a separate payment of 150 EUR which they say they have refused to accept.

In the Reddit post, the man referenced provisions within the Consumer Rights Act 2015 and Consumer Protection from Unfair Trading Regulations 2008, arguing the family relied on written assurances when booking non-refundable travel arrangements. However, no court has ruled on the claims and Booking.com disputes wrongdoing.

A Booking.com spokesperson told The Mirror: “We’re sorry to hear about this customer’s experience. When a property chooses to list on Booking.com they must agree to our terms and conditions, which includes keeping their room availability up to date.

“If an accommodation partner wants to end their agreement or remove their listing, we have simple processes and clear guidance to help them do this. We can confirm this property is currently closed on our platform, and that we’re also in touch with the customer to offer support.”

Consumer experts regularly advise travellers to retain booking confirmations, receipts and written correspondence when arranging holidays online. According to Citizens Advice, customers may have rights if services are not provided as described, although compensation outcomes can vary depending on individual circumstances and booking terms.