producer

An L.A. County Superior Court judge handed a 146-year sentence to Hollywood producer David Brian Pearce on Wednesday for multiple rapes and the 2021 deaths of a model and her architect friend.

Pearce was found guilty in February on two counts of first-degree murder for the deaths of Christy Giles and Hilda Marcela Cabrales-Arzola, who overdosed on fentanyl. Prosecutors said Pearce supplied them with the drug.

Pearce was also found guilty of crimes against a series of women between 2007 and 2021, including three counts of forcible rape, two counts of sexual penetration with force, one count of rape of an unconscious or sleeping victim and one count of forced sodomy.

“This sentence delivers long-awaited justice for Cabrales-Arzola, Giles, and the courageous sexual assault victims who came forward and testified,” L.A. County Dist. Atty. Nathan J. Hochman said in a statement.

“Not only were the victims sexually assaulted, but the lives of Cabrales-Arzola and Giles were stolen in one of the most devastating ways — a fentanyl-induced sexual assault by Pearce.”

A call to Pearce’s lawyer was not immediately returned.

Pearce’s co-defendant, 46-year-old Brant Osborn, is headed to a pretrial appointment on Nov. 18; after a mistrial in February, he will probably face a second trial.

In November 2021, Giles and Cabrales-Arzola, as well as Michael Ansbach, who had spent the day filming for a documentary Pearce was supposedly producing, went out with the producer and his roommate, Osborn. The night at an East Los Angeles warehouse rave involved heavy cocaine use.

The group returned to Pearce’s Beverly Hills apartment in the early-morning hours.

That was about all that was agreed upon among the parties.

Pearce provided the two women and Ansbach with gamma-hydroxybutyrate (GHB) and fentanyl, causing Giles and Cabrales-Arzola to overdose, according to the district attorney’s office.

Although Cabrales-Arzola called a ride-sharing service, neither she nor Giles left.

About 11 hours later, Pearce dropped off Giles at a hospital; 90 minutes later, he did the same for Cabrales-Arzola, the district attorney’s office said.

Court records showed the car that dropped the women off did not have license plates, which Ansbach said he saw Pearce remove. Though Ansbach was originally arrested in connection with the women’s deaths, he became an important prosecution witness.

Giles was dead by the time she reached the hospital. Cabrales-Arzola survived for 11 days before being pulled off life support by her family.

Pearce maintained during his trial that he found the two women unconscious in his apartment around 5 a.m. near liquor bottles and a powdery substance. He said he didn’t think much of it, at first.

“The lifestyle that I was living at the time was not very conducive to regular behavior, if that makes sense,” Pearce, 43, testified earlier this year. “It was not uncommon for people to use my house as a crash pad, a party house. I know it’s horrible, but at least on a weekly basis friends were passing out at my house.”

Pearce said he grew concerned when neither woman woke up and repeatedly checked on them, eventually taking them to different hospitals.

He said he administered CPR but did not call 911.

Since his arrest in December 2021, seven women came forward to accuse Pearce of raping them.

In testimony that spanned two days, Pearce denied each rape accusation, saying he’d never met at least one of his accusers and dismissing the rest of the encounters as consensual.

Pearce described a booze- and drug-fueled lifestyle and said most of the women came on to him at parties or through dating apps.

“This case is a stark reminder of the devastation caused by fentanyl,” Hochman said. “Fentanyl poisoners who harm and exploit others will be held accountable.”

Times staff writer James Queally contributed to this report.

SINGER Chris Brown has been allowed to return to the US from Britain — but only under stringent bail conditions. 

The Forever hitmaker, 36, is accused of attacking music producer Abraham Diaw at the Tape club in London’s Mayfair. 

Yesterday, he won an appeal to vary conditions and is now allowed to leave the UK before his trial next October. 

Judge Tony Baumgartner told the Grammy Award-winner: “You will have to come back to the UK when you are required to do so.” 

Brown, along with Dallas rapper Omololu Akinlolu, 38, denies actual bodily harm and grievous bodily harm in February 2023.

He also faces one count of having an offensive weapon — namely a tequila bottle. 

MCQUEEN BEE

Jorgie Porter: I’ve kissed whole village & was lads’ mag babe…I want sex scenes

HOME SWEET HOME

Martin Freeman wins YEAR long battle over £5m mansion

Brown appeared at Southwark Crown Court today wearing a baggy white shirt, black tie and glasses to for an application to vary bail conditions. 

Akinlolu was wearing a cream cricket jumper and brown chinos. 

The pair confirmed their names simultaneously with a ‘yes ma’am’ in front of a public gallery filled with fans of the R and B star. 

The pair are required back at Southwark crown court on January 28 for a pre-trial hearing. 

Brown and Akinlolu will then face a week-long trial on 26 October next year. 

You don’t have to be afraid to put your dream in action, because you’ll never fade, Trina Vega, you’ll be the main attraction — in a “Victorious” spinoff.

Netflix announced Friday that “Hollywood Arts,” a spinoff of the Nickelodeon teen sitcom following a group of students attending a performing arts high school, is now in production. The new show will see Daniella Monet reprise her Trina role from the original series, which aired for four seasons on the kid-centric network.

“Coming back as Trina alongside such a dynamic, powerful cast of newcomers is something I feel very lucky and grateful to do,” Monet said in a news release, which announced the “Hollywood Arts” cast will also include young actors Alyssa Miles, Emmy Liu-Wang, Peyton Jackson, Martin Kamm and Erika Swayze.

“‘Victorious’ was in a lot of ways life changing for all of us, our cast is forever bonded by that experience, and to think that I have an opportunity to steward anything close to that is a feeling I can’t begin to describe,” Monet continued. “As an actress, producer, and mom, I am so eager to create something we can all be proud to share with the world.”

According to the logline, “Hollywood Arts” will see Trina return to her alma mater as “an unqualified substitute teacher” after struggling to make it as an actress. There, she will both clash and “unexpectedly” inspire the next generation of ambitious and talented performing arts school students.

In “Victorious,” which originally ran from 2010 to 2013, Trina was the untalented but overly confident older sister of Tori Vega, played by Victoria Justice. The cast of the hit teen series also included Ariana Grande, Avan Jogia, Elizabeth Gillies, Leon Thomas III and Matt Bennett.

The spinoff will also feature Yvette Nicole Brown as a guest star. Brown briefly appeared in “Victorious” as school principal Helen Dubois — a character who originated on Nickelodeon’s “Drake & Josh,” which ran from 2004 to 2007.

In addition to starring on “Hollywood Arts,” Monet will serve as an executive producer alongside showrunners Jake Farrow and Samantha Martin and director Jonathan Judge. (Dan Schneider, who created “Victorious” and whose alleged misconduct was at the center of the 2024 docuseries “Quiet on Set: The Dark Side of Kids TV,” is not involved.)

The 26-episode first season is expected to debut on Netflix in 2026 before hitting Nickelodeon and Paramount+. The series is currently in production in Ontario, Canada.

Diane Keaton, the actor who made film history — and won an Oscar — as the title character in Woody Allen’s beloved 1977 romantic comedy “Annie Hall,” died Saturday. She was 79. Tributes poured in from those who worked with and admired Keaton, including Bette Midler, Kate Hudson, Steve Martin and Josh Gad.

Here are some notable social media posts:

Bette Midler, the actor, singer and comedian who starred with Keaton and Goldie Hawn in the 1996 comedy “The First Wives Club,” about three divorced women who seek revenge on their ex-husbands: “The brilliant, beautiful, extraordinary Diane Keaton has died. I cannot tell you how unbearably sad this makes me. She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star. What you saw was who she was …oh, la, lala!”

Kate Hudson: “We love you so much Diane ❤️🕊️”

Steve Martin, who co-starred as Keaton’s husband in the “Father of the Bride” films, reposted an exchange between Keaton and Martin Short:

Short: “Who’s sexier, me or Steve Martin?

Keaton: “I mean, you’re both idiots.”

Martin then commented on the post: “Don’t know who first posted this, but it sums up our delightful relationship with Diane.”

Josh Gad: “What a monumental loss. Diane Keaton in many ways defined my love of movies. From Annie Hall to the Godfather films, from First Wives Club to Baby Boom, from Father of the Bride to Something’s Gotta Give, here resume was nothing short of iconic and hall of fame worthy. I was very fortunate to work with her many years ago on an unproduced HBO pilot and what I found was one of the most humble, ruthlessly funny, and unbelievably talented human beings I’ve ever come across. In many ways, this year will be defined by the loss of a Hollywood we will never again see. There simply are no replacements for a Gene Hackman or a Robert Redford or a Diane Keaton. They were the mavericks who helped redefine movies for a generation. … My heart goes out to Diane’s entire family during this impossible moment. RIP”

Kimberly Williams-Paisley, the actor, author and director who played Keaton’s daughter in the “Father of the Bride” films: “Diane, working with you will always be one of the highlights of my life. You are one of a kind, and it was thrilling to be in your orbit for a time. Thank you for your kindness, your generosity, your talent, and above all, your laughter. 🙏🏻🕊️💔❤️❤️❤️”

Rosie O’Donnell: “oh this breaks my heart – love to her children- what style what grace – she will be missed #ripdianekeaton”

Octavia Spencer: “Today we lost a true original. @diane_keaton wasn’t just an actress: she was a force. a woman who showed us that being yourself is the most powerful thing you can be. From Annie Hall to Something’s Gotta Give, she made every role unforgettable. But beyond the screen, she brought joy, laughter, and style that was all her own… Thank you, Diane, for reminding us that authenticity never goes out of fashion.”

Elizabeth Banks: “She was beloved in her industry. Every one of us idolizes her. Her influence on culture, fashion, art and women can’t be overstated. She was a delight. I am proud I have a career that allowed me to meet her and breathe her air.”

Viola Davis: “No!! No!!! No!! God, not yet, NO!!! Man… you defined womanhood. The pathos, humor, levity, your ever-present youthfulness and vulnerability — you tattooed your SOUL into every role, making it impossible to imagine anyone else inhabiting them. You were undeniably, unapologetically YOU!!! Loved you. Man… rest well. God bless your family, and I know angels are flying you home”

For the past five years, I’ve been interviewing Hollywood professionals about what they wish they’d known when they were starting out. The entertainment business can feel opaque and overwhelming, and many who navigated it the hard way said they want to help level the playing field for those arriving with passion but without connections.

The best advice — which is collected in a book I co-wrote with my former Times colleague Jon Healey, “Breaking Into New Hollywood: A Career Guide to a Changing Industry” — was often about how they handled chaos. The key to longevity, many said, is how you manage the rejection, instability and heartbreak that are unavoidable in the industry.

And as Hollywood has weathered the COVID-19 pandemic, strikes, recessions and periods of contraction — some reports estimate Hollywood jobs were down 25% in 2024 from their 2022 peak — many of them have had to take their own advice. Decades-long industry veterans have pivoted to adjacent professions, including teaching and advertising. Some of them have left Hollywood altogether.

But others have landed their dream jobs. They’ve learned how to build something from nothing. They’ve gotten to show what they’re capable of, once someone finally gave them a chance.

The most sensible advice to give young people who dream of working in the entertainment industry, they said, is to run in the other direction — or at least have a backup plan. There are so many practical, safer choices that can result in a happy, fulfilling career.

But dreams have a way of resurfacing, no matter how deep you try to bury them. So here’s what I would tell my own kids if they felt Hollywood was their calling.

Learn how all the different parts of Hollywood come together and figure out which jobs best suit your skills.

Many people, when they imagine working in Hollywood, think of only the most high-profile jobs: actor, writer, director and producer. But Hollywood is made of hundreds, if not thousands, of careers, from pre-production, production and post-production, to representation (publicists, agents and managers), design and more.

Some questions you can ask yourself: Do I like being in front of the camera or do I prefer being behind it? Do I want to be on set or would I prefer a desk job? Do I want a leadership role or do I prefer going deep into the day-to-day details? This can help you determine which path you should pursue.

Consider whether this is something you’d do even if no one paid you to do it.

Many Hollywood professionals will tell you not to take unpaid gigs, as it devalues your work and the industry itself. But that’s different from the time and effort you’ll have to devote to becoming extremely reliable at your craft — as well as the work you’ll do to convince people to give you the job (filming auditions, developing pitch decks, building portfolios and creating demo reels).

People across the industry consistently told us it often takes five to seven years before you earn a living wage. You not only have to keep wanting to do it for that long, with no guarantees of success, but you have to see it as an investment in yourself as an artist.

Anchor yourself with two essentials: money and community.

People who come into the industry with wealth and connections will have an advantage. But if you don’t know anyone in the industry, be diligent about saving and investing the money that you’re making from your day job or side gigs.

Prioritize networking by joining or creating your own communities. Networking isn’t just about attending intimidating Hollywood events — it can also mean going to film festivals, taking classes, joining a gym, engaging with your favorite social media influencers, collaborating on passion projects, joining Facebook groups or finding other whisper networks.

Make friends inside of the industry who are going through the same struggles so you can lift each other up. But also make friends outside of the industry who will remind you that there is life outside of Hollywood.

Figure out how you’re going to distinguish yourself.

Hollywood is an extremely competitive industry. The harsh reality is that most people are replaceable. So why would a producer or showrunner hire you over someone else? What unique skills or viewpoints could you bring to a project? Figure this out; it will be your advantage and calling card.

And once you pinpoint what sets you apart, create your own work (whether it’s sketches, designs, animations, TikTok videos or web series) and put what you’re proud of online. You’ll need to get very comfortable with self-promotion. Make sure that you’re on people’s minds if a job opens up that you’d be perfect for.

Learn AI tools.

If I were talking to a current working professional about AI, we would discuss its ethical and legal implications and what unions can do to protect worker rights and fight for fair compensation.

But if I were talking to a young person starting their career, I’d say, embrace the technology and figure out how it can make you more — not less — creative.

Know that it’s good to take breaks from Hollywood — and OK to leave.

Hollywood veterans will tell you that they’ve seen the industry rise and fall, again and again. Each time there’s an upturn, it feels like it won’t last. And each time there’s a downturn, it feels like it might be the end.

If Hollywood is your calling, you owe it to yourself to try, but if your experience in the industry starts to resemble a destructive relationship, you owe it to yourself to take some space or call it quits.

But for as long as you’re out there hustling, have fun on the roller coaster and appreciate every moment you get paid to do what you love.

A federal jury on Thursday found hip-hop producer Metro Boomin not liable in his civil sexual assault case, after nearly a year of litigation. He is feeling more than relieved.

“I’m grateful and thankful to God that I can finally put all of this nonsense behind me,” the Grammy-nominated “Like That” musician said in a statement shared on Instagram after the verdict.

The jury sided with the 32-year-old artist, whose real name is Leland Tyler Wayne, after a brief trial that began Tuesday. He was cleared in all four actionable claims brought by Vanessa LeMaistre, who first raised her allegations in a lawsuit filed in Los Angeles in October 2024.

LeMaistre said in her initial lawsuit that she and Wayne struck up a connection in spring of 2016 amid their mutual grief: The musician had broken up with a longtime girlfriend and LeMaistre had lost a 9-month-old son “as a result of a rare and fatal disease,” according to court documents. LeMaistre alleged the assault occurred that September after he invited her to a recording studio to watch him work.

LeMaistre described the alleged incident as the “second worst thing that ever happened to her,” other than the death of her child. She also accused Wayne of impregnating her through rape and said she underwent an abortion.

The producer’s legal team quickly denied the allegations last October and dismissed the complaint as a “pure shakedown.” Attorney Lawrence C. Hinkle II echoed those sentiments Thursday in a statement shared after the verdict.

“We are extremely grateful for the jury’s careful consideration of the evidence and for reaching the correct decision,” Hinkle said. “The allegations against Mr. Wayne were frivolous and unequivocally false. Mr. Wayne has endured serious and damaging accusations, and today’s verdict confirms what he has always said — the plaintiff’s claims against him are completely fabricated.”

After Thursday’s verdict, LeMaistre attorney Michael J. Willemin said that although “the legal system is often stacked against survivors, our client showed unwavering fortitude throughout this trial.”

Willemin added: “We are disappointed in the outcome but are proud to represent Ms. LeMaistre and believe that the verdict will ultimately be overturned on appeal.”

Though the case — which was moved from L.A. County Superior Court to California Central District Court in December — ended in victory for Metro Boomin, he said in his statement it also resulted in a “a long list of losses.” He lamented the money and time “wasted” in the litigation process and said there had been an “incalculable amount of money and opportunities that did not make it to me or my team during this time.”

The Missouri-born artist also spoke about the case’s toll on his personal life, writing that “the trauma my family and I have endured during this dark period can never be forgiven.” He detailed adopting his youngest siblings and expressed concern over their possible online exposure to the case.

“I’m disappointed in not only the plaintiff but the janky lawyers who made the made the conscious decision to take on this suit, even though it was evident long ago that these claims had no legs or merit and would not end up going anywhere,” he said, later expressing gratitude for his own legal team.

Metro Boomin rose to prominence in the mid-2010s, working with rap stars including Young Thug, Future and Nicki Minaj. Over the years, he has also racked up collaborations with Drake, Kanye “Ye” West, Kendrick Lamar, SZA and Lil Wayne. Most recently, he reunited with Young Thug as a producer for Thug’s new album, “UY Scuti,” the rapper’s first since his release from Georgia’s Fulton County Jail last October.

With the case behind him for now, Metro Boomin concluded his statement by sending “peace and love to the actual victims out there as well as the innocent and accused.”

Apparently, love is blind to a healthy work environment. That’s what’s alleged in a new class-action lawsuit filed this week.

Stephen Richardson, a contestant on Season 7 of the Netflix dating show “Love Is Blind,” is suing the streaming service and the production companies behind the series, alleging they failed to pay overtime and minimum wages and didn’t provide accurate and itemized wage statements and uninterrupted meal periods. The class action was filed Monday in Los Angeles County Superior Court.

Richardson alleges in the lawsuit that producers wrongly classified him and the rest of the cast, who he says regularly worked 20-hour shifts, in order to pay them less. The lawsuit lists Kinetic Content, Delirium TV and Netflix as defendants.

Producers exerted “complete domination over [participants’] time, schedule, and their ability to eat, drink, and sleep, and communicate with the outside world during the period of employment” and further restricted participants’ actions after the show wrapped, the complaint says. The conditions were “unsafe and inhumane,” the lawsuit says.

“Love Is Blind” follows a group of single men and women searching for love the old-fashioned way, by communicating blindly through a wall. Couples are kept from each other until they establish an engagement, which pays off with unexpected facial reactions that express emotions including great dissatisfaction, confusion or a sigh of relief.

In recent years, the show has been hit with similar lawsuits from other former cast members. Last year, Season 5 participant Renee Poche and Season 2 veteran Nick Thompson filed a lawsuit against the production companies after she was penalized for breaching her contract by publicly discussing her experience on the show.

“I am now being sued for $4 million despite earning $8,000 for my participation on the show,” Poche told USA Today.

Poche alleged the production companies were retaliating against her for speaking about the working conditions she endured. After feeling “like a prisoner” while working on the show, she says, she was cut from the final version of the series.

Season 2 cast member Jeremy Hartwell sued Kinetic Content and Netflix in 2022 for allegedly violating labor laws and creating an “unsafe and inhumane” work environment. Then a number of unnamed former cast members spoke to Insider in April 2023, alleging producers subjected them to 20-hour production days, rarely allowed them to go outside, failed to provide adequate food and mental-health services and ignored their pleas for help.

Throughout the years, reality TV has tried to protect itself from real-life lawyers with nondisclosure agreements and provisions requiring disputes be taken to arbitration. The new complaint has Richardson as the named defendant along with “all others similarly situated.”

The accuser is looking for unspecified damages. Richardson, Netflix, Kinetic Content and Delirium TV did not immediately respond Wednesday to The Times’ request for comment.

Veteran producer Kim Harvey has been tapped to take over the “CBS Evening News,” which has lost viewers since a recent revamp.

The network announced Thursday that Harvey will replace Guy Campanile, a “60 Minutes” producer who joined the program last year.

Campanile, who was brought on by former “60 Minutes” executive producer Bill Owens when he oversaw recent changes at the newscast, will return to the newsmagazine.

“CBS Evening News” has been struggling to retain viewers since it replaced Norah O’Donnell, who held the anchor chair for five years.

Kim Harvey is the new executive producer of “CBS Evening News.”

(CBS News)

CBS News added John Dickerson and Maurice DuBois as co-anchors and put an emphasis on longer stories closer to the style of “60 Minutes.” But the program has failed to gain any traction against ABC’s “World News Tonight With David Muir” and NBC’s “Nightly News With Tom Llamas.”

Harvey’s appointment is likely a precursor to larger changes at the program, including a possible return to a single anchor and a more traditional approach to the newscast. She was a trusted lieutenant of O’Donnell during her run.

Harvey has been with “CBS Evening News” since 2017, eventually rising to senior broadcast producer. She is thoroughly familiar with the operation that has gone through three anchor changes since she arrived.

“Kim brings a sharp news sense and terrific track record of producing from across the broadcast and cable networks,” CBS News President Tom Cibrowski said in a statement. “She is a well-respected newsroom leader and her relationships with our on-air talent, producers and reporters run deep.”

Harvey’s career includes stints at the three major cable news networks. She started her career as a video journalist at CNN.

She spent several years at Fox News, where she produced “The O’Reilly Factor,” which was the network’s top prime time program before host Bill O’Reilly was ousted over sexual harassment allegations.

At MSNBC, Harvey was part of the team that launched “The Rachel Maddow Show” and “All In with Chris Hayes.”

The future of CBS News has been a subject of much speculation since the network’s parent company Paramount Global was taken over by Skydance Media.

Before the merger closed, Paramount Global agreed to pay $16 million to settle President Trump’s legal salvo against “60 Minutes” over the editing of an interview with his 2024 opponent, then-Vice President Kamala Harris. The lawsuit, considered frivolous by 1st Amendment experts, damaged the morale of the news division and likely led to the ouster of Owens in April.

The new owners have also promised the Federal Communications Commission that it will hire an ombudsman who will report to Paramount’s new president, Jeff Shell.

A Hollywood producer bilked film and business partners out of $12 million, claiming he was using their money to work on movies or other legitimate enterprises, but instead using it to buy expensive cars, houses and even a surrogate, prosecutors alleged Wednesday.

David Brown worked for years as a producer of indie Hollywood productions, burnishing his credentials as a producer of the film festival darling “The Fallout,” starring Jenna Ortega, which won the narrative feature competition at South by Southwest, as well as of “The Apprentice,” the movie about the rise of Donald Trump.

But even as Brown seemed to be putting together a successful producing career, federal prosecutors said, he was also defrauding numerous victims by siphoning funds that belonged to production companies and transferring the money to himself or businesses he controlled.

In an email to The Times for a 2023 article that documented the trail of fraud allegations that dogged him, Brown said he had made mistakes in the past, but denied defrauding anyone.

“I had to work really hard to get where I am today,” he said. “I had to overcome a lot. I had to fight for my place. … I’m not some bad guy.”

Brown was indicted Wednesday on 21 counts of wire fraud, transactional money laundering and aggravated identity theft. He had his first court appearance in South Carolina.

Prosecutors alleged that Brown, who lived in Sherman Oaks, used a series of tactics to defraud his business partners out of their money.

He convinced one victim to put money into a company called Film Holdings Capital, which was supposed to finance film projects. But Brown instead took the person’s money and used it for “maintaining his lifestyle and repaying prior victims … in a Ponzi-like scheme,” prosecutors said.

In other instances, Brown used production company funds to pay Hollywood Covid Testing, a company he controlled, “for services never rendered or already paid for,” prosecutors said.

He also told one victim that they could pool money and make a business flipping houses. He contributed little to the business and used some of the victim’s money for other purposes, prosecutors said.

Brown made sure to conceal his checkered past from potential business partners. He tried not to let them know about the 2023 article in The Times, or about the extensive litigation filed against him, according to federal prosecutors.

The 2023 article — for which The Times interviewed more than 30 people — detailed a series of allegations against Brown from his film partners, including that he forged Kevin Spacey’s signature and told film investors that Spacey had agreed to act as a main character in a film for just $100,000. But Spacey had not signed on to the film and did not even know what it was, his former manager told The Times. Brown denied forging Spacey’s signature.

Brown used the money he stole from his victims to make extravagant purchases, prosecutors said.

He bought a 2025 Mercedes-Benz G-Wagon and three Teslas, including a 2024 Cybertruck, prosecutors alleged. He used the funds to make mortgage payments on his home and to remodel the home and used about $100,000 to install a pool, prosecutors said.

He even bought a house for his mother using the ill-gotten cash, prosecutors alleged.

On top of that, Brown also allegedly used stolen money to pay $70,000 for surrogacy, private school tuition for his child and other services.

In all, he stole more than $12 million from his victims, prosecutors alleged.

Brown is in federal custody in South Carolina and will enter a plea to the charges at his arraignment in the coming weeks, according to the U.S. attorney’s office for the Central District of California.

Kingsmill’s owner has said it has agreed to buy rival Hovis and plans to merge the companies in a move that would create the UK’s biggest bread brand.

Associated British Foods (ABF) which also owns Primark, Ryvita and Twinings, said it would cut costs to make the two currently loss-making businesses profitable.

The Unite union represents workers at Hovis and Kingsmill and warned it would “not tolerate attacks on jobs, pay or conditions”.

Warburtons is the current market leader in UK breadmaking and the deal would need approval from the competition watchdog in order to go ahead.

Sales of Kingsmill and Hovis loaves are thought to have fallen flat due to a drop in demand for basic pre-packaged bread, as speciality breads such as sourdough and ciabatta took a bigger slice of the market.

Sandwiches and toast are also off the menu for some British consumers who are cutting back on carbohydrates in favour of high-protein diets.

ABF told investors on Friday it had reached an agreement to buy historic brand Hovis from private equity owner Endless.

It said the combined business would be “better placed to compete effectively” and to create new products “as a result of changing consumer tastes and needs.”

ABF’s Allied Bakeries business, which makes Kingsmill and Allinson’s bread, first confirmed talks over a potential deal three months ago.

Hovis, which was founded in 1890, was bought by Endless in 2020 from Premier Foods, which owns the Mr Kipling brand.

ABF said the deal would lead to “significant costs synergies and efficiencies” in an effort to create a sustainably profitable bread business.

George Weston, chief executive of ABF said: “This solution will create value for shareholders, provide greater choice for consumers and increase efficiencies for customers.”

But Unite general secretary Sharon Graham said: “While there is still a long way to go before any buyout happens, Hovis and Kingsmill must ensure that jobs are protected.”

She said Unite would be working to ensure the two brands fully involve the union in any decisions that impact its members.

The deal requires approval from the Competition and Markets Authority.

While “60 Minutes” will soon have a new owner, the CBS newsmagazine’s next executive producer is coming from inside the family.

Tanya Simon, a 25-year veteran of the program, will take on the role vacated by Bill Owens in April. She has served as interim executive producer since his departure.

She is the daughter of the late Bob Simon, one of the best known correspondents during the program’s 57 year history.

Changes at the top of “60 Minutes” have been rare. Simon will be only the fourth executive producer in the program’s history and the first woman.

Simon’s appointment will be a relief to the program’s staff, where morale has been rocked by parent company Paramount Global’s battle with President Trump. The correspondents of the program signed a letter to company co-chairman George Cheeks urging him to give Simon the job.

Simon will have the backing of her colleagues who are thankful they won’t be dealing with an outsider who might not value the program’s editorial rigor and independence. But she will be faced with the challenge of navigating the operation after one of the most difficult periods in its history.

Paramount Global agreed to pay $16 million to settle Trump’s lawsuit against “60 Minutes” over the editing of an interview with his 2024 opponent, then-Vice President Kamala Harris. Trump claimed the interviews was deceptively edited to aid Harris in the election.

The case was labeled as frivolous by 1st Amendment experts and the settlement widely seen as a capitulation to Trump in order to clear a path for Paramount’s $8-billion merger with David Ellison’s Skydance Media.

While “60 Minutes” did not issue an apology or acknowledge any wrongdoing, the program is likely to face intense scrutiny going forward. Critics will be looking for signs of the program pulling its punches in reporting on Trump. In order to clear the Paramount Global deal with the FCC, Skydance has agreed to name a news division ombudsman that will report to the company’s president for at least the next two years.

“Tanya Simon understands what makes ’60 Minutes’ tick,” CBS News President Tom Cibrowski said in. a statement “She is an innovative leader, an exceptional producer, and someone who knows how to inspire people,” “

Simon got her start at CBS News in 1996 as a researcher for its other newsmagazine “48 Hours.” She joined “60 Minutes” in 2000, working with correspondent Ed Bradley on a variety of reports including the 9/11 terrorist attacks on the World Trade Center. She went on to produce for nearly all of the program’s correspondents including her father.

Her work has earned virtually every major broadcast honor, including multiple Emmy Awards, the Peabody and the DuPont-Columbia Award.

Derek Dixon, the actor who raised allegations of sexual harassment against Tyler Perry, has broken his silence after suing the producer and media mogul for $260 million last month.

In his first interview since filing the bombshell lawsuit in June, “The Oval” actor Dixon told the Hollywood Reporter, “I couldn’t just let [Perry] get away with this.”

Dixon alleged in his complaint that when he worked for Perry from January 2020 to June 2024, the multi-hyphenate entertainer “sustained a pattern of workplace sexual harassment, assault and retaliation,” according to court documents reviewed by The Times. Dixon briefly appeared in BET’s “Ruthless” before landing a role in Perry’s “The Oval,” appearing in 85 episodes from 2021 to 2025.

“Everyone deserves to go to work and do their job without their boss trying to have sex with them,” Dixon said to THR in a story published Thursday. “My goal is to help ensure that the next generation of actors and creatives don’t have to choose between their dreams and their dignity.”

Seeking a response from Perry, The Times was referred Friday to the initial statement from Perry’s attorney Matthew Boyd, which denies Dixon’s allegations.

“This is an individual who got close to Tyler Perry for what now appears to be nothing more than setting up a scam,” Boyd said in the statement. “But Tyler will not be shaken down and we are confident these fabricated claims of harassment will fail.”

Dixon recalled to the trade outlet how he initially came to work for Perry and further spoke on the producer’s allegedly incessant attempts to spark a sexual relationship with his employee. In his suit, Dixon describes sexually suggestive text messages Perry allegedly sent, including one where he asks the actor “What’s it going to take for you to have guiltless sex?”

More damning were the allegations of sexual assault Dixon raised against Perry in his lawsuit. The 46-page complaint detailed multiple incidents, including one at Perry’s guest house in Georgia when the producer pulled down Dixon’s underwear and groped his buttocks. Dixon’s complaint also alleged Perry sexually assaulted him during a previous stay at his guest house and during a meeting in the director’s trailer.

According to the lawsuit, Dixon refused Perry’s advances and walked a fine line, keeping his interactions with Perry professional but friendly enough to remain in his good graces. Recalling the alleged assault in the trailer, Dixon said it would seem Perry would back off and “say things like ‘We need to just be business.’”

“And I would think, ‘Great. Yes.’ Every time I thought it would stop,” he said.

Dixon claims in his lawsuit that Perry leveraged his standing in the entertainment industry — specifically his ability to bring the actor’s own TV series to life — “to create a coercive, sexually exploitative dynamic.” The suit also says Dixon “woke up” in June 2024 and realized Perry was never going to be serious about helping Dixon ”grow his career.”

The actor reported the alleged abuse he experienced to the Equal Employment Opportunity Commission. Though the lawsuit claims the complaint was not investigated, THR reports the case is pending. He told the magazine he felt compelled to sue Perry because “I was an employee, and he was my boss.”

He added: “For a long time, I convinced myself that it was part of the industry, or that somehow I had to accept it to keep working. But eventually, I couldn’t stay silent anymore.”

Since suing Perry, Dixon told THR he has received mixed reactions, including threats online and support from people who claim they experienced similar misconduct by Perry. He also said he decided to publicly accuse Perry as he feels attempts to settle matters privately “never result in the type of change necessary to protect victims.”

Despite going public with his allegations against Perry, Dixon said he fears that the producer “will be able to continue doing this without any major consequences.”

Alec Baldwin and additional “Rust” movie producers have agreed to settle a negligence lawsuit brought by three New Mexico crew members who witnessed the 2021 fatal shooting of the film’s cinematographer.

Crew members Ross Addiego, Doran Curtin and Reese Price filed the lawsuit in 2023, seeking compensation for the trauma they said they suffered after Baldwin accidentally shot Halyna Hutchins. The crew members were setting up their gear in a small wooden church on the movie set when the shooting occurred.

In the lawsuit, the crew members blamed the tragedy on “dangerous cost-cutting” and a “failure to follow industry safety rules.” The movie’s star, Baldwin, also served as a producer on the low-budget western.

The plaintiffs sued Baldwin, his El Dorado Pictures company and Rust Movie Productions LLC, alleging negligence and intentional infliction of emotional distress. In the suit, the crew members argued that Baldwin and other producers “cut corners, ignored reports of multiple, unscripted firearms discharges, and persisted, rushed and understaffed, to finish the film.”

Baldwin and fellow producers have long denied such allegations.

Last week, the two sides asked a New Mexico civil court judge to dismiss the case.

“All claims have been settled and compromised,” attorneys for both sides wrote in a joint June 25 motion.

Terms of the proposed settlement were not disclosed. Representatives for the two sides declined to comment.

“Each party has agreed to bear its own costs and fees,” the lawyers wrote.

The film was running behind schedule the day of the shooting after camera crew members had walked off the set. The camera technicians have said they were frustrated by inaction over their complaints of a lack of nearby housing, rushed conditions and safety violations, including accidental gun discharges.

The shooting claimed the life of Hutchins, 42. She died that day, leaving behind her husband, their son and her family in Ukraine. The producers previously settled a wrongful death lawsuit brought on behalf of her husband, Matthew Hutchins.

The film’s director, Joel Souza, suffered a gunshot wound. He, Addiego and other crew members testified that they struggled for months with the physical and emotional toll after the shooting.

Addiego was the film’s dolly operator, responsible for operating the mechanisms for camera movement. Curtin was the set costumer, overseeing costumes and accessories. Price was the key grip, who handled the nonelectric support gear.

New Mexico authorities brought three criminal prosecutions, including against Baldwin, who pointed the gun at Hutchins during a setup shot for a close-up of Baldwin’s prop revolver.

Baldwin pleaded not guilty to involuntary manslaughter and his high-profile trial ended abruptly last July after former New Mexico 1st Judicial District Court Judge Mary Marlowe Sommer dismissed the charge.

The judge found the special prosecutor and Santa Fe County sheriff’s deputies had concealed evidence from Baldwin’s legal team, which the judge said prejudiced the case against Baldwin.

At the time, the actor-producer’s team was exploring whether prosecutors and sheriff’s deputies botched the investigation into how the bullets made their way onto the desert set.

The weapons handler Hannah Gutierrez was convicted of involuntary manslaughter following a two-week trial last year. The Arizona woman was released from prison last month after serving 14 months.

Assistant director David Halls was also charged. He pleaded no contest to negligent use of a deadly weapon and received a suspended six-month sentence.

Baldwin and other producers resumed production of “Rust” in Montana 18 months after Hutchins’ shooting. The film was released this spring.

The grandiose castle on “The Traitors” is an apt setting for the conniving game show, immersing players in a historic location in the Scottish Highlands. Both the U.S. and U.K. versions of the series use Ardross Castle, a 19th century structure once owned by the grandson of the creator of Worcestershire sauce. It’s now owned by the McTaggart family, who graciously allow “The Traitors” to take over multiple rooms and the vast grounds during filming.

“There’s something about coming to a place that’s so steeped in history and playing a game there,” says executive producer Rosie Franks. “The castle has contributed so much to the identity of the show. We’d struggle to make the same show without it. It is a gift of a location because you don’t need any TV trickery.”

“If it wasn’t for that environment, I don’t think the players would get so invested,” adds executive producer Mike Cotton. “That feeling of being somewhere special in the middle of an isolated place allows us to create this very three-dimensional world they can inhabit.”

Here, Cotton and Franks answer all of your burning questions about “The Traitors” castle.

How was Ardross Castle selected?

The producers looked at more than 40 castles. Scotland was always a draw, as was something with fantastical flourishes. “It’s like a Disney castle that’s got Gothic and dark undertones to it,” Cotton says. “We wanted something that had that feeling but also had a great hall where we could house the round table. We needed a really big room for that.”

One of the refurbished castle rooms where “Traitors” contestants roam freely.

(Euan Cherry / Peacock)

Do we see all of the castle on the show?

Not even close. When “The Traitors” first arrived, the team discovered that areas of the building were desolate. “There’s huge parts of that castle that we don’t use within our show because they’re not renovated or haven’t been touched for a long time,” Franks says. “Plus, to rig an entire 19th century castle with cameras would be a big job.”

“What you see onscreen is a majority of the downstairs of the castle,” Cotton adds. “The cast can roam free in our space, but obviously we can’t have them roaming free over the entire castle because it would be impossible to cover it.”

The castle’s size has led to new discoveries during the series’ run. “It wasn’t until Season 2 that we discovered it had this space that felt like a dungeon,” Cotton recalls. “When Phaedra asked Kate to become a traitor, she was in this dungeon. It was a discovery we didn’t realize was underground. We’d walked over it for a whole year.”

How many cameras are in the house?

There are about 50 cameras in the castle, most of which are hidden. In the great hall, the cameras are behind wood paneling that was built inside the room to surround the round table. There are also cameras in the pillars throughout the house in addition to actual camera operators. “A lot of the pillars look like they’ve been there for 50 or 100 years, but they’ve actually been built specifically for us,” Cotton says.

Not all of the cameras are recording at once. “We’ve got a gallery of screens where we can see all of them, and then we choose a certain number that we’re recording,” Franks says. “We’re located separately in a production village in the castle’s stable block, and we’re very hands off with the game.”

Does the set change from the U.K. to the U.S. editions?

The sets are mostly the same, but the art does change. For the U.S. show, there are pictures of Alan Cumming and Andy Cohen added to the walls. Occasionally, small trinkets will be swapped out.

A secret room, hidden behind a bookcase, was transformed into a wine cellar for Season 3.

(Euan Cherry / Peacock)

Does the set evolve between seasons?

Yes. The producers make “small alterations,” Franks explains. “We like to freshen up little bits each time,” she says. “We did create a little secret room, which has been through different iterations. Last season, it was a wine cellar you access through the bookcase.”

“It feels like it’s a real place,” Cotton adds. “Yes, we fill it with some slightly eccentric decor at times, but we want it to be its own thing. With all these big Scottish castles, they don’t redecorate every single year, so we don’t either.”

What was the inspiration for the round table?

The round table is 14 feet in diameter to accommodate all the players. Season 1 production designer Mathieu Weekes looked at the table on the original Dutch show, “De Verraders,” which featured a compass, and added the phases of the moon. It houses a few cameras and is as hefty as it looks. “The top is a really big, solid piece of wood that’s got some light slightly embedded in it,” Cotton says.

Are there Easter eggs in the decor?

Of course there are. The producers hide tongue-in-cheek details in the rooms each season. For example, the book that opened the wine cellar in Season 3 was titled “The Seer,” a nod to the big finale twist. “The artwork sometimes alludes to the tones of the show or things that are going on in the castle or missions,” Franks says. “We like to drip-feed viewers throughout so that the whole thing feels like a joined-up experience.”

“The Traitors’” round table.

(Euan Cherry / Peacock)

Do the players sleep in the castle during filming?

The producers refuse to answer this definitively because it could affect future games. “The success of ‘The Traitors’ really does rely on us maintaining the integrity of the game, and that includes us keeping the details of what happens behind the scenes a secret,” Franks says.

“Keeping the traitors’ identities secret is the No. 1 thing for us,” Cotton adds. “For everyone to go to their rooms and go to bed, and then for us to get the traitors back out is a military operation. As soon as we start to talk about exactly where they sleep and how it works, we’re really worried that might unpick it all. The players are desperate to find out who the traitors are and they’ll go to any means possible to do it.”

Does the show film all of the outdoor challenges on the actual castle grounds?

Cotton says about 90% of them are filmed on site. The other 10% are done at a nearby loch. But one of the main attractions to Ardross was its 2,000 acres of land. “It’s got a river that runs through it. It’s got its own hills, it’s got fields, it’s got forest, it’s got marshland,” Cotton says. “And we use all of that. Part of the appeal was that it has a huge natural playground around it that we could use for missions.” Are there any restrictions on using real fire when filming?

None. “The Traitors” even has its own fire team to light the medieval-looking torches around the castle. “We love fire,” Cotton says. “There’s nothing like when you go in somewhere and you can smell a wood fire. We always say that the game plays really psychological because they’re immersed. So much of that is down to the castle and the set and the smells.”