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Actor and playwright Ellen McLaughlin, who originated the role of the Angel in Tony Kushner’s “Angels in America,” has put her own modern spin on ancient Greek dramas. Her “Helen,” a satirical reworking of Euripides’ tragicomedy and the eternal beauty myth, ought to be better known.

McLaughlin’s modern verse “translation” of Shakespeare’s “Pericles” is now receiving its West Coast premiere at Boston Court Pasadena. I’m traditionally more resistant to playwrights fiddling around with Shakespeare than I am with them updating Greek tragedy. Making Shakespeare’s plays accessible is a noble goal, but there are other ways to go about this beyond modernizing the text and diluting its lyrical beauty and nuance.

When actors understand what they’re saying, audiences tend to catch their characters’ drift while absorbing poetry that’s still at the root of the English language. But “Pericles” isn’t a play that should raise purist hackles. There is an authorship question. The first two acts and the final three may have been written by different writers. There’s an assumption that the second half is Shakespeare’s, but scholars continue to quarrel over attribution.

Julanne Chidi Hill, Desiree Mee Jung, Adam J. Smith, Joel Swetow (center), Rio Rasch, Nicole Javier and Alexander Matos in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Whatever the scholarly truth, it’s safe to say that “Pericles, Prince of Tyre,” to give this late romance its full title, is a patchwork. A strange epic yarn ignited by incest and attempted murder, the play is crammed with shipwrecks and miraculous rescues, devastating suffering and last-minute recoveries. I don’t think I’ve ever read the final act without shedding tears. That said, the play requires an extra-strength dose of willing suspension of disbelief.

McLaughlin’s most notable change concerns the frame of the play, which now unfolds in a disaster relief center. The conceit is that the worried and impatient evacuees amuse themselves with an impromptu performance of “Pericles,” of all unlikely theatrical works.

Outside, a monstrous storm rages. Inside, under flickering lights, a group of reluctant strangers is coaxed into acting out, in a converted gymnasium, a wild tale promising redemption from agonizing tragedy.

Randolph Thompson, Nicole Javier, Joel Swetow Adam J. Smith, Desiree Mee Jung and Rio Rasch in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

The production, directed by Margaret Shigeko Starbuck, runs with the makeshift energy and comical freedom that this contextual shift allows. The characters aren’t professional actors, so it’s fine for them to wear their masks loosely. Flashlights illuminate darkened spaces. And props are improvised so that pool noodles are used for jousting and an earbud case serves as an engagement ring.

Joel Swetow, in the role of Gower, smoothly marshals the narrative, advancing the story from one delightful implausibility to the next, recapping what’s happened in the meantime and, when necessary, urging some of the more reluctant characters to stay with the performance. He also takes on the role of malevolent and benevolent kings, whom Pericles (an excellent Randolph Thompson) encounters on his tumultuous odyssey.

Most of the lead players lock into their roles once the performance of “Pericles,” the play within the adaptation, is underway. Thompson is particularly skilled at emotionally investing in his character’s plight even as the spontaneous production refuses to take itself too seriously.

Randolph Thompson, Joel Swetow and Nicole Javier in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

A little meta-theatrical hamminess goes a long way, and actors in general have a tendency to overdo the joke. I appreciated the restraint that the cast imposes on itself without spoiling the fun. Nicole Javier who plays Thaisa, Pericles’ seemingly doomed wife, and Troy Leigh-Anne Johnson, who plays Marina, Pericles’ transcendentally good daughter born into sorrow, ensure that we care about the fate of a man who trails disaster behind him.

Julanne Chidi Hill, Desiree Mee Jung, Adam J. Smith and Alexander Matos adroitly flesh out the world of a play that sets virtue and vice in neon opposition. Their sporting way of differentiating their roles keep the staging brisk and lighthearted, qualities that are cleverly maintained by a design team that conjures ocean swells with a metallic-looking sheet, royal garb out of contemporary casual wear and a deadly threat from a pocket umbrella.

I missed the rhythms of Shakespeare’s music, though the most compelling poetic imagery in the adaptation is from the original. But the biggest sacrifice, one that is never fully restored unlike Pericles’ grievous losses, is the emotional weight of the play’s climax. It’s hard to allow yourself to fully believe in the incredible turn of events when the prevailing attitude is so emphatically tongue-in-cheek.

Adam J. Smith, Joel Swetow, Nicole Javier, Julanne Chidi Hill, Jamie Gallo, Randolph Thompson and Rio Rasch in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Johnson’s Marina performs with lovely gravitas, as do Javier’s Thaisa and Thompson’s Pericles. But the rollicking jollity that accompanies the final two acts, which includes the entrance of pirates and the abduction of Marina to a brothel, robs the ending of some of its pathos. A touch more solemnity would not have been amiss.

My eyes for once failed to moisten. But I was nonetheless relieved that Pericles’ happy ending is intact — a reassuring sight in our age of successive disasters.

Love Island host Maya Jama’s mysterious role in the Gentlemen season two has been revealed.

Love Island icon Maya Jama has made her debut in The Gentlemen season two on Netflix.

A number of new faces are being welcomed into the fold of Netflix’s epic crime drama The Gentlemen season two, including Downton Abbey star Hugh Bonneville.

But someone who subscribers may not have been expecting to see in the eight-part second outing is Love Island presenter Maya Jama as it marks her first major scripted TV debut.

The only other acting experience that the 32-year-old has had was in a breif cameo role for Katherine Ryan’s The Duchess on Netflix six years ago.

With The Gentlemen season two now ready to binge-watch, fans are eager to find out all there is to know about Maya Jama’s role.

When does Maya Jama appear in The Gentlemen season 2?

It isn’t long before Maya Jama pops up on our screens as she features in the first episode of The Gentlemen season two.

She is mostly seen speaking to Kaya Scodelario’s Susie Glass but shows up once again in episode four.

Maya Jama’s The Gentlemen season 2 role explained

Maya Jama portrays a character named Aisha in the second season of The Gentlemen on Netflix.

She plays the wife of one of Eddie Horniman’s (played by Theo James) criminal associates, Prince Amir bin Abdullah al-Hadidi, brought to life by actor Amra Mallassi, reports the Express.

Susie Glass (Kaya Scodelario) describes her as a “clever girl” and “aspirational”, saying: “Looks after herself and everyone who comes within her orbit. She moved out to the Middle East five years ago to work in hospitality. Now she’s snagged herself a seat at the royal table.”

Talking about her experience shooting The Gentlemen, Jama described creator Guy Ritchie as “very personable” to Variety.

She continued: “He’s really kind and nice. He doesn’t feel as intimidating as you’d think, being who he is. He’s very personable and he would be like, ‘Yeah, you’re doing well’, and reassure me, which was really nice.

“He’s just really involved and kind of a genius to watch, because everyone’s practising their lines and then he says something that’s way better than the original. You just feel like you’re in the presence of greatness.”

The Gentlemen is available to stream on Netflix.

August Wilson’s “Ma Rainey’s Black Bottom,” the first of his plays to reach Broadway, catapulted the author’s playwriting career.

It’s the only drama in Wilson’s 10-play American Century Cycle not set in Pittsburgh’s Hill District. But the series might never have come to fruition were it not for the way “Ma Rainey’s Black Bottom” heralded the emergence of a major new American dramatist.

Although it’s still one of his most produced works, “Ma Rainey’s Black Bottom” has the hallmarks of an early piece. Wilson discovers his playwriting voice in this play, but he’s still working out his approach to dramatic structure.

I wasn’t champing at the bit to see another production of “Ma Rainey’s,” but I’m glad I didn’t miss this latest Wilson revival at A Noise Within, directed by Gregg T. Daniel. Acted with breathtaking ensemble naturalness, the play seems lived in rather than performed.

Francis C. Edemobi, from left, Amber Liekhus and CJ Obilom in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The voices of the characters come through as though we’re eavesdropping from a discreet distance on their banter and squabbles. There’s nothing more riveting on stage than the truth, and here we have human beings in all their flagrant, unadorned and seemingly irreconcilable complications.

Set in a Chicago recording studio in 1927, the play splits its focus between the title character, a fictitious re-creation of the great blues singer Ma Rainey engaged in a power struggle with her white industry overlords, and the exchanges of her sidemen, a quartet of Black men with markedly different ambitions and sensibilities.

Levee, the role magnificently played by Chadwick Boseman in George C. Wolfe‘s 2020 film adaptation, may have more of a claim on the protagonist role than even Ma Rainey, who’s the play’s thematic center. As she throws her diva weight around in defense of a talent born out of Black suffering, she crystallizes the racial politics that Wilson powerfully illuminates.

But Levee’s role is the most dynamic in the play. A trumpeter who wants to move the band in a more musically sophisticated direction, he’s written his own arrangement of the song “Ma Rainey’s Black Bottom” that they’ve come to the studio to record. But Ma Rainey insists on doing it her way, even if Levee’s version is more interesting from a jazz perspective.

Overcome with anger from a traumatic childhood in which he witnessed his mother being raped by a mob of white men, he can’t tolerate slights, big or small. And his fiery temper, igniting at every possible moment with his older and more accommodating bandmates, turns this snapshot of history into genuine tragedy.

Kai A. Ealy, from left, Alex Morris, Gerald C. Rivers and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The bedraggled studio has been visually renovated with the wood-slatted elegance of Tesshi Nakagawa’s scenic design. Daniel’s production demands that we experience the play in a fresh light. The period is respected but never allowed to become stiff or artificial. This isn’t a waxwork staging.

Standing microphones, placed on different tiers of the set, never let us forget that Wilson was first and foremost a conductor of voices. He bestows on his characters arias, and Daniel’s cast delivers them as though the words were expressly made for these particular actors.

Jamar Gilbert’s Levee moves through the world as if it’s a battle zone, which of course for him it has been. Conflict has dogged him his entire life, and injustice is what he’s come to expect. His focus is on himself, his music, his sensual pleasures and his determination not to be anyone’s victim. He takes as much pride in the shine of his new shoes as he does in the flirtatious giggle of a pretty woman.

Toledo (Gerald C. Rivers), the philosopher and historian of the group, tries to broaden Levee’s perspective, but the two men have a knack for getting under each other’s skin. Their antagonism is fueled in part by Levee’s immaturity, but there’s also a divide in their worldview: Levee wants society to change in time for him to make good while Toledo is more concerned with the collective spirit of his people.

Meanwhile, Slow Drag (Alex Morris) mostly wants to get on with the session, collect his money and enjoy life as it was meant to be enjoyed, with whiskey, a little reefer and good-looking women. Cutler (Kai A. Ealy) tries to be a moderating influence, but he winds up as exasperated by Levee as Toledo.

Alex Morris, from left, Amber Liekhus and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The authenticity of the production encompasses the music. These actors don’t mime making music, as is often the case in revivals. They jam together, modestly but effectively enough to make their recording session real to us.

There’s nothing at all modest about Amber Liekhus’ musical talent. Indeed, Liekhus is the first actor who was able to convince me that the character of Ma Rainey really is a professional, jobbing singer. She doesn’t imitate being the mother of the blues, as her character is known. She earns the distinction through the wondrous depths of her soulful singing.

She refuses to be bulldozed by either Irvin (Bert Emmett), her manager, or Sturdyvant (Matt Foyer), the owner of the recording studio, knowing full well that they depend on her gift for their pile of money. Her insistence that Sylvester (Francis C. Edemobi), her nephew with a pronounced stutter, speaks the intro to her new record, is her way of asserting human control over corporate greed.

Liekhus’ Ma Rainey isn’t merely being temperamental, as Sturdyvant and Irvin assume. She’s using her limited leverage in whatever ways she can. There’s something touching about her imperiousness, a regal vulnerability that shines through even in her romantic interaction with Dussie Mae (CJ Obilom), whom Levee has his predatory eye on.

The honesty of the acting is so enlivening that I’m tempted to rank this production among the very best Wilson revivals I’ve seen. If there’s one slight misstep, it happens at the play’s violent climax. The moment makes perfect psychological and dramatic sense, but the confrontation needs a few more beats than Daniel allows.

But this encounter with “Ma Rainey” reveals that even early Wilson can, in the right hands, offer unadulterated playwriting greatness.

Niger’s military government has contained an attempted mutiny in the capital, but the uprising has exposed tensions inside an army struggling to contain persistent attacks by armed groups.

It has also highlighted the changing nature of Niger’s security partnerships, with Russian personnel helping government forces contain the unrest.

The mutiny began on Saturday at Base 101, a military installation at Diori Hamani International Airport in Niamey, before fighting spread to other sensitive sites, including areas near the presidential palace and the state broadcaster.

Niger’s army said it regained control of the base after hours of fighting. State media reported that dozens of soldiers were killed or arrested, although Reuters said it could not independently verify the figures.

Russia’s Africa Corps was involved in the government’s response.

Russia’s ambassador to Niger, Viktor Voropaev, said Nigerien authorities requested the force’s assistance to neutralise the mutineers. The Associated Press reported that Africa Corps provided ground and aerial support to forces loyal to the government.

The intervention is significant because Russian forces were helping Niger’s military government confront an armed challenge from within its own military.

What happened in Niamey?

The unrest began with a hostage situation at the military base, according to the Associated Press. Soldiers took fellow servicemen hostage before opening fire and attacking what Niger’s Defence Ministry described as “sensitive” sites in the capital.

Gunfire and explosions were heard around the airport, while the state broadcaster was temporarily taken off air. The presidential palace was also targeted, according to Reuters and Al Jazeera.

Government forces eventually regained control of Base 101, while the Presidential Guard remained loyal to General Abdourahamane Tiani, who seized power in a July 2023 coup.

The precise size and leadership of the mutiny remain unclear. Nigerien state media said hundreds of soldiers were involved, but Reuters said it could not independently verify that figure.

Some of those involved were reportedly from areas including Ouallam, Tera and Dosso in southwestern Niger, where the army has suffered heavy losses fighting armed groups.

The uprising appears to be the most serious internal challenge to Tiani’s rule since he came to power.

Why are Niger’s soldiers under pressure?

The precise motives of the mutineers have not been publicly established.

But analysts and security sources have linked the unrest to frustration over worsening insecurity and heavy military losses.

Niger’s army has been fighting groups affiliated with al-Qaeda and ISIL (ISIS), particularly in the country’s west.

Reuters reported that an attack by an ISIL affiliate earlier this month killed 18 Nigerien soldiers. The airport complex where Base 101 is located was also attacked earlier this year, including in January by an ISIL affiliate and in June by Jama’at Nusrat al-Islam wal-Muslimin (JNIM), al-Qaeda’s Sahel affiliate.

The mutiny therefore came against the backdrop of the same security crisis that helped bring the military government to power.

Tiani and other officers who seized power in 2023 accused the elected government of failing to contain armed groups and promised to restore security. But the threat has persisted.

The unrest raises questions about the pressure facing front-line units as Nigerien forces continue to suffer casualties in their fight against armed groups.

Why did Africa Corps intervene?

Africa Corps is a Russian force operating under the Ministry of Defence that took over much of the Wagner Group’s role in Africa after Moscow reorganised its operations following the death of Wagner leader Yevgeny Prigozhin in 2023.

The force includes former Wagner personnel and operates under Russian state control.

Africa Corps personnel are stationed at Base 101, according to AP, which reported that the force has between 200 and 300 personnel in Niger.

Voropaev said Niger had requested Russian assistance during the mutiny.

AP reported that Africa Corps provided ground and aerial support after forces loyal to the government struggled to regain control of the base.

The episode does not establish that Russia controls Niger’s armed forces.

But it demonstrates that when Niger’s military government faced an armed challenge from within its own military, it was able to call on Russian forces already operating inside the country.

That underscores how significantly Niger’s post-coup security arrangements have changed.

What does Russia gain from Niger?

Niger’s relationship with Russia has deepened since the 2023 coup.

The military government pushed French forces out of the country, while United States forces later withdrew. Niger also joined Mali and Burkina Faso in forming the Alliance of Sahel States (AES), as the three military-led governments moved away from the Economic Community of West African States (ECOWAS).

Moscow has cultivated closer military ties with all three governments.

Africa Corps is part of that wider security relationship, taking over much of Wagner’s former role while operating under Russian state control.

Its intervention in Niamey gives that partnership a new dimension.

Russia was not simply helping Niger fight armed groups. Its personnel were involved in helping the government respond to an armed challenge from within the military itself.

Whether that translates into greater Russian political influence over the military government remains unclear.

What role did Algeria play?

Russia was not the only foreign actor to support Niger during the crisis.

Niger’s presidential office said Algeria provided military assistance. Reuters reported that Algeria sent four fighter jets, a transport aircraft and a refuelling tanker.

The Alliance of Sahel States also backed Niger’s military government, while Turkiye expressed solidarity and called for restraint.

It was not immediately clear whether Mali or Burkina Faso provided direct military assistance. Their political support should therefore not be presented as evidence that their forces participated in suppressing the mutiny.

What does this mean for France and the UK?

The crisis highlights the reversal of Western military influence in Niger.

France had a major military presence in the country as part of its wider counterinsurgency campaign in the Sahel, but French forces withdrew after relations with the military government collapsed following the 2023 coup.

The US subsequently withdrew its forces from Base 101 and Niger’s other military installations.

Niger has since moved closer to Russia and strengthened its ties with Mali and Burkina Faso.

There has been no confirmed new French or British military response to this specific mutiny in the latest reporting.

France’s relevance is therefore primarily its withdrawal from Niger and the resulting shift in the country’s security partnerships. The United Kingdom had a much smaller military role in Niger than France.

Can Russia solve Niger’s security problem?

Africa Corps may have helped the military government contain the immediate threat, but its intervention does not resolve Niger’s wider security crisis.

Armed groups linked to al-Qaeda and ISIL remain active, while Nigerien soldiers continue to face heavy losses.

Tiani came to power promising greater security and sovereignty. Yet three years later, the armed-group threat persists, and soldiers have mounted an internal challenge to the government.

Russia can provide personnel and operational support. But there is no evidence from this episode that the Africa Corps can by itself resolve the insecurity driving Niger’s conflict or the pressures facing its military.

The immediate challenge to Tiani has been contained.

But the episode exposes a difficult contradiction for Niger’s military government: it seized power promising to make the country more secure, yet it continues to face a serious rebellion while confronting unrest within the armed forces.

For Russia, meanwhile, the crisis demonstrates the practical value of its growing security relationship with Niger.

When the government faced an internal military crisis, Africa Corps was already on the ground.

That does not mean Russia has replaced Niger’s own armed forces.

But it shows how far Niger’s security architecture has shifted since the 2023 coup, from one heavily reliant on Western partners to one in which Russian forces now have a visible supporting role.

Tom Cruise is set to film a sequel to his 1990 NASCAR hit “Days of Thunder’ with Anne Hathaway, both actors announced in a video posted Saturday on social media.

The Paramount Pictures movie with Cruise reprising his role as NASCAR driver Cole Trickle and Hathaway playing a team owner and engineer will be filmed in IMAX and is expected to be released in the summer of 2028.

Jonathan Levine, whose credits include “Warm Bodies” and “Long Shot,” is directing, and Jerry Bruckheimer and Tommy Harper are producing along with Cruise.

The original film, which earned $157.9 million worldwide at the box office, was directed by the late Tony Scott and starred Robert Duvall, Randy Quaid, Cary Elwes, John C. Reilly and Nicole Kidman, who met Cruise during filming in 1989. The couple married in 1990 and divorced in 2001.

The sequel movie will see Cruise and Bruckheimer join forces again on another legacy sequel after their work on 2022’s Top Gun: Maverick, which came out 36 years after the original blockbuster and grossed $1.5 billion.

Hathaway, who won a best supporting actress Oscar in 2013 for her role in “Les Misérables,” currently stars in the epic drama “The Odyssey,” one of a string of big films including “The Devil Wears Prada 2” the actress starred in this year.

The star is a mainstay on British screens now but was just at the start of the their career in the costume drama

One of the stars of Silent Witness looks worlds away from their role on the BBC crime drama in these images from their first big screen role.

The star was just starting out at the time they landed a part in BBC’s iconic 1995 Pride and Prejudice adaptation with Colin Firth and Jennifer Ehle. Emilia Clarke took on the role of Mr Darcy’s younger sibling Georgiana Darcy in Jane Austen’s cherished romantic classic.

The role saw her character Georgiana making friends with Ehle’s witty Elizabeth Bennet, who was the object of her brother’s affections. The role was just the beginning of an impressive career that saw Fox going on to feature in the BBC’s 1999 Charles Dickens adaptation of David Copperfield, Randall & Hopkirk (Deceased), and Oscar-winning film The Pianist with Adrien Brody.

The BBC’s 1995 version of Pride and Prejudice is still considered by many to be the most faithful screen adaptation of the literary classic. However, Netflix will be hoping to steal this crown when it launches its version of Pride and Prejudice starring Emma Corrin and Jack Lowden.

Fox spoke last year on Kate Thornton’s White Wine Question Time podcast about starring in Pride and Prejudice. She explained how she had “tiny, weeny, weeny part in it” in the Regency series.

She went on to admit that she’d never actually seen Pride and Prejudice, despite starring in the series because she was at university at the time, studying at St Catherine’s College, Oxford.

Nonetheless, Fox said she still had plans to watch Pride and Prejudice at some point. She praised the cast of the drama, which also includes David Bamber, House of Cards actress Susannah Harker, Gavin and Stacey star Alison Steadman and Jonathan Creek’s Julia Sawalha.

Fox hails from an acting dynasty, with her brother being White House Farm and House of the Dragon star Freddie Fox. Meanwhile, her actor parents are Joanna David and Edward Fox.

Her uncle is The Remains of the Day actor James Fox and her cousins are Lewis star Laurence Fox, Sanditon’s Jack Fox, and Lydia Fox. The star has been portraying forensic pathologist Dr Nikki Alexander in BBC series Silent Witness since 2004 after taking over as the show’s lead from Amanda Burton.

Despite being busy on Silent Witness, Fox has managed to squeeze in other projects, such as Legend Has It, Signora Volpe, The Trial of Christine Keeler, and Delicious. She is next going to be featuring in the forthcoming season of Silent Witness, which will be out in 2027.

Pride and Prejudice is streaming on U and BBC iPlayer now

The U.S. Air Force has stood up a new squadron at Andrews Air Force Base to manage the arrival of HH-60W Jolly Green II helicopters to replace aging UH-1N Twin Hueys. Originally designed for combat search and rescue (CSAR) missions, the HH-60Ws assigned to the 5th Helicopter Squadron will be in a specialized configuration to take on the tasks of ferrying VIPs around the nation’s capital and supporting continuity of government plans. Questions have been raised about using Jolly Green IIs in these roles, and how this may impact the ability of the overall fleet of these helicopters to meet CSAR demands.

The Air Force held a ceremony at Andrews yesterday to mark the formal activation of the 5th Helicopter Squadron, also sometimes abbreviated as 5 HS. The 1st Helicopter Squadron (1 HS), with its UH-1Ns, will continue to operate throughout the transition to the HH-60W, which is expected to be completed in 2030, to avoid any gaps in capacity to meet critical operational requirements. A total of 26 Jolly Green IIs are set to be based at the facility, which is situated just outside Washington, D.C., a one-for-one replacement for the Twin Hueys that are there now. The arrival of the new helicopters will also lead to a small increase in total personnel, 60 in total, at Andrews.

The Air Force originally planned to supplant all of its UH-1Ns worldwide with new MH-139 Grey Wolf helicopters, which is a more direct replacement in terms of size and capability. The service is still acquiring MH-139s to supplant UH-1Ns elsewhere, including ones assigned to Air Force Global Strike Command (AFGSC) units that help provide security around Minuteman III intercontinental ballistic missile (ICBM) silos. We will come back to this later on.

“The HH-60W’s increased speed, range and carrying capacity will better deliver safe operations for U.S. senior leaders, service members, and the communities around the region,” the Air Force said in a press release regarding the 5th Helicopter Squadron’s activation.

The Jolly Green II also has in-flight refueling capability, something that is not found on the UH-1N or MH-139, and could be very valuable for missions around Washington, D.C. The HH-60Ws heading to Andrews are set to receive additional modifications, including to the main cabin seating arrangement, communications suite, and defensive capabilities, as you can read more about here.

Combat Rescue Helicopter Successfully Executes Major Test Milestone: Aerial Refueling

“In the next few years, the 5 HS will train aircrew and maintainers, establish operational and maintenance processes, and receive new aircraft as it prepares to execute the national security mission within the National Capital Region,” the release yesterday added.

National Capital Region (NCR) refers to a larger area that surrounds Washington, D.C., proper. Air Force operations in and around the NCR are primarily managed through a unit called the Air Force District of Washington (AFDW).

The HH-60Ws will be taking over an AFDW mission set from the UH-1Ns that currently includes daily airlift sorties transporting U.S. and foreign VIPs around the nation’s capital. The helicopters will also be in position to swing into action as part of continuity of government plans. In such a scenario, the Jolly Green IIs would be tasked to help rush senior officials and lawmakers to safety to ensure the continued functioning of federal authorities following an attack or a similarly serious contingency. 1st Helicopter Squadron’s role in responding to the terrorist attack on the Pentagon on 9/11 was highlighted during the activation ceremony at Andrews yesterday.

The NCR presents particular challenges for crisis response missions and routine day-to-day flight operations. The airspace around Washington, D.C., is most densely defended and heavily monitored anywhere in the United States, and packed full of military and civilian air traffic every day. Where and when military helicopters can operate over the nation’s capital has been a hot topic of debate since a fatal mid-air collision involving an Army UH-60 Black Hawk and a PSA Airlines Bombardier CRJ700 regional jet in January 2025. The Black Hawk was conducting a continuity of government training flight at the time. This has been more recently highlighted by an incident involving a Marine One helicopter carrying President Donald Trump earlier this month. A subsequent Federal Aviation Administration (FAA) investigation has highlighted communication issues and factors tied to the construction of a new helipad at the White House.

It is also worth noting here that Marine Helicopter Squadron One (HMX-1), the primary unit responsible for the Marine One presidential helicopter mission, would play a role in any continuity of government scenario in the NCR. Helicopters from the U.S. Park Police, as well as ones belonging to other law enforcement and civilian agencies, would be utilized, too.

Military and police helicopters land at the US Capitol this evening.

As mentioned, there are significant questions about the impacts of basing HH-60Ws at Andrews will have on the rest of the Air Force’s Jolly Green II fleet. This is something TWZ highlighted when the Air Force confirmed it was moving ahead with the AFDW HH-60W plan with the release of its 2027 Fiscal Year budget request earlier this year.

A particular issue is the Air Force’s decision years ago to scale back total purchases of HH-60Ws, from 113 helicopters down to 91. If the service does not order more Jolly Green IIs in the coming years, this will mean that roughly a third of the entire fleet will be assigned to the AFDW mission.

Up close with the HH-60W Combat Rescue Helicopter at Nellis AFB for The War Zone.

The Air Force previously confirmed the plan will involve taking HH-60Ws out of “back up inventory.” In the past, the service has defended this decision as being “more cost effective” than a move to “procure additional MH-139A aircraft” to meet AFDW requirements. Whether or not there were other specific operational considerations that factored into the decision to use Jolly Green IIs to meet these needs instead is unknown. The acquisition plan for the Grey Wolf has also been significantly truncated, with the Air Force now planning to buy just 56 of these helicopters instead of 80.

“The MH-139A Grey Wolf was competitively selected to replace the UH-1N for intercontinental ballistic missile security and National Capital Region missions, including continuity of government and transport of United States government officials and security forces,” members of the House Armed Services Committee wrote in a report accompanying a draft of the annual policy bill, or National Defense Authorization Act (NDAA), for the 2027 Fiscal Year, back in May. “The committee remains concerned regarding the justification for transitioning these missions to an alternate rotary-wing platform and seeks additional details on cost and operational implications.”

At that time, the House Armed Services Committee explicitly directed “the Secretary of the Air Force to submit a report to the congressional defense committees not later than December 1, 2026, assessing operational, cost, infrastructure, and readiness impacts of assigning any non-MH-139A rotary-wing aircraft to continuity of government and transport of United States government officials and security forces in the National Capital Region.” The lawmakers stressed that the report had to include “a comparison of procurement cost, cost per flight hour, infrastructure and aircraft modification requirements, and training and manpower impacts” and an assessment of the cost, schedule, and operational disruption associated with required upgrades to Joint Base Andrews facilities for each aircraft type.”

Separate questions have been raised in recent years about the utility of traditional CSAR helicopters in future operations, especially in the context of a high-end fight, such as one between the United States and China in the Pacific. Air Force officials openly talked about exploring alternatives for rescuing aircrew downed deep inside contested environments, but details about those plans remained limited.

At the same time, demand for traditional CSAR capabilities has certainly not gone away entirely. This was underscored by the operation to retrieve the crew of an F-15E Strike Eagle that went down inside Iran in April. HH-60Ws were part of the larger force package sent into Iranian airspace to help recover those aviators.

In the meantime, the Air Force’s UH-1Ns, a type the service first began operating in the early 1970s. are only getting older and harder to sustain, too. Three of the UH-1Ns currently assigned to 1st Helicopter Squadron saw combat during the Vietnam War. Just last week, one of the unit’s Twin Hueys made a precautionary landing in an open field in Maryland “after experiencing unusual mechanical noise” while on a training flight. This is hardly the first time such an incident has occurred.

There is a possibility that Congress could more directly intervene in the Air Force’s move to start flying HH-60Ws around Washington, D.C. With the expectation that UH-1Ns will remain in service at Andrews for another four years, there is time for the service’s own plans to evolve further.

With the activation of 5th Helicopter Squadron, the Air Force has now taken an important step toward an all-new helicopter force in the nation’s capital.

Contact the author: joe@twz.com

JAMES Bond could see it’s first ever husband and wife casting as Saoirse Ronan pitches for a villain role – and Jack Lowden is up for 007.

The actress, 32, who tied the knot with Jack in 2024, has teased that she could be in the upcoming blockbuster Bond 26.

Lady Bird star Saoirse recently told Empire magazine: “I want to go dark. I said that I wanted to be a Bond villain, and I’m dead serious.

“I think it would be really interesting, having a young, female villain.

“Especially for girls and women, to see someone who can just take all that pent-up anger and direct it somewhere.”

The pair welcomed their first baby into the world after being spotted with a pram in public back in September last year.

unlikely star

New Brit actor ‘makes James Bond shortlist’ as screentests ‘begin in days’

BOND BLOWOUT

Brit A-list Hollywood actor rules himself out of 007 role saying ‘I’m too old’

Her husband has been tipped as one of the stars to take on the role of James Bond, following on from Daniel Craig, who has played agent for the last 15 years.

Jack has been a huge fan favourite since taking on the role of MI5 agent River Cartwright in Apple TV+’s Slow Horses.

He’s also been in the likes of Pride and Prejudice, The Gold, War & Peace, The Long Song, Wolf Hall, Mrs Biggs and The Tunnel.

Meanwhile Saoirse has starred in Little Women, Lady Bird, The Lovely Bones, Hanna and Mary Queen of Scots.

There are some pretty huge names in the mix for the next Bond.

The likes of Jacob Elordi, Callum Turner, Harris Dickinson, Anthony Boyle  and Tom Hardy have been some of the names.

And New Brit actor Jack Barton has been thrown in there too.

It comes shortly after The Sun exclusively revealed that the new 007 writer shared an unexpected update on the Bond script.

The upcoming film could possibly relocate from MI6 in London to Birmingham.

Its writer Steven Knight has a long-standing love affair with the Midlands, the home of his smash hit Peaky Blinders and drama This Town.

The screen giant is considering a Brummie background for the spy’s next outing.

Steven told The Sun: “I’m loving working on the Bond film — I’m tempted to set it in Birmingham.

“I’m always tempted to do that on everything I work on!”

Knight has been drafted in by Amazon MGM Studios, which bought creative control of the Bond franchise for £790million last year.

Sharing an update at the launch of the Peaky Blinders Underworld immersive game, he went on: “Writing this film is like working for King and country. I feel like it’s my duty.

“Seriously, I’m such a big fan of the whole Bond franchise. To be able to be the person who is writing the next one is genuinely an honour and it’s a dream.

“Making Peaky Blinders has been amazing and doing Bond is beyond that.”

After Tim Curry finished playing the flamboyant Dr. Frank-N-Furter — first onstage, then in the 1975 film “The Rocky Horror Picture Show” — the actor never returned to the role that made him famous. Not once, over decades of “Rocky Horror” revivals from the West End to Broadway, did he ever put those fishnets back on.

For Curry, who died Tuesday at 80 in Los Angeles, there were too many characters to play, and too much fun to be had, for him to spend much time looking back.

“I’ve always moved on,” Curry told me last year, sitting in the Roxy Theatre on the Sunset Strip, where he’d played Frank to great acclaim in 1974, after originating the role in London. “That was part of the attraction of being an actor. I really didn’t want to come out of the same box every time.”

Last year, as “The Rocky Horror Picture Show” was being celebrated for its 50th anniversary, he agreed to meet at the Roxy, which he called “another home for me.” The stage show there had been a local sensation, and it was clear he still had pride and great affection for his role in the movie adaptation, which remains the longest continuous theatrical release in film history.

A stroke in 2012 left him partially paralyzed, interrupting a busy acting career. But he was quick to laugh and joke as he remembered playing Frank, including his nightly entrance at the Roxy, marching down a catwalk in heels and Dracula cape. The long life that “Rocky Horror” has enjoyed as a midnight movie, with shadow casts of costumed fans lip-syncing along, was a surprise to everyone.

Frank-N-Furter was a vivid invitation to fans to let their own freak flag fly. Even amid the era’s accelerating glam rock movement, “Rocky Horror” pushed the boundaries of mainstream pop culture as an outré musical about a mad scientist with a theme song called “Sweet Transvestite.”

“It was part of the sexual revolution, really,” Curry said of the film and its audience. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”

He was also pleased with other roles that showed off his gifts, including a 1982 film version of “Annie,” directed by John Huston. Curry was the playfully crooked Rooster Hannigan, and had a standout scene singing and dancing in a pencil mustache and slicked back hair to “Easy Street,” alongside Carol Burnett and Bernadette Peters.

Tim Curry, left, in the 1985 movie “Clue.”

(American Cinematheque)

In 1996’s “Muppet Treasure Island,” Curry was a duplicitous but layered Long John Silver, a wild-eyed pirate motivated by greed but with a hint of humanity, as he sang songs and grappled with the strange, felt-covered puppet heroes.

“I love the Muppets,” he said last year. “One of the things that used to fascinate me was that the Muppeteers, when they had the Muppet on their hand, would only speak to you as the character. If you said, ‘Hello’ or ‘What’s the weather like outside,’ they would tell you as the character.”

Never humorless, Curry played the ruthlessly villainous Cardinal Richelieu in the 1993 adaptation of “The Three Musketeers.” Conceived as a vehicle for several Brat Pack actors of the time including Charlie Sheen and Kiefer Sutherland, the film nonetheless belonged to Curry, who relished every line of villainy. The actor again stole the show with theatrical flair as the Lord of Darkness in Ridley Scott’s bleak 1985 fantasy “Legend,” playing a demonic horned figure opposite Tom Cruise.

Curry brought the same energy to more relatable comedic roles in the beloved ensemble mystery “Clue” as the highly suspect Wadsworth the Butler, and “Home Alone 2,” as a four-star hotel concierge outmatched by a 10-year-old boy hero.

“Rocky Horror” gave him a film career and even led to a music sideline, with the 1979 radio hit “I Do the Rock.”

“When I did ‘Hair’ in London, my first gig, I was not sure whether I wanted to be a singer or an actor,” Curry told me. “And doing that show kind of postponed the decision long enough and I realized that I really wanted to be an actor more than anything, and I took it very seriously. And worked with the Royal Shakespeare Company. I saw myself having the trajectory of a serious English actor.”

The roles turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.

British actor Tim Curry, who famously commanded attention as the seductive mad scientist Dr. Frank-N-Furter in cult classic oddball musical “The Rocky Horror Picture Show,” has died. He was 80.

The Daytime Emmy-winning actor’s longtime manager and friend Marcia Hurwitz confirmed that Curry died Wednesday at his home in Toluca Lake, in a statement shared with The Times. A cause of death was not revealed. The Cheshire native suffered a stroke in 2013, impairing his ability to walk. Though he remained in a wheelchair until his death, the actor continued working through his final years.

“Though widely known for his inimitable, flamboyant characters and colorful stage performances,” the statement said of Curry, “his greatest legacies to those who knew him were his curious, expansive mind and generous, gentle heart, both of which remained open and filled with anticipation until his final breath.”

Curry is best known for originating the role of Dr. Frank-N-Furter, the self-proclaimed “Sweet Transvestite” and purveyor of pleasure who guides a stranded young couple — and audiences — through an unpredictable evening of sexual exploration and liberation. He debuted the offbeat experimental musical in fishnets and pearls in 1973 on the tiny stage upstairs at the Royal Court Theater in London, where it first became an underground sensation.

“The Rocky Horror Picture Show” hit the big screen in 1975, with Susan Sarandon as Janet and Barry Bostwick as Brad. A rock ‘n’ roll take on sci-fi and horror B-movies, “The Rocky Horror Picture Show” became the original midnight movie that endeared generations of audiences with its flamboyant characters, spawned interactive screenings across the country and secured its spot in the pop culture lexicon.

“It was part of the sexual revolution, really,” Curry told The Times in 2025 upon the film’s 50th anniversary. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”

Curry flexed his versatile acting through more than Frank-N-Furter’s showy elevator debut and his vulnerable “I’m Going Home” finale. He was also a sinister Pennywise in the miniseries adaptation of Stephen King’s “It,” a secretive butler named Wadsworth in “Clue,” and the evil Lord of Darkness in “Legend.” A screen chameleon capable of morphing from the supernatural to the pedestrian, Curry was also known for his work as fabled pirate Long John Silver in “Muppet Treasure Island” and as a skeptical hotel concierge in “Home Alone 2: Lost in New York.”

He was a prolific voice actor known for the environmental classic “FernGully: The Last Rainforest” and TV series “The Wild Thornberries,” “Star Wars: The Clone Wars,” “Over the Garden Wall” and “Aaahh!!! Real Monsters.”

Timothy James Curry was born April 19, 1946, to father Jim Curry, a Navy chaplain, and mother Maura Curry. After losing his father at age 12, Curry earned a scholarship to the Kingswood School in Bath. Curry’s grandfather took him to music halls, fostering his love for the art.

“I was really taken with the great Technicolor musicals; it’s the form that’s closest to my heart in a way,” Curry told The Times in 1992. “It’s the most comfortable synthesis of all the things I do.”

School productions eventually led Curry to the University of Birmingham, where he studied drama and English from 1965 to 1968, according to his website.

Curry made his professional debut in 1968 in the original London production of “Hair.” He had fibbed about having previous professional experience and an Equity card, but the production team thought Curry’s talents were reason enough to sponsor him. After he starred in several productions including “Titus Andronicus,” “Cinderella” and “Midsummer Night’s Dream,” co-star Richard O’Brien in 1973 invited the actor to audition for a new work — one that would later solidify Curry as a generational screen and stage icon.

With Curry anchoring as Frank-N-Furter, O’Brien’s “Rocky Horror Picture Show” first came to life at the Royal Court’s Theatre Upstairs. Then larger venues overseas included L.A.’s Roxy Theatre. Eventually, with the support of producer Lou Adler, the show made it to the screen. The same year “Rocky Horror Picture Show” hit cinemas in 1975, its Broadway run at the Belasco Theatre shuttered after 45 showings and negative reviews. Over the years, harsh criticism proved no match for “Rocky Horror Picture Show’s” unexpected staying power.

The musical had been revived numerous times in New York and London, including in 2001 with the Broadway revival earning multiple Tony Award nominations including a nomination for revival of a musical.

The “Rocky Horror Picture Show” film and Curry’s melodramatic Frank-N-Furter have remained cultural touchstones, spawning the popular “anticipation” online meme and inspiring spoofs on “Glee,” “The Simpsons” and a beloved character (with hormone-manipulating abilities) in the popular Japanese manga and anime “One Piece.”

To Curry, Frank-N-Furter was more than just that “sweet transvestite” obsessed with manufacturing the perfect man.

“He’s a fairly complex guy,” he told The Times in 1974. “He just takes anything he can get. He’s not fussy, really. Though I think he’s something of a wham-bam-thank-you-ma’am.”

Through the late 70s to early aughts, Curry balanced stage commitments with screen projects and musical endeavors. His stage resumé includes productions of Tom Stoppard’s “Travesties” for the Royal Shakespeare Company, the title role in playwright Peter Shaffer’s “Amadeus” (that would earn him a Tony nomination) and Joseph Papp’s take on “Pirates of Penzance.” All the while, he gained fame for roles in “Annie,” “Clue,” “Home Alone 2” and “Addams Family Reunion.” As a recording artist, Curry released three albums between 1978 and 1981: “Read My Lips,” “Fearless” and “Simplicity.”

In 1988 Curry returned stateside for a U.S. tour of “Me & My Girl,” which he followed with a residency at the Pantages. It was then the actor decided to permanently return to Los Angeles as a resident. His move to Southern California coincided with the beginning of his Emmy-winning voice acting career, which started with a role for Hanna Barbera’s animated adaptation of “The Creation.”

Curry won his Daytime Emmy Award in 1991 for voicing Captain Hook in “Peter Pan and the Pirates” and earned a Grammy nomination in 2002 for the audiobook of “Lemony Snicket’s A Series of Unfortunate Events.” He performed voice roles for video games including television and film tie-ins “Brutal Legend” and “Dragon Age: Origins.”

The British star primarily worked in voice roles after he suffered a major stroke in 2013. Since then, Curry had been in a wheelchair, with on-screen cameos including as the criminologist in the 2016 TV remake of “Rocky Horror.” Still, the image of Curry’s fierce Frank-N-Furter continues to pervade pop culture — even if that wasn’t his original intention.

“None of it was planned, really. I just knew I had to take risks,” he told The Times in 1974. “Life is like acting in that way. You’ve got to take risks. If you take big risks, it’s then up to you whether or not you pull it off.”

More than 50 years after that interview, Curry told The Times that he had no doubt in what he was doing. Revisiting his home away from home, the Roxy Theatre, in the fall of 2025, Curry said it had become “my stomping ground.”

“I had to appear as though I owned it — and I kind of did.”

Ashley Cole has left his role as an England Under-21 coach after five years in the position.

The former Chelsea and Arsenal defender was part of Lee Carsley’s coaching team which guided the side to back-to-back European Under-21 titles.

Carsley said the 45-year-old Cole, who retired from playing in 2019 before going into coaching, had a “positive, inspirational impact on his players”.

“I want to pay tribute to Ashley who played a major part in our two Euro wins and also had a key role in the current campaign with his tactical and technical knowledge,” he added.

“I am certain he will have even more success in his coaching career whatever the future holds.”

After completing his coaching badges at Derby County under Frank Lampard, Cole worked in Chelsea’s academy before further spells assisting managers at Everton, Birmingham City – under Wayne Rooney – and then England during Carsley’s brief spell as interim boss of the senior side in 2024.

Cole took over as head coach of Serie B club Cesena in March after feeling “discouraged” within the English football pyramid from succeeding in a managerial role.

He left the role in June, external after discussions with the club’s sporting director regarding a “change in the club’s strategy”.

As a player Cole won 107 England caps and secured multiple trophies with Arsenal and Chelsea, including three Premier League titles, the Champions League, the Europa League, seven FA Cups and one League Cup.

The New Orleans Saints have signed two-time All-Pro kicker Daniel Carlson to compete with Charlie Smyth for the side’s starting kicker position.

Smyth, a former Gaelic footballer from Mayobridge in Northern Ireland, was the incumbent coming into pre-season having assumed the role from Blake Grupe in November.

The 25-year-old made 12 of 16 field goals and was successful on each of his 13 extra-point attempts as a starter last season.

In June, the Saints signed Tanner Brown, previously of the Louisville Kings in the United Football League, to compete with Smyth but the 26-year-old missed a 39-yard field goal attempt in the side’s pre-season defeat by the Los Angles Rams on Saturday.

Smyth himself missed from 52 yards in the loss to the Jacksonville Jaguars a week prior and Kellen Moore’s side have now moved for Carlson.

The 31-year-old was drafted by the Minnesota Vikings in 2018 but waived during his rookie season and picked up by the then Oakland Raiders.

Carlson had his best years in 2021 and 2022, when he was named second-team All-Pro and first-team All-Pro, respectively.

He has not missed a game in the past seven seasons but his 81.5% success rate from field goals last year was his lowest since 2019.

Signed to a three-year contract last season, Smyth told BBC NI this month that competition for places in the NFL is “just the way it is in this business” and that he would not be taking any such signings “personally”.

The Saints’ final pre-season game is against the Dallas Cowboys this weekend before their 2026 regular season begins away to the Detroit Lions on 13 September.

Reporting from Washington — Jared Kushner may finally get a win.

President Trump’s son-in-law has been a drag on the administration for his friendship with Saudi Crown Prince Mohammed bin Salman since the Oct. 2 killing of a U.S.-based dissident Saudi journalist. His family business continues to raise questions of conflicts of interest, he repeatedly has amended financial disclosure reports to remedy omissions, and he endured an embarrassing yearlong delay in obtaining a security clearance. Meanwhile, his chief assignment, a Mideast peace plan, is as elusive as ever.

Lately, however, Kushner has been instrumental in helping his father-in-law secure a rare bipartisan victory: a long-sought overhaul of the criminal justice system.

Both Republicans and Democrats who’ve worked on the bill in Congress credit Kushner as a key architect. He helped convince the two most powerful Republicans in Washington — his father-in-law and Senate Majority Leader Mitch McConnell, both of whom embrace the traditionally Republican tough-on-crime stance — to make the criminal justice system less punitive.

The bill cleared a procedural hurdle in the Senate on Monday evening, 82 to 12, a vote margin that belies the arduous effort to overcome initial opposition from conservatives. Final Senate passage is expected later this week and the legislation is expected to easily get through the House and to the White House for Trump’s signature.

Called the First Step Act, the legislation would undo some of the sentencing crackdowns of the 1990s and create programs to reduce prisoner recidivism.

It would allow low- and minimum-risk prisoners to earn time credits for early release to either reentry centers or home confinement; reduce some mandatory minimum sentences, including those imposed by so-called three-strikes laws that automatically result in life imprisonment; and allow reviews of sentences that reflect significant disparities between harsh punishments for crack cocaine use, which disproportionately involve minorities, and lesser penalties for powder cocaine.

Kushner, driven by the experience of his father’s 14-month prison sentence for tax evasion and other crimes, has made prison and sentencing changes a priority since the beginning of the Trump administration. But unlike loftier goals Kushner has embraced, such as peace between Israel and Palestinians, criminal justice reform is likely to be signed by the president.

Kushner helped work on policy details and knew where the political fault lines would be, according to lawmakers. He was on the phone repeatedly with other advocates to discuss strategy and next steps. He personally lobbied senators, including McConnell, who openly was not eager to make time for a Senate vote. And he served as a bridge to conservative media, which could have blown up the effort with even a whiff of opposition.

“There would be some very outspoken right-wing [opponent] and [Kushner] would tell me, ‘I called him this morning. I straightened him out and now he’s going to be OK,’” said Democratic supporter Sen. Richard J. Durbin of Illinois, declining to name the commentator. “I’m thinking, ‘Who would have dreamed that a bill I’m cosponsoring would be OK with this person?’”

Advocates of the criminal justice overhaul tried to pass a similar bill at the end of the Obama administration, only to be stymied by congressional Republicans. They had little hope of getting it through during the Trump administration given the president’s campaign rhetoric on crime, including a call to execute drug dealers, and because of the fierce opposition of his first attorney general, Jeff Sessions.

“This is a president that ran on American ‘carnage,’” said Jessica Jackson, a Mill Valley, Calif., City Council member who started the advocacy group #cut50 with liberal CNN host and commentator Van Jones. “I thought everything was over.”

“I’m a Democrat,” Jackson said, but “Jared is politically brilliant and he’s relentless and he’s also extremely loyal. If he tells you he’s going to do something, he does it.”

Kushner started early. He made his support for criminal justice changes known to the leaders of the bipartisan congressional effort — including Durbin, the Senate’s second-ranking Democrat, and Republican Sen. Charles E. Grassley of Iowa, chairman of the Senate Judiciary Committee — within weeks of Trump’s inauguration.

Sen. Mike Lee (R-Utah), another architect of the plan, knew Kushner was taking the issue seriously when Kushner started dropping “the very precise nomenclature thrown around by criminal justice reform geeks” — for example, citing the relevant U.S. criminal code lines by their numbers.

While Kushner’s initial goal was prison reform, which is an easier sell with conservatives, it quickly became clear that had to be paired with sentencing reform to get the backing of Grassley and Durbin.

Perhaps the biggest obstacle was McConnell’s reluctance to bring up a bill that would unify Democrats and divide Republicans, handing the opposition a potential political cudgel in the 2020 campaign. He told a group of Republican advocates in September that he would bring the bill to the Senate floor only if it was endorsed by Trump and they secured 65 votes — five more than the minimum number needed to overcome procedural roadblocks.

Given the goal, Kushner relentlessly lobbied reluctant Republican senators to get on board, according to sources familiar with the discussions.

He called “everybody — and often,” said Sen. John Cornyn of Texas, the No. 2 Senate Republican, whose late endorsement was part of a groundswell that made clear that enough Republicans would support the legislation. “He was dogged.”

On numerous occasions he lobbied McConnell directly, even trying to figure out the Republican leader’s dinner companions so that he could lobby them before their meal.

Advocates of the First Step Act also rallied high-profile celebrity supporters, such as Kim Kardashian West, which demonstrated to the media-obsessed Trump the positive publicity he could get. Kushner worked with Jones, and eventually got support from celebrities including Alyssa Milano and former Fox News host Eric Bolling.

“Jared Kushner absolutely was one of the main conduits,” Bolling said.

The dam broke this month when Trump tweeted “go for it, Mitch” and several noteworthy conservatives backed the bill, including Sens. Cornyn, Thom Tillis of North Carolina and Ted Cruz of Texas.

Lee, the Republican senator allied with Kushner, said: “One of the things I’ve appreciated about him is he doesn’t cut corners with this. I haven’t seen him abuse the position of trust as the president’s son-in-law. He doesn’t throw that around.”

Everyone in Washington knows Kushner’s trusted place in the Trump orbit; members of Congress return his phone calls and know he speaks for the president, at least as much as anyone can. Yet when Vice President Mike Pence came to a meeting of Senate Republicans to lobby on the bill last month, Kushner was deferential; attendees said he sat in the room but barely said a word.

The bill does have significant critics. Sens. Tom Cotton (R-Ark.) and John Kennedy (R-La.) argue that it could allow dangerous criminals to get early release, and have proposed a series of amendments that could get votes this week. Still, passage is considered all but certain.

The latest from Washington »

jennifer.haberkorn@latimes.com

@jenhab

Nithya Raman has made Los Angeles’ struggle to combat homelessness a key plank in her mayoral campaign, yet her own record on the matter has itself become an issue with her ouster as head of the City Council committee seeking solutions to the crisis.

Mayor Karen Bass is at the helm of the city’s battle against homelessness, but since 2023 Raman has been the second-most powerful official as chair of the City Council’s Housing and Homelessness Committee. That changed this month, when council President Marqueece Harris-Dawson, a key Bass ally, split the committee in two and removed Raman as its chair, effective Sept. 1.

Raman claims that politics were at play, casting her removal as a hit job for her decision to challenge Bass. Harris-Dawson disputes that, saying Raman failed to lead the committee with the urgency needed to combat L.A.’s enduring homelessness crisis.

“The committee is behind in excess of more than 100 issues,” said Harris-Dawson in an interview. “There are very serious decisions to make over what happens with homelessness. We needed someone who could focus on that and get it done and get it done quickly and show ability to build consensus.”

Beyond the dispute over Raman’s leadership of the committee, there are clear policy disagreements between the mayor and the council member over the best way to combat the crisis.

A Metro bus passes by a man sleeping on the sidewalk on North Spring Street in downtown Friday.

(Christina House / Los Angeles Times)

Raman contends that Bass’ signature program Inside Safe, which dismantles encampments and moves people living there into motels, hotels and interim housing, is overly expensive and unsustainable. On average, the cost of housing these individuals runs about $82,000 a year, according to city reports.

Raman has repeatedly signed off on funding for the program, but has become more critical of it in the last year.

Despite the city’s efforts, L.A.’s unsheltered homeless population — those living outdoors or in their vehicles — went up by 7.9% after two consecutive years of decreases, the Los Angeles Homeless Services Authority reported last month.

“The approach to homelessness that Mayor Bass has led and defended has brought us here,” Raman said after LAHSA’s report was released.

Raman has called for the use of time-limited subsidies, or rental vouchers, to house homeless Angelenos in private residences — at a city-estimated cost of $30,000, less than half the price of an average Inside Safe bed. Raman says she would “significantly expand” the city’s investment in the vouchers if she became mayor.

“For the same amount of money, we could rent three apartments using a short-term rental voucher and provide intensive services — housing more people in a program that has delivered much better outcomes,” Raman says in her mayoral policy platform on homelessness.

Even so, the more than $60-million voucher program Raman has already pushed through her committee has so far struggled to get off the ground under a tight timeline, and Raman’s critics have seized on the delay as evidence of the council member’s ineffectiveness.

Pedestrians pass by a homeless encampment along the 101 northbound offramp, at right, near City Hall Friday.

(Christina House / Los Angeles Times)

A city consultant on the program set a goal of having 600 households moved into leases by July 1 of this year, and 2,000 households moved in by next April. But as of that July 1 date, only three households had moved into homes via the vouchers, housing officials said in a report.

By Aug. 13, however, the number had jumped to 54 households, “with new move ins happening nearly every day,” the housing department said in a report.

Bass’ campaign spokesperson, Alex Stack, cited the sluggish start to the program and said subsidies are only a small part of the fight against homelessness.

“It’s not the silver bullet Raman’s selling,” Stack said.

In an interview, Raman said that the contracting process slowed the start of the program, but that time-limited subsidies are a great way to free up space in city shelters by moving those people into private housing.

“This is a cost-effective program that has very good outcomes in the past in terms of percentage of people moving on to permanent housing,” she said.

Nithya Rama listens to a question at the mayoral debate hosted by the Sherman Oaks Homeowners Assn.

(David Butow / For The Times)

Raman added that the council will continue to monitor data from the program and make fixes as needed if it doesn’t move fast enough.

Homeless services providers working with the city on the program said part of the challenge has been getting a completely new program off the ground.

“It’s definitely been slower than I think most people anticipated,” said Sasha Morozov, the regional director of supportive services for PATH, a nonprofit contracting with the city for the program.

But Morozov said the program is speeding up now and she believed the 2,000 slots will be filled on time.

A key plank in Raman’s platform

Raman said she ran for council largely to take on the homelessness crisis in Los Angeles. She says she is running for mayor for the same reason.

She’s cited a 49% drop in street homelessness in her district over the past year as a clear sign that she is equipped to bring down homelessness citywide. Bass counters it was her efforts through Inside Safe that brought homelessness down in Raman’s district.

People living on the street in downtown L.A. gather cardboard for shelter during a heat wave last month.

(Gina Ferazzi / Los Angeles Times)

While chair of the Housing and Homelessness Committee, Raman established monitoring of all the city’s spending on homelessness and tracking of 35 key performance metrics to see how effective the city’s investments are. She also stewarded the creation of a Bureau of Homelessness Oversight within the city’s Housing Department that is responsible for coordinating and overseeing the city’s homelessness system.

Her critics say that Raman’s tenure atop the committee hasn’t adequately met the moment facing the city of Los Angeles — with the Trump administration and county both moving to cut funding from LAHSA, the joint city-county authority responsible for homeless services. Meanwhile, the city is still managing a landmark federal lawsuit settlement, which requires it to invest in thousands of new shelter beds in its response to homelessness.

“She’s been in this building … longer than Karen Bass,” said Councilmember Monica Rodriguez, who served on the committee under Raman. “It’s convenient now for her to saddle all blame on the mayor when she rubber-stamped Inside Safe and stood in lockstep with the mayor.”

Mayor Karen Bass, left, and City Council member Monica Rodriguez at City Hall.

(Genaro Molina / Los Angeles Times)

Rodriguez has specifically accused Raman — as chair of the committee — of slow-walking Rodriguez’s proposal from 2024 for the city to study a plan to separate itself from LAHSA and form its own department that would directly contract with homeless services providers.

Rodriguez said it took Raman months to schedule her motion in committee and that, while it was pending, the county removed most of its funding from LAHSA.

“The city has been left flatfooted because she wouldn’t lead our conversation. She wouldn’t schedule our items. She set us up for failure,” Rodriguez said.

Raman tried until the last minute to get the county to remain in LAHSA.

While Rodriguez’s motion was waiting on a report, Raman made her own proposal to create a Bureau of Homelessness Oversight within the Los Angeles Housing Department to keep track of the city’s more than $1-billion annual investment in homelessness response.

The council moved that bureau forward last year, and a spokesperson for the Housing Department said that seven positions have been hired within the bureau handling contracts and data oversight.

Harris-Dawson said a seven-person bureau isn’t adequate.

Raman said the bureau was a starting point that could one day lead to a department, which she said would be expensive and take a long time to stand up.

“This was not precluding [the creation of a department],” Raman told The Times. “This was trying to speed up that staffing faster than the departmental process normally takes in this city.”

Raman said she talked to Bass about creating a department for homelessness in late 2023 or early 2024, but the mayor told her to move ahead with the bureau instead. Bass representatives didn’t immediately respond to a request for comment.

Paige Sterling, a spokesperson for the mayor, said that Bass and Raman discussed the bureau in 2025, during the budget process. The mayor opposed a standalone department at the time because it “would add to the bureaucracy,” and the bureau was a compromise, Sterling said.

“The mayor signed a budget with funding and positions for the bureau, which begins to give the city the capacity it needs to start overseeing homelessness as we evaluate what the future governance of this issue looks like,” Sterling said.

Raman has touted the bureau as a success that provides clear oversight of how the city spends its money, but has also claimed that the mayor’s office has moved too slowly to staff the bureau. The Housing Department still hasn’t hired an assistant general manager to oversee it.

The rotunda at L.A. City Hall.

(Genaro Molina / Los Angeles Times)

Canceled meetings and frustrated colleagues

Raman hasn’t been endorsed for mayor by any of her colleagues on the council, and some of those who served on her homelessness and housing panel say she did a shoddy job as its chair. They complain that she frequently canceled meetings and allowed hundreds of motions to pile up without getting moved through council.

“It had started to feel less like a policymaking body and more like a scholastic seminar — a lot of philosophizing, a lot of talk about feelings, but not enough substantive questions or direction on policy to present to staff,” Councilmember Imelda Padilla said in a statement to The Times.

In response, Raman said her committee focused on data to make sure the city’s investment in fighting homelessness is paying off.

“That doesn’t feel scholarly to me, that feels like oversight and accountability — exactly what the public is asking for for one of our largest investments as a city,” she said.

The full council, meanwhile, has agreed to review its relationship with LAHSA and the county, and to study creating a new department to centralize homelessness oversight.

“This conversation that we’re having about this … is long overdue,” said Councilmember John Lee.

Raman will have a seat on the new homelessness committee, but it will be chaired by Councilmember Ysabel Jurado. Padilla was named chair of the new Housing Committee.

Raman’s final meeting as committee chair was supposed to be Wednesday.

She didn’t show up.

Ex-Australia batter Hussey said he was informally approached by Stephen Flemming, England’s new red-ball coach.

Australian great Mike Hussey could face his own country in the Ashes after saying he was open to joining England as their Test batting coach.

England host Australia in the Ashes in June, July and August next year, looking to take possession of the urn for the first time since 2015.

Hussey has had an informal approach from England’s new red-ball coach Stephen Fleming, the duo having spent 15 years as teammates and then coaches at Indian Premier League side Chennai Super Kings.

“We obviously get on really well and work a lot together,” former Test stalwart Hussey told Fox Sports, where he is employed as a commentator.

“So it was just a bit of a passing comment, really saying, ‘Look, what do you reckon? Would you think about being the batting coach?’”

Hussey, known as “Mr Cricket” for his technical expertise, has just returned home after coaching Welsh Fire in The Hundred and said he had not given it proper consideration yet.

“To be honest, I have not been able to give it any thought whatsoever,” he said.

“Would I? I mean, I wouldn’t say never to anything really. I just love the coaching side of the game, and just to be able to work with different players.”

Should Hussey accept, it could see him plotting the downfall of Australia with Fleming when they tour England for the Ashes series next year.

Hussey admitted it would “feel a bit weird”.

“I have worked with England once before at the T20 World Cup (in 2022), and I must admit it did feel very weird pulling on that training shirt for the first time,” he said.

“But once you get in the nets and you start working with players, you sort of almost forget what shirt you’ve got on.

“So, look, I haven’t fully considered anything at this stage. I’m sort of just trying to take a bit of a break from it all at the moment and will give it some thought in due course.”

Fleming was appointed coach in late July following the sacking of fellow New Zealander Brendon McCullum, who remains in charge of England’s white-ball teams.

Recently revealed evidence from government investigators and court filings renewed questions about Southern California Edison’s claim that it operated its electrical grid safely before last year’s deadly Eaton fire.

Most records surrounding the fire’s cause have been sealed at the request of Edison and plaintiff attorneys. Yet new details revealed in court show that critical fire prevention equipment needed repair before the blaze and that vegetation under the tower where it ignited hadn’t been trimmed for years.

Los Angeles County and state fire investigators cited eight violations, including three of California’s criminal code, in their report released on Aug. 4. The details were blacked out as the district attorney continues an investigation into the devastating fire.

“We don’t believe there is a basis for criminal liability and we will cooperate with any review,” said Kathleen Dunleavy, an Edison spokeswoman.

The investigators said in the report that the Jan. 7, 2025 inferno, which killed 19 people and destroyed more than 9,000 homes and other structures, was caused by electrical arcing on an out-of-service transmission line in Eaton Canyon, which caused hot metal fragments to fall into the dried vegetation below.

Here are key takeaways from the investigative report and recent court filings by lawyers representing fire victims:

Edison didn’t turn off power on its Eaton Canyon transmission lines, despite emergency conditions.

Before the fire, the National Weather Service predicted a “life-threatening” windstorm, investigators wrote in their report released Aug. 4. Santa Ana wind gusts were forecast to reach speeds of 60 to 80 miles per hour, with peak gusts of 90 miles per hour in the mountains.

Earlier that day, Gov. Gavin Newsom declared a state of emergency because of an out-of-control fire that was burning homes in Pacific Palisades.

Despite those conditions, Edison kept power flowing through its high-voltage transmission lines built in the mountains above Altadena. Investigators noted that wind gusts at a weather station about a half-mile from the Edison tower where the fire started recorded gusts up to 68 miles per hour just before the first flames at 6:11 p.m. By 7, gusts were up to 85 miles per hour.

Dunleavy said the conditions did not meet the company’s internal standards for shutting off the lines.

“SCE was actively monitoring the transmission lines in Eaton Canyon on Jan. 7 and none of these lines met our de-energization criteria,” Dunleavy said.

Safety equipment on the out-of-service line was damaged before the fire but not fixed.

Edison had installed safety equipment at both ends of the out-of-service, unconnected transmission line in Eaton Canyon, including at the pylon known as Tower 208 where the fire ignited. But on the night of the fire, the equipment was broken, according to a June court filing.

The equipment was designed to send any unexpected power on the out-of-service line safely into the earth. The grounding equipment was necessary because the idle Mesa-Sylmar line ran parallel to 12 energized high-voltage lines, creating the danger of induction.

Induction happens when electromagnetic fields cause power on energized lines to jump to nearby idle equipment.

At Tower 208, a component known as a compression paddle was not securely bonded to the pylon, allowing debris to form and creating a dangerous air pocket, the filing said. The paddle was meant to be secured with four bolts, but only one bolt was used.

Government fire investigators also found broken equipment at one of the Mesa-Sylmar towers during a tour of the site with Edison after the fire. According to their report, investigators observed “the center conductor dangling free from the bridge section of the tower; it appeared that the remaining two conductors were not bored down to the tower bridge.”

The investigators said they discussed the equipment “abnormalities” with an Edison lineman and lawyer on the tour. “The Lineman said that they were not new and were like this last year; he was also unsure why they were not corrected when it was inspected,” the investigators wrote.

Asked why the equipment was not fixed, Dunleavy said, “We’re looking into that.”

She said the company strives to have a strong maintenance and inspection program and still was performing post-fire examinations and testing.

Edison kept the century-old, out-of-service Mesa-Sylmar line in place for decades, despite knowing idle lines could reenergize and spark fires.

Utilities have known for decades that unused lines can become energized from nearby electrified equipment through the induction process.

To teach employees about the danger, Edison created a training video featuring a 2007 incident in which a line known as the Kramer-Coolwater circuit was de-energized to allow work by a crew. The line became reenergerized while laying on the ground and started several fires, according to a retelling of the video in a July court filing by lawyers representing victims. Later that day, the crew’s foreman was injured when he touched the line.

Eleven years later, the Kramer-Coolwater circuit was unconnected from the grid, similar to the line in Eaton Canyon. Yet the line was electrified by induction from adjacent lines again in 2018, electrocuting a lineman who touched the conductor, the court filing said.

The company has said it kept the line in place even though it hadn’t carried power since 1971 because executives believed it could be used in the future.

Dunleavy said the induction event in the training video was different from what appears to have happened on Jan. 7 with the Eaton Canyon transmission lines.

“We had never seen an idle, de-energized transmission line cause an ignition,” she said.

Edison failed to clear vegetation below the tower where the fire ignited.

The investigators’ report said the fire ignited when electrical arcing on the idle line caused hot metal particles to fall into “the receptive fuel beds consisting of dry vegetation” below the tower.

The June court filing includes details from Google Earth images showing that the vegetation under Tower 208 had not been trimmed since at least 2021. Leaving the brush to grow violated Edison’s safety standard for “structure brushing,” the filing said.

Edison explained structure brushing in an article last year, describing how it cleared all vegetation around certain equipment, creating a 10-foot barrier to reduce the fire risk.

Asked why Edison let brush grow below the idle line, Dunleavy said, “We inspect and maintain all our equipment according to existing regulations and laws.”

Edison has sued L.A. County and other public entities, saying that their failures, including not clearing brush and delayed evacuation warnings, increased the fire’s destruction.

A fight over accountability

The first jury trial looking at whether Edison acted negligently in igniting the fire is scheduled to begin Jan. 25.

Later, state regulators will evaluate whether the company acted “prudently” in its actions related to the fire’s start.

Under a 2019 law brought by Newsom to protect utilities from bankruptcy, the companies automatically are deemed to have acted prudently if regulators sign off on their wildfire prevention plan.

Newsom’s safety regulators approved Edison’s plan just before the Eaton fire. That means Edison will be fully reimbursed for the billions of dollars in Eaton fire damages by a state fund that Newsom’s legislation created unless outside parties can prove Edison acted imprudently, negligently or worse.

“We continue to believe we will make a good faith showing of prudency,” Dunleavy said.

Newsom is working behind closed doors on legislation to further protect Edison and the state’s two other big for-profit electric utilities from the cost of wildfires caused by their equipment, the Times reported this year.

The three companies’ equipment ignited at least seven of the state’s 20 most destructive wildfires, according to CalFire. The Eaton fire was the state’s second-most destructive fire after the 2018 Camp fire, which killed 85 people and destroyed most of the town of Paradise. That fire, according to investigators, was ignited by an old transmission line owned by Pacific Gas & Electric.

The survivors of Eaton and other fires are fighting Newsom’s plan, saying it would leave California more vulnerable to utility-sparked fires.

“The real danger is what will happen to Californians if we further strip away these corporations’ financial incentives to prevent catastrophic fires,” Joy Chen, executive director of Every Fire Survivor’s Network, wrote in an analysis sent to state lawmakers this week.

“These are not innocent companies overtaken by climate change, nor is this an abstract problem of ‘wildfire liability,’” she wrote. “It is a continuing pattern of catastrophic corporate failure.”

Jerry Buss put together what was then thought to be a wild business deal to purchase the Lakers and related assets for $67.5 million in 1979.

Buss had a degree in chemistry, but his money came from real estate holdings and loans that moved between third parties to help him obtain the Lakers, Kings and the Forum from Jack Kent Cooke, who was going through a costly divorce.

Buss’ vision was to infuse Hollywood glamour into an NBA team few in Los Angeles seemed to care about, win championships and share that glory with his family.

Buss realized his Hollywood dream in more ways than he ever could have imagined, with his death in 2013 from complications from cancer touching off battles among his six children over control of the Lakers.

Lakers owner Jerry Buss, center, with children Janie, from left, Jeanie, Johnny and Jim in 1979.

(Gunther/mptvimages.com)

At least two siblings have tried to oust another from a leadership role. One sibling reportedly said two others never should have been born. And one sibling managed to fire the five others from jobs with the team.

The rifts mirror the HBO hit show “Succession.” Buss’ tenure and the family drama has been direct inspiration for two television shows and was chronicled in a docuseries the Lakers produced.

The latest daggers were delivered this week, with attorneys representing Buss’ daughter, Jeanie, admonishing her five siblings — Janie, Johnny, Jim, Joey and Jesse — for announcing the Buss Family Trust was selling its 17.8% ownership of the Lakers to new buyers Bob Iger and Joshua Kushner.

The sale would yield billions for the trust, with Iger and Kushner set to purchase the franchise at a $12.5-billion evaluation for the majority ownership stake of the team and a tagalong provision extending that price to the minority shareholders.

The Buss children are already billionaires following the sale of their majority stake to previous owner Mark Walter in 2025, but in addition to a big jump in share value, the minority stake sale would remove Jeanie from her coveted role as governor.

Neither side is giving up ground, suggesting lawsuits will soon be filed to resolve the family ownership dispute.

How did we get here?

The roots of the infighting date to the early days of Jerry Buss’ team ownership.

Buss focuses on building a family business

For the first 12 seasons Buss owned the team, the Lakers won NBA championships in 1980 and 1982 against the Philadelphia 76ers, 1985 and 1987 against the hated Boston Celtics, and 1988 against the Detroit Pistons.

Former player and shrewd executive Jerry West helped build the Lakers’ rosters, Pat Riley blossomed into an elite coach, and stars Magic Johnson and Kareem Abdul-Jabbar led a collection of elite playmakers during the Showtime era.

Jerry Buss, right, talks with his children Johnny, Jim, Jeanie and Janie in 1979.

(Gunther / mptvimages.com)

The Buss family came along for the ride, with each child working on some aspect of the family business. Jeanie notably helped organize events at the Forum and was eager to take on more challenges while honoring her father’s ambition. Her father put her in charge of the team’s indoor tennis franchise when she was only 19.

As Jerry aged and new stars emerged, including Kobe Bryant, Shaquille O’Neal and coach Phil Jackson, it was clear the next ownership chapter for the Lakers would be messy.

For one thing, Jerry had trouble letting go of what he built.

“I just can’t visualize myself walking away, relinquishing control,” Jerry told The Times in 2002. “My relationship with this team is a lifelong marriage.”

A clear successor emerges

By the time they reached their 40s, Jeanie took on a greater role on the business side, while Jim became a basketball executive.

Joey and Jesse, the youngest Buss children, learned about scouting and business operations.

Lakers owner Jerry Buss poses with the NBA championship trophy in 1980.

(NBAE / Getty Images)

Jerry’s health challenges could not be denied and at age 69, he scaled back his involvement.

In 2002, Jeanie emerged as Jerry’s clear successor. At the time, her siblings did not seem interested in the role.

Her biggest challenges seemed to be getting the rest of the NBA to take her seriously after previously partying with her father’s girlfriends and posing nude for Playboy magazine. She told The Times she wished the media hadn’t focused as much on her past and stood by her work moving forward.

Soon after the Lakers hired Jackson in 1999, he asked Jeanie on a date. Their ensuing relationship added challenges to business operations, but The Times reported Jerry didn’t oppose it.

Lakers owner Jerry Buss and his daughter, Jeanie, pose for a photo at the Staples Center.

(Michael Kelley / For the Times)

Jeanie joined her father at NBA board of governors meetings for three years before being the Lakers’ sole representative at the gatherings that featured no other women. She handled an array of business challenges, big and small, and helped supervise the team’s move from the Forum to the Staples Center.

In 2002, all her siblings seemed content with Jeanie emerging as the face of the Lakers’ front office. They either were driven to make a name for themselves in other lines of business or had clearly carved out roles within the Lakers organization.

“My dad likes a system of checks and balances,” Jim told The Times. “Jeanie has more of the administrative part. We all have a good relationship. There’s no jealousy or envy. It’s very smooth.”

Buss family hits troubled waters

The smooth sailing didn’t last forever.

Jeanie helped her father navigate a series of difficult decisions. The Lakers agreed with Jackson to mutually part in 2004 amid a feud between Bryant and O’Neal, the first sign Jeanie was willing to part with someone she loved for the sake of the business. Jackson returned to coach the team in 2005 and held the role until his retirement in 2011, guiding the team to five titles.

In 2013, Jerry died and Bryant ruptured his left Achilles tendon. The Buss children reportedly decided against selling the team immediately after their father’s death, with Jeanie a clear vote against the move.

In 2014, coach Mike D’Antoni’s Lakers won 27 games. In 2015, the team won 21. In 2016, the team hit rock bottom with just 17 wins. Jeanie and Jackson broke up in 2016, ending their four-year engagement. She has since married comedian Jay Mohr.

Lakers star Kobe Bryant and Lakers governor Jeanie Buss stand beside each other on the basketball court.

(Wally Skalij / Los Angeles Times)

In 2017, the Lakers were headed to another losing season when Jeanie fired Jim, the president of basketball operations, and Mitch Kupchak, the team’s general manager. They were replaced by Rob Pelinka, Bryant’s former agent, and Johnson, the former Showtime star turned businessman.

Shortly after the firing, Jim and his brother, Johnny, tried to remove Jeanie from the team’s board of directors, sparking a legal feud that included Jeanie filing a restraining order while she wrestled control of the team.

“It wasn’t like we were trying to get rid of Jeanie as president of the Lakers,” Johnny said during a docuseries the team produced. “We wanted Jeanie to understand that Dad would not have wanted you to just take total control, hire and fire whoever you wanted, without the rest of us being involved.”

Jeanie countered her father created a trust that put her in control.

“They tried to disregard what their father wanted,” Jeanie said in the docuseries. “That’s a betrayal of all the hard work and what he did on our behalf to make this possible. I felt that there was this desire to remove me or stab me in the heart.”

A court ultimately delivered a ruling that Jeanie is still clinging to today as she hopes to retain the family’s minority ownership of the Lakers and her role as governor.

“The co-trustees are bound to vote the Los Angeles Lakers, Inc. shares to ensure that the minimum 15% ownership requirement is maintained in order to ensure that Jeanie Buss may remain controlling owner,” a letter written this week by Jeanie’s attorney reads, citing a 2017 court ruling outlining her role. “Any attempt by the co-trustees to do otherwise and any attempt to aid or abet the co-trustees as such would constitute a breach of trust, breach of fiduciary duty and be in contempt of court.”

The ruling stipulated that co-trustees “would take all actions reasonably available to them, including voting the trust’s shares to ensure that [Jeanie] is elected as the controlling owner of the Lakers on an annual basis during [her] lifetime.”

A title masks more drama

Soon after the ruling, Jeanie included younger brothers Joey and Jesse in the search for a coach to replace Luke Walton. Her siblings continued to hold roles within the team.

With Jeanie’s power firmly defined by the court, the Lakers signed LeBron James in 2018, traded for Anthony Davis in 2019 and won a title during a season shortened by COVID in 2020. It is the sole championship the team has won since Jerry’s death.

LeBron James hugs Lakers governor Jeanie Buss after winning the 2020 NBA championship.

(Douglas P. DeFelice / Getty Images)

The run to the latest title was far from smooth.

ESPN reported that when Jesse called Jeanie to ask a question about a remark Pelinka made during Davis’ introductory news conference in 2019, she told a story of a promise made between her father and mother that Jerry would never have any other children. Jeanie’s mother reportedly was heartbroken when Jerry and his then girlfriend had Joey and Jesse.

“You should’ve never been born,” ESPN reported Jeanie told Jesse, stunning her younger brother.

The siblings still somehow continued to work in various aspects of the Lakers’ operation.

Jeanie reportedly took intense criticism of the team during the last five years personally and Joey and Jesse wondered whether she might be open to selling the franchise. At the same time, value of NBA teams soared as more billionaires moved into the space. A sale would shift the siblings from millionaires who struggled to invest in growing the Lakers’ operations into billionaires.

A climate opposed to a sale

Jerry created a trust he hoped would prevent his children from feeling pressure to sell the team.

ESPN reported he prepaid inheritance taxes to prevent his children from having to do so upon his death and added provisions to the trust allowing siblings to buy each other out and forcing shares to be redistributed among the siblings when one died rather than passing them on to the next generation of their respective families.

Joey and Jesse began exploring small shares of the team and tried to get other family members on board, ESPN reported. They had not completed their work before Jeanie announced Walter’s offer. Four of the six siblings approved selling 50% of their shares to Walter for a figure that reportedly stunned all of them. Joey and Jesse learned the sale had been approved via a post on X by ESPN’s Shams Charania.

Janie told ESPN the Buss siblings were assured their roles with the team would not change for five years.

Walter’s purchase of the majority stake of the Lakers was approved by four of the six siblings in June 2025, with Jeanie endorsing the deal. She was assured she’d represent the Lakers on the NBA board of governors for at least the next five years.

On Nov. 20, three weeks after the NBA approved the sale to Walter, Jeanie fired Joey, Jesse, Jim, Johnny and Janie, who all worked for the team in various roles.

“I don’t think my dad would be happy with the way things just went down,” Janie told ESPN. “Not at all.”

While she disagreed with the way Jeanie handled the firings, her sister said in an interview with ESPN she didn’t think she meant to hurt her family.

“Jeanie doesn’t have a mean bone in her body, and so she just has to make these tough decisions,” Janie told the network. “And she’s been having to make them … I just wish she would’ve done it differently.”

Firing the last Buss family member

Last week, the family drama flared up again.

When Walter, who is facing multiple investigations into his business practices, reached a deal to sell his majority stake to Iger and Kushner, the family resumed conversations about completely cashing out of the Lakers.

Iger pledged to honor Walter’s agreement with Jeanie to remain as governor for at least five years and spoke highly of the Buss family in multiple interviews and statements released after the deal was announced.

Six days later, five of the siblings voted to approve the sale of their minority stake to Iger and Kushner, effectively firing Jeanie as governor.

Rob Pelinka, from left, Luka Doncic and Jeanie Buss pose for a photo in Katowice, Poland, on Aug. 27.

(Marcin Golba / Associated Press)

“We have decided as a family to sell the remaining Buss Family Trust shares to the Bob Iger group as part of the ongoing transaction,” the family’s statement to ESPN read. “We love the Lakers, Laker fans and will continue to support Los Angeles; but it is time to use this opportunity to move on and exit gracefully while we still can.”

Jeanie’s attorney has contested the sale, citing the 2017 court ruling. The attorney’s letter calls out two of Jeanie’s siblings for sending false information to ESPN: “This is just the latest instance of a years-long pattern whereby Joey and Jesse Buss leak false, defamatory and pernicious ‘information’ to Mr. Charania for the malicious purpose of doing harm to the Los Angeles Lakers so long as Dr. Buss’s chosen successor, Jeanie Buss, carries out her father’s wishes.”

Charania said he stands by his reporting.

The Buss Family Trust issued the following statement to The Times defending the five siblings’ right to sell the team:

“The Los Angeles Lakers have never been just a basketball team. They have been one of the greatest privileges of our lives. Our focus has always been on what we believe is best for the Lakers, the fans who have supported this franchise for generations and the greater Los Angeles community.

“Johnny, Jimmy, Janie, Joey and Jesse have made the decision to sell the family’s remaining stake, and we remain united in that decision. We intend to move forward thoughtfully, respectfully and through the appropriate process.

“We have tremendous respect for Bob Iger and Josh Kushner and believe they understand what the Lakers represent to Los Angeles and our incredibly loyal fan base. We are confident they will honor everything this franchise stands for while building upon the foundation our father created.”

It appears the Buss family will soon be headed back to court to decide their future as Lakers owners.

Dubbed an ‘excellent movie all round’, the edge-of-your-seat war drama thriller has completely captivated audiences, with some fans declaring it’s ‘the best movie’ they’ve ‘ever seen’.

If war films and talented actors are your genre of entertainment, we’ve got a movie recommendation that’ll be right up your alley.

Dubbed an ‘excellent movie all round’, the edge-of-your-seat war drama thriller has completely captivated audiences, with some fans declaring it’s ‘the best movie’ they’ve ‘ever seen’.

Eye in the Sky is a 2016 war drama starring British acting royalty — and it’s currently available to stream for free on BBC iPlayer. The modern warfare thriller stars the late great British icon and acting legend Alan Rickman, and is considered his last live-action feature film — having released posthumously on April 15, 2016, just months after Rickman died on January 14 that same year. His last film overall though, is Alice Through the Looking Glass, which features him in a voice acting role only.

Eye in the Sky has been dedicated to the Harry Potter star, and while Rickman is definitely one of the highlights of the war drama, he’s far from being the only scene-stealer.

Directed by Gavin Hood with a screenplay penned by Guy Hibbert, Eye in the Sky stars the legendary Helen Mirren in the lead alongside Rickman. The pair are joined by Aaron Paul, Barkhad Abdi, Jeremy Northam, Michael O’Keefe, Phoebe Fox and Iain Glen in supporting roles to round out a talented cast.

Speaking to Collider about her co-star Rickman, Mirren shared: “I think that Alan would have been incredibly proud that this was his last movie. It is what I love about it, which is that the Alan you see up on screen is much closer to the real Alan Rickman that we all knew and loved. You see his intelligence, you see his wit, and you see his authority. I think that that was very much the Alan that we knew.”

With an almost perfect 95% approval rating on Rotten Tomatoes, Eye in the Sky seems to be loved by one and all.

One viewer was clear the film belonged to Rickman as they wrote on IMDB: “This is Alan Rickman’s movie. He is the star, the cast person who carries the movie. The movie itself is excellent. It tells a compelling story and succeeds in building dramatic tension without becoming contrived.

“The conflict is presented plainly. Every character plays an important role. Yet, Rickman drives this movie. His performance as the general in charge of the operation should earn him at least consideration for the highest official accolades.”

While another fan of the film said: “Excellent movie all around! I rarely give very high ratings, so take this 10 as solid approval. This is a very well-made movie. It’s dramatic (fitting the occasion), compelling, exciting, interesting, intriguing, well-paced, informative, insightful, well scripted, well acted, evocative, relevant, just, intuitive, comprehensive, and so on.

“All of these. I found it very enjoyable to watch, and I followed along and fully understood the situation presented and all of its challenges. It’s difficult to imagine any ways it could be improved.”

An audience review on Rotten Tomatoes states: “Genuinely one of the best films I have ever seen – could be a fantastic debating resource for schools, colleges and universities. Brilliantly communicated from every angle.”

While one viewer said in a glowing review: “I have to say: This film blows my mind. The combination of the suspense, the back-and-forth, and the frustration exceeds any out-of-the-world action sequences; not to mention Mirren and Rickman being superb as always.”

Critics were left equally impressed, with one writing: “It’s a tight thriller played out smoothly but tying the viewer in moral knots. A film to think about for days, with little hope of finding a comfortable answer.”

While another reviewer said: “Eye in the Sky is a disturbing, intelligent and very well crafted contemporary thriller with a solid screenplay by Guy Hibbert and seamless direction.”

A third critic added: “This is the kind of intelligent, thought-provoking mainstream film that’s in danger of becoming extinct. Eye in the Sky is miles above the average multiplex flick.”

Eye in the Sky is available to watch free of cost on BBC iPlayer.

Earlier this year, Colman Domingo devoted a portion of his monologue on “Saturday Night Live” to a few things he is famous for. One example? “When you come to my house, the vibes are spectacular.”

Those vibes must have transitive properties: On a recent morning in a borrowed backyard in Santa Monica, the vibes were as impeccable as one of the actor’s famously natty red-carpet looks. Posing for photos poolside, Domingo was the picture of laid-back charm, chatting with the crew in that commanding leather-and-gravel voice and flashing a toothsome smile.

With four projects in 2026 alone and more than 100 credits across film, television and the stage dating back to 1994, you definitely know Domingo from something. Increasingly, people recognize him from several things. Or, as the case may be with a performer of his caliber, they don’t — and that has been the highest compliment of all for the 56-year-old Philly native.

“It is the wildest thing,” says Domingo, stretched out on a sectional in the shade. He recounts how people have approached him about his role as Danny, the elegantly snarky architect on the Netflix comedy “The Four Seasons,” and were flummoxed to discover that he also plays the tightly wound Ali, he of shaken faith and sawed-off shotgun, on the recently concluded HBO drama “Euphoria.” “I’ve had so many people who saw me as one character, but they didn’t know I played the other character, even if they watched both. They’re like, ‘Wait a minute, that’s the same guy?’”

Domingo in “Euphoria.”

(Patrick Wymore / HBO)

That’s the same guy. Familiarity has bred respect as Domingo nabbed Emmy nominations for both roles for the second time — supporting actor in a comedy for “The Four Seasons” and guest actor in a drama for “Euphoria,” a trophy he took home in 2022.

“I get the yin and yang,” he says of the pleasure and challenge of inhabiting men from such different worlds.

Domingo credits “Euphoria” creator Sam Levinson with the complexities of Ali’s journey, which were showcased in the finale in breathtaking extremes of violence and grace and included a poignant monologue about the limits of empathy as he grieved the loss of his sponsee Rue (Zendaya). “It was so beautiful,” says Domingo of the conclusion of his arc. “Sam gave me words that are not just for Rue. They’re like a prayer for the world, sitting down at tables and having the hard conversations and trying to get people to come to their personal truths. To have a breakthrough in their lives. That’s how he’s been utilizing me for the series.”

(Evan Mulling / For The Times)

Conversely, Tina Fey and the writing staff of “The Four Seasons” have been using Domingo’s Danny as, among other things, a brutally effective vehicle to deploy acidic one-liners. (A favorite: “This the town Tracy Chapman sped away from.”)

“He is fictitious, but in many ways there’s a lot more of me in him than I personally have seen [in my previous characters],” he says of the man whose bravado masks an unsettled energy as he encounters the challenges of midlife. “Even in my notes to Tina and the showrunners, I started to craft a character that was closer to myself. I’m like, ‘I don’t see the mes in the world, queer men who are mostly in heteronormative worlds and how we activate and how we love and our friendships that are not just based on the fact that we are queer.’”

Domingo’s own midlife — conversations about fiber and the proliferation of readers in every room aside — is enviable. In addition to the two series, he appeared in two of the most talked-about films of the year, the blockbuster Michael Jackson biopic “Michael” and Steven Spielberg’s sci-fi thriller “Disclosure Day.” In another instance of playing a set of disparate characters, he was the imperious patriarch Joe Jackson in the former and the rebellious, empathetic whistleblower Hugo Wakefield in the latter.

“I wanted to challenge myself in different spaces,” says Domingo with gratitude for those roles as well as other 2026 opportunities, like his “SNL” appearance — which brought him back to his “Big Gay Sketch Show” days — and his recent guest-hosting stint on “Jimmy Kimmel Live!” “I never want to get caught up just doing the same thing.” He recalls a time when he played a couple of villains in a row and similar offers poured in. “I thought, ‘Oh no, I’ve done that.’ I knew it was time to move on to something else. And even ‘The Four Seasons,’ when that came along, I had been going back to back with dramatic roles — ‘Sing Sing,’ ‘The Color Purple,’ ‘Rustin.’ It takes a little toll on you.”

Domingo with Marco Calvani in “The Four Seasons.”

(Emily V. Aragones / Netflix)

Fortunately, all of that work has helped Domingo amass a very comfy set of laurels (upon which he refuses to rest). While his success has been a slow burn, including years of work on Broadway as an actor and playwright — Domingo co-wrote the book for “Summer: The Donna Summer Musical” as well as several straight plays — and his stint as a series regular on “Fear the Walking Dead” the last five years lighted the fuse on the rocket.

In that time, Domingo has won four NAACP Image Awards, been nominated for back-to-back lead actor Oscars, Golden Globes and BAFTA awards, and received a second Tony Award nomination, this one for best play as a co-producer of the “Hamlet” adaptation “Fat Ham.” (His previous Tony nod came in 2011 for featured actor in a musical for “The Scottsboro Boys.”)

Colman Domingo.

(Evan Mulling / For The Times)

“I’m very happy that this has happened the way it has,” he says of this golden period of work and creativity in his 50s. It’s not that he wouldn’t have appreciated or been ready for it in his youth, he says, but he has seen the pitfalls of success that happens too young. “At this age, I know myself. I know what I need. I have boundaries. I know how to still be a person in the world. And that’s the part that’s important to me, which is not being so isolated.”

There’s little danger of that given how often he is now stopped on the street. But he is cheered by the interactions because, whether fans love him as a good guy, a bad guy or a character in between, they all want the same thing. “Whatever I’ve done, people always ask, ‘Can I have a hug?’” Maybe the vibes are not about the house, but Domingo himself.

Hayden Panettiere spent much of her life in front of a camera, beginning her acting career before she was even a year old, starring in commercials. At the tender age of 4, she landed her big break with a recurring role on the ABC soap opera “One Life to Live,” which led to a role on another soap opera, CBS’ “Guiding Light.” Over the years, she performed in a number of films and TV series, landing notable roles that made her a staple of network television. In addition to her onscreen work, she did voice acting for animated films like “A Bug’s Life” and “Dinosaur,” as well as the video game franchises “Kingdom Hearts” and “Until Dawn.”

The actor, who died Sunday at 36, was a versatile performer whose no-nonsense attitude and vocal range added depth to roles. Here is a guide to some of her notable work.

‘Remember the Titans’

Disney’s 2000 sports drama was based on the real story of Herman Boone, a Black football coach who was installed as head coach at the desegregated T.C. Williams High School in Arlington, Va., and led the team to a perfect season and state championship. In the film, Panettiere plays Sheryl Yoast, the young daughter of coach Bill Yoast (Will Patton), whose job Boone is given by the school district to placate Black community members as racial tensions rise. Panettiere’s Sheryl makes an impression right away, with a fiery speech directed at an official who comes to tell Yoast that Boone will now be head football coach of T.C. Williams. “You can’t just walk in here and take my daddy’s job away,” she cries as she stomps away, but not before kicking said official in the back of the leg. Later, she understands the implications of the decision, even if it comes at the cost of her father’s selection into the high school football hall of fame, preferring to put the team and their teamwork first: “Bunch of old rednecks … Let’s knock ‘em dead at state, coach.” (Watch on Hulu and Disney+.) — Maira Garcia

‘Ice Princess’

In Disney’s 2005 film, Panettiere was a little too good at playing the popular mean girl. She was even better at playing the popular mean girl who lets her icy walls melt away to welcome in the new girl. As talented figure skater Gennifer Harwood, Panettiere faithfully portrayed the evolution of friendships — especially for young women — in highly competitive sports and the tension between young athletes and their well-intended, but overbearing parents. While Panettiere could stand on her own talents, her performance was even more memorable for the dynamic she shared with screen partner Michelle Trachtenberg. The latter played Casey, a student with Ivy League ambitions whose interest in physics brings her to the figure skating world. Trachtenberg died in 2025 at 39. (Watch on Disney+.) — Alexandra Del Rosario

‘Heroes’

Claire Bennet (Hayden Panettiere) with her father Noah (Jack Coleman), also known as H.R.G., in NBC’s “Heroes.”

(Chris Haston / NBC)

This superhero series was a hit from the moment it debuted in 2006. An international cast fueled a show that featured people gifted with superpowers around the world that had a mysteriously ominous connection. At its heart was Panettiere’s Claire Bennet. An unbreakable high school cheerleader, she embraced the role of hero, facing pushback from a shadowy government group, serial killers and a twisted family dynamic. Panettiere became the face of NBC’s freshman ensemble success story, and despite an industry work stoppage and dwindling fan support afterward, the show’s viral campaign — “Save the cheerleader, save the world” — centered her, and her character’s courage, on a bona fide fandom-generating ride that ended way too soon in 2010, after four seasons. (Watch on Netflix and Tubi.) — Jevon Phillips

‘Scream’ franchise

Hayden Panettiere at the premiere of “Scream VI” in New York City in 2023.

(Nina Westervelt / Variety via Getty Images)

The actor joined the hit horror franchise in 2011’s “Scream 4” as Kirby Reed, a Woodsboro High student who is a horror film buff. One of that film’s memorable scenes featured Kirby in a tense trivia telephone showdown with the Ghostface killer, rushing through the titles of several slasher films while attempting to save one of her friends.

Although Kirby was seemingly killed off, she returned as an FBI agent in 2023‘s “Scream VI” when the franchise continued with younger characters and moved its setting to New York. “Scream” fans cheered during an early screening when Panettiere’s character appeared — she and Courtney Cox were one of the few “Scream” veterans to return for the new film.

Panettiere’s hair was longer and her role was expanded in the new “Scream.” Kirby explained that she had survived the Ghostface attack: “I was technically dead for four minutes. When I was revived, I got mad … I wanted the monsters to be afraid of me.”

Kirby also engaged in another trivia back-and-forth with Mindy Meeks-Martin (Jasmin Savoy Brown) where they agreed on the best “Nightmare on Elm Street” (“the original”) and that “Psycho 2” was “underrated,” but disagreed on the best “Friday the 13th” sequel. Although she is investigating a new set of Ghostface killings, Kirby later becomes a prime suspect. (Watch all on Paramount+.) — Greg Braxton

‘Nashville’

In ABC’s “Nashville,” Juliette Barnes’ storyline was infused with personal struggles similar to Panettiere’s.

(Katherine Bomboy-Thornton / ABC)

Panettiere was noticeably more mature when she became a co-lead role in ABC’s “Nashville” as Juliette Barnes, a crossover singer with more than a few similarities to Taylor Swift. The music-flavored drama, which premiered in 2012, starred Connie Britton as country star Rayna Jaymes, whose career was on the downturn at the same time Barnes was climbing the charts.

The actor injects her “Nashville” character with a mix of sexiness, snark and edge as Barnes becomes rivals with Jaymes. When the two first meet in a dressing room during the pilot, Jaymes is gracious while Barnes is condescending.

Panettiere said in an interview that she was tense during that scene. particularly since it was the first time the two actors had met. She said she apologized to Britton repeatedly saying, “‘I am so sorry!’ Because it was our first experience together, and I didn’t want to step on toes. Sometimes it gets real, very real, you know?”

While filming the series, Panetierre gave birth to her daughter in 2014. She detailed her struggles with postpartum depression in interviews, saying the condition was “scary and needed to be talked about.” In the series, Barnes also suffered from postpartum depression during the show’s third and fourth seasons. (Watch on Pluto TV and Netflix.) — G.B.

‘Kingdom Hearts’

Square Enix’s beloved video game series was my personal introduction to Panettiere and her acting abilities. In the first two installments, Panettiere voiced the kind island kid turned princess Kairi for the games’ English dub. Before protagonist Sora’s (voiced by a young Haley Joel Osment) world descends into darkness, Panettiere’s Kairi is playful and tender early in “Kingdom Hearts 1.” In the slightly more complicated “Kingdom Hearts 2” Panettiere’s older Kairi is contemplative, defiant and desperate to help all her friends. Kairi’s scenes are often accompanied by the powerful score from composer Yoko Shimomura, amplifying the emotion that has driven the games’ fanbase for more than two decades.

“Don’t ever forget. Wherever you go, I’m always with you,” Panettiere’s Kairi says in a memorable cut scene. — A.D.R.

Actor Hayden Panettiere, the child actor who rose to stardom in television and also spoke with raw frankness about her struggles with fame and mental health, died Sunday, according to her family. She was 36.

Panettiere’s father, Skip, announced the actor’s death in a statement shared with The Times on Sunday.

“It is with profound sadness that we share the tragic passing of our beloved Hayden. She was an incredible light and a force of nature who brought immeasurable love and joy to all who knew her — and to the millions who watched her onscreen,” his statement said.

No other details were released.

She starred on “Nashville” (2012-18) and, before that, “Heroes” (2006-10). Her early work included roles in the 1990s on the soaps “One Life to Live” and “Guiding Light.” She was a model and a singer, having released several singles.

Panettiere also starred in the “Scream” horror movie franchise as well as in hits “I Love You, Beth Cooper” and “Remember the Titans.”

She first gained major attention with “Heroes,” where she played a cheerleader with superpowers. On “Nashville,” she played a troubled country music star, doing her own singing and performing on tour.

Panettiere has been candid about her struggles while living so much of her life in the public eye.

Panettiere gave birth to her daughter, with boxing champ Wladimir Klitschko, in 2014 and battled postpartum depression. She gave up custody of the child in 2018, a decision she called “heartbreaking.”

In May, the actor published a memoir, “This Is Me: A Reckoning,” in which she opened up about her alcoholism and depression after the birth of her daughter.

In interviews about the book, she reflected on the scrutiny and cruelty she faced as a young actor.

“It blows my mind that people could be so cruel,” she told the New York Times. “Looking back as an adult and a mother of a daughter, it’s hard to believe that grown adults were OK with ripping you apart at such a tender age. At any age, really.

“I just can’t believe I made it through alive,” she added.

Panettiere started in movies at the age of 9 when she voiced Princess Dot in the 1998 Pixar movie “A Bug’s Life.” Two years later, she made a splash in the role of a young football-obsessed fan and daughter of assistant coach Bill Yoast (Will Patton) in the biographical drama “Remember the Titans.” The actor told “ET” in 2023, “If I had a wish to go back to any time in my life, it would be going back to ‘Remember the Titans.’ … There were so many stars made from this movie.”

Panettiere was passionate about animals and began advocating for whale conservation in her teens. She came out as bisexual earlier this year, telling Us Magazine that she was sad to have waited until age 36 to do so.

She spoke up about her experience with domestic abuse after a public altercation in Los Angeles in 2022 involving a then-boyfriend. Brian Hickerson was on probation at the time following multiple domestic violence charges that dated back to 2018.

In 2025, her brother, Jansen Panettiere, died suddenly of complications from a heart problem. He had struggled with substance abuse and she got him into treatment, she told Us Magazine.

At the height of her fame on “Heroes,” she was regularly followed by the paparazzi and was the focus of much tabloid attention. Looking back on that time recently, she told a podcaster: “It was just sheer terror.”

In the statement on Sunday, Panettiere’s father said the family asked for privacy “as our family takes time to process this unimaginable loss.”

The Associated Press contributed to this report.