role

Fla. Election Chief Aware of ‘Historic’ Role

After a wearying 24 hours at work in the midst of chaos over last week’s presidential election, an exhausted Florida Secretary of State Katherine Harris took a moment to reflect on her role in the process.

“I feel so historic,” she said. Little did she know.

By ruling Monday that all of Florida’s 67 counties would have to complete their ballot recounts by 5 p.m. EST today–a move backed by the campaign of GOP Texas Gov. George W. Bush–the 43-year-old Republican became an unlikely pivotal player in the closest balloting in America’s history.

Harris contended she had no discretion to extend the deadline, except in the case of a natural disaster. “But a close election, regardless of the identity of the candidate, is not such a circumstance,” she said.

This, from a woman who once told an interviewer that she didn’t like “gamesmanship” in politics. A multimillionaire whose state position is due to be eliminated in 2002, Harris has spent much of her time in office as an influential patron of the arts.

In taking her hard line against time-consuming hand recounts sought by the presidential campaign of Democratic Vice President Al Gore, Harris incurred the icy disdain of former Secretary of State Warren Christopher, who accused her Monday of a “move in the direction of partisan politics.”

Republicans say otherwise. Former Florida Secretary of State Sandra Mortham, who lost to Harris in a recent primary battle, insisted “she’s doing exactly what her constitutional duties require, no more, no less. To me, this isn’t a political issue. This is whether someone is doing her job.”

The job requires oversight of Florida’s arts, libraries, historical sites and international trade, and supervision of corporate registration, business licensing and elections. It has been largely ceremonial–until now.

“It’s an extraordinary responsibility,” Harris said of her mandate to oversee the recount. “I’m very anxious. The process is so important here.”

Harris has won high marks from both Republicans and Democrats for her support of the arts. There has been speculation in political circles here that Harris might win an ambassadorship or arts post in a Bush administration, whose candidacy she supported.

Harris campaigned for Bush in New Hampshire, was a Florida delegate to the Republican National Convention in Philadelphia and was one of eight co-chairs of his Florida campaign.

“She was a diligent member of the Florida Senate and has been a fairly active secretary of state, from both a cultural and arts perspective as well as a foreign trade perspective,” said Florida lobbyist Ron Book, a Democrat, who helped raise money for Harris when she ran for the statewide office.

Harris’ short term has not been without criticism. She has flown around the world to promote Florida trade, but critics note she has spent more money on travel than Florida Gov. Jeb Bush. “I’m not abusing anything,” she said last month. “I’m working my heart out for the state of Florida.”

Harris grew up in Bartow, a small rural Florida town not far from Tampa. Her grandfather was the late Ben Hill Griffin Jr., a citrus and cattle baron who served in the state Senate.

After graduating from Agnes Scott College in Decatur, Ga., and studying art in Spain and philosophy and religion in Switzerland, she went into business as a marketing executive for IBM, then sold commercial real estate in Sarasota. Later, she earned a master’s degree in international trade at Harvard.

After the late Democratic Florida Gov. Lawton Chiles appointed her to the board of trustees of the Ringling Museum of Art, she sought more state money for the institution.

Disgusted with Sarasota politicians who did not have her commitment to cultural issues, she ran for the state Senate in 1994, collecting more than $20,000 in campaign contributions from a Florida insurance company called Riscorp. The firm would later be indicted in federal court for making illegal contributions to 23 candidates for state and federal offices, Harris among them. Harris, who was not charged, said she felt unfairly tainted by the scandal.

“If somebody hands you counterfeit money, how are you supposed to know it’s counterfeit?” she said.

As a state senator, she sponsored a bill that would have required parental notification before girls under 18 could get an abortion. But it was vetoed by Chiles.

Dubbed one of Sarasota’s “most prominent bachelorettes” by the local newspaper, her marriage in December 1996 to businessman Sven Anders Axel Ebbeson made headlines. They married at the Charlotte County government center, where she made her first campaign appearance. Then they flew to Paris.

Harris is worth about $6.5 million, mostly from stock in her family’s agricultural interests–she used $23,000 of her own money to run for secretary of state.

After one term as a state senator, Harris decided to run for statewide office, raising more than $1.5 million.

Harris won the 1988 GOP primary after a hard fight, then defeated her Democratic opponent.

Her first term will be her last. Harris will be Florida’s last elected secretary of state. Voters approved a change in the state Constitution that eliminates the position in 2002.

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From Trump to Dr. Oz: 10 reality TV personalities who went into politics

Perhaps it was predictable that reality TV would become a pipeline into American politics. After all, political theater was the ultimate unscripted spectacle before reality TV became a genre unto itself.

Consider the raw drama of the first televised presidential debate, where a sweaty Richard Nixon and confident John F. Kennedy traded barbs. Or Anita Hill’s should-have-been-damning testimony against then-Supreme Court justice candidate Clarence Thomas during Senate Judiciary Committee hearings in 1991. Or President George W. Bush’s 2003 “mission accomplished” speech from a carrier off the coast of California, mere weeks into a war in Iraq that lasted years.

Modern programmed reality TV isn’t political theater, but it has become a springboard into modern politics for some stars of the genre. From President Trump to Dr. Oz, Caitlyn Jenner to Sean Duffy, campaigns and political offices are littered with the names of former cast members from reality series. Here’s a list of the most memorable jumps from trash TV to the smoldering dumpster of 21st century politics.

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Donald Trump, president of the United States, ’The Apprentice’

Before he was a two-time president of the United States, Trump was one of America’s most recognizable make-believe bosses thanks to his 14-season run on NBC’s reality competition “The Apprentice,created by reality TV kingmaker Mark Burnett. With his practiced executive scowl and scripted boardroom catchphrase, “You’re fired!,” the show burnished his image as a decisive billionaire dealmaker, even as his real-life business results were far less impressive. Off camera, Trump’s businesses filed for Chapter 11 bankruptcy protection six times between 1991 and 2014. Never mind. It was his knack for showmanship, and his undying need for attention, that proved the perfect entry into post-decorum politics. How does pretending to be in charge on a middling reality competition qualify anyone to safely and successfully run the most powerful nation on Earth? It doesn’t. Sleep tight.

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Sean Duffy, Transportation secretary, ’The Real World’ and ‘Road Rules: All Stars’

Sean Duffy first appeared on MTV’s “The Real World: Boston,” where he was introduced as a flirtatious, conservative lumberjack/student hybrid. In short, he was a casting director’s dream. He later joined “Road Rules: All Stars,” where he met his future wife Rachel Campos-Duffy. Trading hot tub confessionals for courtrooms, Duffy became a Wisconsin district attorney and then a congressman. By 2025, he’d risen to secretary of Transportation under Trump, completing a career arc from staged arguments with pretend roommates to heated exchanges with the press about the effects of a government shutdown on airport safety. Dude.

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Markwayne Mullin, Homeland Security secretary, MMA fighter

After a fiery confirmation hearing, Mullin is now Trump’s second secretary of Homeland Security in the 2.0 administration, following the disastrous tenure of wannabe reality show star Kristi Noem. Mullin was not a reality star per se, but in his role as a professional mixed martial arts (MMA) fighter he performed in cages for live, streaming and pay-per-view cable audiences. As an early 2000s champ in the sport, Mullin boasted an undefeated 5-0 record and the Oklahoma chapter of the National Wrestling Hall of Fame inducted him in 2016. How do these MMA skills, or his former life running the family plumbing business qualify him to protect the national security of this great nation? It’s unclear, but his fighting instincts have already resulted in a viral moment out of a 2023 Senate hearing, when he challenged Teamsters President Sean O’Brien to a physical fight, offering to “finish it here.” Now he’ll be running the DHS. What could go wrong?

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Omarosa Manigault Newman, former assistant to Trump and director of communications for the office of public liaison, ‘The Apprentice’

Newman became one of reality television’s more memorable villains thanks to her run on “The Apprentice,” where her Machiavellian ways and unapologetic ambition revolted viewers and impressed her fake boss. She would eventually parlay that dubious notoriety into more than one role in the first Trump White House. Her tenure was brief, ending in a high-profile departure and her accusation that Trump is a “racist, a bigot and a misogynist.” She then wrote a book, “Unhinged: An Insider‘s Account of the Trump White House.” Perhaps she’ll adapt her written account into a reality show, only to reignite her fame and win the White House. From there? She’d hire Trump, of course, then swiftly end his run on the show with two simple words: “You’re Fired!”

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Spencer Pratt, Los Angeles mayoral candidate, ‘The Hills’

Best known as one-half of reality TV’s most polarizing couple on “The Hills,” Pratt built a reputation as a needling instigator, often leaning into the role of villain with annoying enthusiasm. After stints on other reality shows such as “Big Brother U.K.,” he began speaking out about local California issues, including wildfire recovery and environmental policy. Earlier this year Pratt, a Republican, announced that he would be running for mayor of Los Angeles in the upcoming mayoral election, challenging incumbent Karen Bass. Does he really want to govern the Left Coast, or is his candidacy a ploy for a new reality show? Let’s hope it’s the latter.

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Caitlyn Jenner, California gubernatorial candidate, ‘Keeping Up With the Kardashians’

An Olympic gold medalist long before reality TV fame, Jenner reentered public consciousness through a show about nothing. The hit series relaunched her into the spotlight as a member of one of America’s most visible families. Using that fame, she ran as a Republican in 2021 in California’s gubernatorial recall election, positioning herself as a political outsider. Her campaign leaned heavily on her life story — from her athletic achievement to her personal reinvention — but she failed to keep up with the competition.

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Clay Aiken, U.S. congressional candidate, ‘American Idol’

Aiken rose to fame as the earnest, vocally gifted runner-up on “American Idol” circa 2003. His polite demeanor, impressive vocal range and dramatic rendition of “Bridge Over Troubled Water” earned him a devoted fanbase known as the “Claymates.” Aiken went on to have a semi-successful music career before running for Congress in North Carolina as a Democrat in 2014. Aiken made the mistake of leaning into his strengths as a thoughtful, policy-oriented candidate rather than relying on his past achievement as a vapid reality show contestant. He lost, of course.

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Jim Bob Duggar, Arkansas state House representative and state Senate candidate, ’19 Kids and Counting’

As the patriarch of TLC’s “19 Kids and Counting,” Jim Bob Duggar became synonymous with a conservative Christian lifestyle when the show aired in 2008; it garnered high ratings and ran for 10 seasons. He espoused many of the same ideals as an elected official in the Arkansas House of Representatives from 1999 to 2003, before leaving the political stage for reality TV. But the show was canceled in 2015 when the Duggars’ eldest son, Josh, admitted to molesting several girls, some of whom were his sisters. A conviction on child pornography charges followed. (More recently, his brother Joseph was charged with child sex abuse.) Jim Bob Duggar attempted a political comeback in 2021 when he ran for a vacated seat in the Arkansas state Senate, leaning on what he believed was his reputation as an upstanding family man. Reality bit back, and he lost.

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Mehmet Oz, U.S. Senate candidate and administrator of Centers for Medicare & Medicaid Services, ‘The Dr. Oz Show’

Like so many questionable figures Americans came to trust in the 2000s, Dr. Oz got his start as a frequent guest on “The Oprah Winfrey Show.” He went on to launch “The Dr. Oz Show,” where he dispensed health advice to millions of viewers. His blend of seemingly measured medical guidance and on-camera charisma appealed to viewers who were tired of looking at egg-headed doctors, like the kind who practice real medicine off screen. He announced his candidacy for the U.S. Senate in Pennsylvania as a Republican in 2021, focusing on an anti-establishment platform. He lost the general election to Democrat John Fetterman, but the doctor is still in. Trump appointed him administrator of the Centers for Medicare & Medicaid Services.

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Sarah Palin, former Alaska governor and vice presidential nominee, ‘Sarah Palin’s Alaska’

File this under “Folks who tried to reinvent themselves on reality TV after tanking in politics.” Sarah Palin served as the ninth governor of Alaska before being selected as Sen. John McCain‘s running mate ahead of the 2008 presidential election. After losing to Barack Obama and Joe Biden, she veered away from politics, a decision that probably had nothing to do with an ethics scandal dubbed Troopergate that involved Palin. Burnett saw an opportunity, producing the 2010 TLC reality series “Sarah Palin’s Alaska.” It followed the Palin family engaging in activities such as fishing, prospecting for gold and camping in the region. In short, it looked like a tourism ad for Alaska and was canceled after one season. It also failed to kickstart her political career. She lost her 2022 bid for Alaska’s U.S. House seat, failing in both a special election and her general election comeback attempt. Apparently it isn’t Sarah Palin’s Alaska, after all.

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Louis Tomlinson’s forgotten soap role before boyband fame revealed as fans go wild over resurfaced clip

A CLIP of a ‘baby’ Louis Tomlinson on Waterloo Road, long before he was a global superstar, has tickled fans.

The BBC soap dug through the archives to unearth a blink-and-you’ll-miss-it cameo from former One Direction star Louis.

Louis Tomlinson has re-appeared in an old clip from soap Waterloo RoadCredit: BBC
One Direction star Louis can be seen in the resurfaced footageCredit: BBC

As the school drama celebrates its 20th anniversary, the official social media site posted the vintage footage and asked: “Do you think he was scared of Janeece?”

The clip shows a baby-faced Louis playing an extra during the show’s very first series in 2006.

In the footage, a concerned-looking Louis can be seen in the background of the school playground as fan-favourites Janeece Bryant (Chelsee Healey) and Donte Charles (Adam Thomas) get into a heated row.

To help fans catch the four-second appearance, the clip has been given the slow-motion treatment, asking: “Can you spot One Direction’s Louis Tomlinson in Waterloo Road?”

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Fans commented: “Baby Louis Tomlinson.”

“He was so young,” noted a second.

“What a babbyyyyyy,” cooed a third.

Before his X Factor audition in 2010, Louis was a budding actor with a string of background roles.

Along with his stint at the fictional Greater Manchester school, he also popped up in Kay Mellor’s Fat Friends and the drama film If I Had You.

Louis, 34, recently opened up about one of his pre-fame jobs.

Speaking to Radio 2’s Scott Mills, he shared: “I did work at Toys R US. It was one of my favourite jobs.

“I absolutely loved it. I loved it. Honestly. I was just on the tech.

The star has opened up about his ‘terrifying’ experience on stage as a solo artistCredit: Getty

“I had to just do the tech basically, giving tech demos to people. 

“Do you remember Guitar Hero? Well, they’d just released DJ Hero. 

“I just spent hours on my working day demonstrating to other customers.

“I loved that job though, I loved it.”

Fans commented: “He came from a working class and despite his global success he keeps being so down to earth.”

A second added: “Love that he did all these jobs. And he’s still so humble.”

A third penned: “The cutest role mode.”

The singer has recently dropped his third solo album, How Did I Get Here?.

The Lemonade and Sunflowers star has spoken about his ‘terrifying’ world tour which lands in the UK for a run of dates throughout April and May.

Louis got his big break on The X Factor but he recently said the show is unethical and “could do better” for its contestants.

The singer was put into One Direction by the show’s judges and rocketed to superstardom – then returned as a judge in 2018.

Recently, Louis paid a heartfelt tribute to tragic bandmate Liam Payne with a song on his new album.

Louis sings about loss on the track Dark to Light and asks if he could have done more to help someone in need.

Liam was just 31 when he died in October 2024 after falling from his hotel balcony in Buenos Aires, Argentina.

Louis has been dating Zara McDermott since last March and they recently spent their first Valentine’s Day together.

This comes after the loved-up pair celebrated their first Christmas together at his home in Hertfordshire.

The Sun were the first to reveal at the start of the year that Zara and Louis had begun dating each other just weeks after she split from long-term partner, reality star Sam Thompson.

Singer-songwriter Louis is embarking on a world tourCredit: Getty

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Disney’s new CEO says his focus is on storytelling and creativity

Disney has a new captain, and his eyes are on the stars.

Taking over the reins from Bob Iger on Wednesday, new chief executive Josh D’Amaro signaled a bold shift for the entertainment giant: a future where emotional storytelling remains the “North Star,” but cutting-edge technology provides the fuel.

From ESPN to the Magic Kingdom, D’Amaro said in his first letter to employees as the top boss that his mission is to turn a century of nostalgia into a more personal, high-tech reality for fans worldwide.

“Used thoughtfully, it can empower our storytellers, strengthen our capabilities, and help us create more immersive, interactive and personal ways for people to experience Disney,” he wrote in the Wednesday morning note.

D’Amaro also said he wants the sprawling company, which includes film and TV studios, a tourism division, streaming services and live sports programming, to operate as “one Disney,” saying the global businesses all play a role in deepening consumers’ relationship with the Mouse House.

That connection people have with Disney’s brand is key to the company’s future. Consumers have more film, TV and experiences to choose from than ever, meaning Disney needs to distinguish itself among competitors.

To do that, D’Amaro plans to focus on the emotions consumers feel when they encounter Disney. As an example, he reminisced about his own first visit to Disneyland more than 40 years ago.

He recalled the joy on his father’s face as the two rode Peter Pan’s Flight together. And when they soared over the miniature version of London on the ride, he remembered his father leaning in and saying, “See, I told you. It feels like we’re flying!”

“That feeling of flying I had on Peter Pan all those years ago is still real to me,” he wrote in the Wednesday morning note. “And today, I am honored to move forward with all of you — with ambition, optimism, and absolute confidence in what we can build together.”

That new era also included a goodbye to Bob Iger, who handed over the reins Wednesday and now moves into a senior advisory role for the rest of the year before his planned retirement.

The company paid tribute to Iger in a video during Disney’s annual shareholders meeting Wednesday morning.

With clips from his earliest public appearances as Disney’s CEO, a highlight reel of the acquisitions the company made under his tenure and even a nod to his previous career behind the anchor desk, the video highlighted Iger’s legacy at the company and the role he played in bulking up Disney’s franchises, global theme parks, sports and streaming platforms.

When asked in the video about where he’ll go from here, Iger laughed and replied, “To Disneyland.”

In a pre-recorded speech, Iger said his time at Disney has spanned much of his life and that he never expected to become CEO of the company — much less twice.

“Over the years, we experienced extraordinary change and faced real challenges that were particularly profound in the last three years,” Iger said. “It was daunting at times, but through it all, what sustained me was the passion I saw every day from great storytellers, innovators, leaders and people around the world.”

In his parting remarks during that speech, he expressed confidence in the new leadership team of D’Amaro and Dana Walden, who is now president and chief creative officer of the company.

“I will be cheering on Josh, Dana and all of you as I sail off into the sunset,” he said. “So thank you for the trust you placed in me, for the memories we created together, and for allowing me the honor of serving. It has meant more to me than I can say.”

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Daniel Mays ‘terrified’ after reading script for ‘unsettling’ John Worboys role

The actor portrays John Worboys – dubbed the “black cab rapist” – in the upcoming series

Daniel Mays has admitted he was “absolutely terrified” when he read the script of his new ITV drama Believe Me.

The actor plays convicted offender John Worboys – who was dubbed the ‘black cab rapist’ after preying on women under the cover of being a licensed taxi-cab driver.

He was convicted in 2009 for crimes including sexual assault and drugging with intent against 12 women.

“I actually underestimated how much it was going to affect me,” Daniel said as a first look image of him as Worboys was released.

“I’ve been a professional actor for 26 years, so I’ve done a lot of true crime and played a lot of wrong ‘uns. When I got these scripts, it absolutely terrified me, because I’m a father myself.

“My head immediately went to my 13-year-old daughter Dixie. She’s venturing out, going on trains, and before long, no doubt she’ll be in the back of a taxi. So as a father, I found it an incredibly disturbing and terrifying read.”

He continued: “It was a difficult thing to have rolling around in my head before filming.

“It was a very isolating character to play, by its very nature. When I was announced to play him, I got this tirade from family and friends and work colleagues who can’t quite believe it, going, ‘Why would you want to play something like that?’ So, the challenge was to humanise him, really, and that was a very difficult and unsettling thing to take on.”

The four-part series, filmed in Cardiff, focuses on the ordeal of Sarah (played by Peaky Blinders’ Aimée-Ffion Edwards) and Laila (played by Raised By Wolves’ Aasiya Shah), who reported sexual assaults by Worboys, and how their allegations were not thoroughly investigated.

ITV said it “tells the story of how the victims of one of the most prolific sex attackers in British history were failed by the system”.

Danny, known for Des and A Thousand Blows, said there’s “always a huge responsibility” playing a real person on screen, but that this was “a whole other level”.

He explained: “This is told from the perspective of the victims, and for them to tell their truth, have their stories told – the ordeals that they went through and the fight they took on against the Metropolitan Police and the court systems.

“So, when you’re dealing with that, the onus was on me to get it absolutely 110% right. That was paramount to me.”

Believe Me is coming soon to ITV1

If you or somebody you know has been affected by this story, contact Victim Support for free, confidential advice on 08 08 16 89 111 or visit their website, http://www.victimsupport.org.uk.

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Oscars fashion: What every winner wore since 2000

Catherine Zeta-Jones stands in a gold gown on a red carpet in front of dozens of photographers.

Catherine Zeta-Jones arrives on the red carpet at the 85th Academy Awards in 2013.

(Wally Skalij / Los Angeles Times)

The red carpet at the Oscars is the epitome of Hollywood glitz and glamour. We combed through our archives for photos of the Academy Awards since 2000 — from arrivals of the biggest stars to backstage candids to winners clutching their awards — to compile this trip down the Oscars’ memory lane.

So what do winners wear? Take a look at our collection below and you’ll see some of the best dressed stars through the years, including Lupita Nyong’o’s custom pale blue Prada gown in 2014 and Emma Stone’s gold Givenchy flapper-style dress in 2017. Around the dawn of the millennium, Halle Berry made a statement with an Elie Saab dress that had a sheer top with embroidered flowers when she won in 2002 while Reese Witherspoon went vintage with a beaded dress from Dior in 2006.

As we wait to see what the stars are wearing Sunday on the 98th Oscars red carpet, take a look at how Oscar fashion has evolved in the 21st century with photos of those who took home trophies for lead actress, lead actor, supporting actress and supporting actor.

2025

Mikey Madison shows off her Oscar.

Mikey Madison shows off her leading actress Oscar for her role in “Anora” at the 97th Academy Awards.

(Jason Armond / Los Angeles Times)

Adrien Brody walks the red carpet.

Adrien Brody walks the red carpet at the 97th Academy Awards. He won the leading actor Oscar for “The Brutalist.”

(Allen J. Schaben / Los Angeles Times)

Zoe Saldaña, wearing a red gown, accepts an Oscar on stage.

Zoe Saldaña accepts the supporting actress Oscar at the 2025 Academy Awards for “Emilia Perez.”

(Myung J. Chun / Los Angeles Times)

Kieran Culkin poses with his Oscar.

Kieran Culkin poses with his Oscar for “A Real Pain” at the 97th Academy Awards.

(Jason Armond / Los Angeles Times)

2024

Emma Stone speaks into a microphone holding an Oscar.

Emma Stone won her second leading actress Oscar, for “Poor Things,” at the 96th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Cillian Murphy wears a tux while accepting an Oscar on stage surrounded by other men in suits.

Cillian Murphy accepts the leading actor Oscar for “Oppenheimer” at the 96th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Da'Vine Joy Randolph, wearing a silver sequin gown with feathery shoulders, stands behind a microphone.

Da’Vine Joy Randolph won the supporting actress Oscar at the 96th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Robert Downey, Jr., wearing an all-black tux, poses on the red carpet.

Robert Downey Jr. poses on the red carpet at the 96th Academy Awards before winning the supporting actor Oscar for “Oppenheimer.”

(Christina House / Los Angeles Times)

2023

Michelle Yeoh holds her Oscar.

Michelle Yeoh, who won the leading actress Oscar for “Everything Everywhere All at Once,” arrives at the Governors Ball following the 95th Academy Awards.

(Jay L. Clendenin / Los Angeles Times)

Brendan Fraser holds his Oscar.

Brendan Fraser clutches his Oscar backstage at the 95th Academy Awards at the Dolby Theatre.

(Robert Gauthier / Los Angeles Times)

Jamie Lee Curtis cries as she holds her Oscar backstage.

Jamie Lee Curtis, the supporting actress winner for “Everything Everywhere All at Once,” cries as she holds her Oscar backstage.

(Robert Gauthier / Los Angeles Times)

Ke Huy Quan stands atop the engraving station after getting his Oscar.

Ke Huy Quan stands atop the engraving station after getting his Oscar for supporting actor engraved.

(Jay L. Clendenin / Los Angeles Times)

2022

Jessica Chastain, wearing a purple gown, poses on the red carpet.

Jessica Chastain arrives at the 94th Academy Awards before winning the Oscar for lead actress.

(Jay L. Clendenin / Los Angeles Times)

Will Smith, in a suit, and Jada Pinkett Smith, in a green gown, on the red carpet at the Oscars.

Will Smith and Jada Pinkett Smith pose on the red carpet at the 2022 Oscars. Smith won the leading actor award later that night after slapping Chris Rock during the show.

(Jay L. Clendenin / Los Angeles Times)

Ariana DeBose holds her Oscar backstage.

Ariana DeBose holds her Oscar for supporting actress backstage.

(Robert Gauthier/Los Angeles Times)

Troy Kotsur signs as he holds up his Oscar.

Troy Kotsur accepts the supporting actor award for “CODA” from Youn Yuh-jung.

(Myung Chun / Los Angeles Times)

2021

The 2021 Oscars had a modified format without a red carpet due to the COVID-19 pandemic.

2020

Renée Zellweger, wearing a white gown, holds her Oscar backstage.

Renée Zellweger shows off her Oscar for lead actress for “Judy.”

(Allen J. Schaben / Los Angeles Times)

Joaquin Phoenix stands on the red carpet.

Joaquin Phoenix arrives at the 92nd Academy Awards. He won for lead actor for his role in “Joker.”

(Jay L. Clendenin / Los Angeles Times)

Laura Dern holds her Oscar backstage.

Laura Dern, winner of the supporting actress Oscar for “Marriage Story,” shows off her hardware.

(Allen J. Schaben / Los Angeles Times)

Brad Pitt holds his Oscar.

Brad Pitt wins the supporting actor Oscar for his role as Cliff Booth in “Once Upon a Time … in Hollywood.”

(Allen J. Schaben / Los Angeles Times)

2019

Olivia Colman accepts her Oscar on stage.

Olivia Colman wins the lead actress Oscar for “The Favourite.”

(Robert Gauthier / Los Angeles Times)

Rami Malek holds up his Oscar.

Rami Malek, winner for lead actor for “Bohemian Rhapsody,” poses in the photo room at the 91st Academy Awards.

(Allen J. Schaben / Los Angeles Times)

Regina King, wearing a white dress with a high slit, walks on the red carpet.

Regina King arrives at the Academy Awards, where she won for supporting actress in “If Beale Street Could Talk.”

(Jay L. Clendenin / Los Angeles Times)

Amatus Sami-Karim and Mahershala Ali pose on the red carpet.

Amatus Sami-Karim and Mahershala Ali pose at the 91st Academy Awards, where Ali won the supporting actor Oscar for “Green Book.”

(Jay L. Clendenin / Los Angeles Times)

2018

Frances McDormand points to a giant Oscar.

Frances McDormand was victorious for her role in “Three Billboards Outside Ebbing, Missouri.”

( Allen J. Schaben / Los Angeles Times)

Gary Oldman stands in front of a giant Oscar as he hold up his own.

Gary Oldman tightly grips his Oscar for lead actor.

(Allen J. Schaben / Los Angeles Times)

Allison Janney poses with her Oscar.

Allison Janney, winner of the supporting actress Oscar for “I, Tonya,” poses for photos.

(Allen J. Schaben / Los Angeles Times)

Sam Rockwell and Leslie Bibb hold their hands up.

Sam Rockwell and Leslie Bibb pose on the red carpet at the 90th Academy Awards. Rockwell won for his role as troubled police officer Jason Dixon in “Three Billboards Outside Ebbing, Missouri.”

(Jay L. Clendenin / Los Angeles Times)

2017

Emma Stone holds her Oscar as she delivers an acceptance speech onstage.

Emma Stone delivers a touching acceptance speech after winning lead actress for her role in “La La Land.”

(Al Seib / Los Angeles Times)

Casey Affleck wears a tuxedo and holds up his Oscar backstage.

Casey Affleck holds up his Oscar for lead actor for “Manchester by the Sea.”

(Marcus Yam / Los Angeles Times)

Viola Davis smiles backstage in a red dress.

Viola Davis smiles backstage after winning the Oscar for supporting actress for “Fences.”

(Al Seib / Los Angeles Times)

Mahershala Ali wears a navy blue tuxedo with a matching shirt on the red carpet.

Mahershala Ali arrives at the Oscars, where he won for his performance in “Moonlight.”

(Allen J. Schaben / Los Angeles Times)

2016

Brie Larson, wearing a blue ruffled dress, poses on the red carpet.

Brie Larson won the lead actress Oscar for her role in the drama “Room.”

(Jay L. Clendenin / Los Angeles Times)

Leonardo DiCaprio speaks on stage after winning an Oscar.

Leonardo DiCaprio wins his first Oscar ever for “The Revenant.”

(Robert Gauthier / Los Angeles Times)

Alicia Vikander, wearing a butter yellow gown, poses on the red carpet.

Alicia Vikander is Belle of the ball at the Oscars, where she won for supporting actress in “The Danish Girl.”

(Jay L. Clendenin / Los Angeles Times)

Mark Rylance walks backstage while holding his Oscar.

Mark Rylance walks backstage after picking up the supporting actor Oscar for “Bridge of Spies.”

(Al Seib / Los Angeles Times)

2015

Julianne Moore stands between two giant Oscars as she holds her own.

Julianne Moore shows off her lead actress trophy.

(Allen J. Schaben / Los Angeles Times)

Eddie Redmayne, wearing a blue tux, stands on the red carpet.

Eddie Redmayne arrives at the 87th Academy Awards, where he won gold for “The Theory of Everything.”

(Jay L. Clendenin / Los Angeles Times)

Patricia Arquette poses with her hand on her hip on the red carpet.

Patricia Arquette poses on the red carpet. The actress won an Oscar for her role in “Boyhood.”

(Jay L. Clendenin / Los Angeles Times)

J.K. Simmons holds his Oscar in one hand.

J.K. Simmons holds his supporting actor Oscar for the movie “Whiplash.”

(Allen J. Schaben / Los Angeles Times)

2014

Matthew McConaughey holds up his Oscar while giving an acceptance speech.

Matthew McConaughey accepts the lead actor award for “Dallas Buyers Club.”

(Robert Gauthier / Los Angeles Times)

Cate Blanchett poses on the red carpet.

Cate Blanchett stuns on the red carpet before picking up the lead actress Oscar for “Blue Jasmine.”

(Wally Skalij / Los Angeles Times)

Jared Leto smiles and points off camera while walking the red carpet.

Jared Leto arrives at the 86th Academy Awards, where he won for his role in “Dallas Buyers Club.”

(Jay L. Clendenin / Los Angeles Times)

Lupita Nyong'o twirls her dress on the red carpet.

Lupita Nyong’o twirls her dress on the red carpet at the Oscars, where she won for her feature film debut in “12 Years a Slave.”

(Wally Skalij / Los Angeles Times)

2013

Daniel Day-Lewis and Meryl Streep onstage at the Oscars.

Daniel Day-Lewis and Meryl Streep walk offstage at the 85th Academy Awards after Day-Lewis’ lead actor win.

(Al Seib / Los Angeles Times)

Jennifer Lawrence, wearing a white gown, holds up her Oscar.

Jennifer Lawrence holds up her Oscar after her win for “Silver Linings Playbook.”

(Lawrence K. Ho / Los Angeles Times)

Christoph Waltz holds his Oscar and winner's envelope onstage.

Christoph Waltz gives an acceptance speech after winning for supporting actor.

(Robert Gauthier / Los Angeles Times)

Anne Hathaway holds her Oscar on stage.

Anne Hathaway wins for supporting actress at the 85th Academy Awards.

(Robert Gauthier / Los Angeles Times)

2012

Jean Dujardin screams as he wins his Oscar.

Jean Dujardin cheers after his Oscar win for lead actor at the 84th Academy Awards.

(Robert Gauthier / Los Angeles Times)

Meryl Streep holds up her Oscar as she stands in front of three huge Oscars.

Meryl Streep holds up her Oscar for lead actress for “The Iron Lady.”

(Allen J. Schaben / Los Angeles Times)

Christopher Plummer examines his Oscar onstage.

Christopher Plummer examines his Oscar for supporting actor.

(Al Seib / Los Angeles Times)

Octavia Spencer cries as she hold her Oscar onstage.

Octavia Spencer cries as she accepts her Oscar for supporting actress.

(Robert Gauthier / Los Angeles Times)

2011

Colin FIrth holds his Oscar.

Colin Firth is photographed with his Oscar at the Governors Ball following his win for “The King’s Speech.”

(Gary Friedman / Los Angeles Times)

Natalie Portman, wearing a burgundy gown, stands on the red carpet.

Natalie Portman arrives in style to the Oscars, where she won for her role in “Black Swan.”

(Liz O. Baylen / Los Angeles Times)

Christian Bale accepts his Oscar onstage.

Christian Bale accepts his award for supporting actor during the 83rd Academy Awards.

(Robert Gauthier / Los Angeles Times)

Melissa Leo poses on the red carpet.

Melissa Leo poses on the red carpet before her win for supporting actress.

(Kirk McKoy / Los Angeles Times)

2010

Jeff Bridges cheers after receiving an Oscar.

Jeff Bridges cheers after receiving the lead actor Oscar.

(Robert Gauthier / Los Angeles Times)

Sandra Bullock poses on the red carpet.

Sandra Bullock arrives at the 82nd Annual Academy Awards before winning an Oscar for her role in “The Blind Side.”

(Kirk McKoy / Los Angeles Times)

Mo'Nique talks into a microphone as she hold her Oscar on stage.

Mo’Nique receives an Oscar for her role in “Precious” during the 82nd Annual Academy Awards.

(Robert Gauthier / Los Angeles Times)

Christoph Waltz smiles while accepting his Oscar.

Christoph Waltz accepts his award for supporting actor during the 82nd Academy Awards.

(Robert Gauthier / Los Angeles Times)

2009

Sean Penn, wearing an all-black suit, accepts his Oscar onstage.

Sean Penn accepts the lead actor Oscar for his role in “Milk” during the 81st Academy Awards.

(Mark Boster / Los Angeles Times)

Kate Winslet holds her Oscar statue and her winner's envelope backstage.

Kate Winslet stands backstage after her win for lead actress at the 81st Academy Awards.

(Al Seib / Los Angeles Times)

Heath Ledger's family stands in front of a microphone onstage at the Oscars.

Sally Bell, Kim and Kate Ledger accept the Oscar for supporting actor awarded to Heath Ledger at the 81st Academy Awards.

(Mark Boster/Los Angeles Times)

Penelope Cruz holds her Oscar onstage.

Penelope Cruz receives her Oscar at the 81st Academy Awards for her role in “Vicky Cristina Barcelona.”

(Mark Boster / Los Angeles Times)

2008

Forest Whitaker walks Marion Cotillard off stage.

Forest Whitaker escorts Marion Cotillard off stage after presenting her with the Oscar for lead actress at the 80th Academy Awards.

(Al Seib / Los Angeles Times)

Helen Mirren smiles with Daniel Day–Lewis as he holds his Oscar backstage.

Presenter Helen Mirren joins Daniel Day–Lewis backstage after his win for lead actor at the 80th Academy Awards.

(Lawrence K. Ho / Los Angeles Times)

Tilda Swinton accepts her Oscar onstage in a long black dress.

Tilda Swinton accepts the supporting actress Oscar for her role in “Michael Clayton” at the 80th Academy Awards.

(Al Seib / Los Angeles Times)

Javier Bardem and the cast of "No Country for Old Men" celebrate in front of the steps to the stage.

Javier Bardem celebrates with the cast of “No Country for Old Men” after the film’s win for best picture and his victory for lead actor.

(Wally Skalij / Los Angeles Times)

2007

Helen Mirren walks offstage with her Oscar.

Helen Mirren accepts the Oscar for lead actress for her role in “The Queen.”

(Al Seib / Los Angeles Times)

Forest Whitaker walks off stage after accepting his Oscar.

Forest Whitaker accepts the leading actor Oscar for his role in “The Last King of Scotland.”

(Al Seib / Los Angeles Times)

Jennifer Hudson, with her mouth open wide in excitement, exits the stage with her Oscar.

Jennifer Hudson exits the stage with her Oscar after winning for supporting actress during the 79th Academy Awards.

(Al Seib / Los Angeles Times)

Rachel Weisz wipes lipstick off of Alan Arkin's cheek while walking offstage.

Rachel Weisz wipes lipstick off of supporting actor winner Alan Arkin’s cheek while walking offstage.

(Al Seib / Los Angeles Times)

2006

Reese Witherspoon arrives at the red carpet wearing a dress with a silver sequins.

Reese Witherspoon arrives at the 78th Academy Awards, where she took home an Oscar for lead actress in “Walk the Line.”

(Al Seib / Los Angeles Times)

Philip Seymour Hoffman accepts his Oscar while wearing a black suit with a white tie.

Philip Seymour Hoffman accepts the Oscar for lead actor for his role in “Capote” at the 78th Academy Awards.

(Mark Boster / Los Angeles Times)

Rachel Weisz holds her Oscar while speaking into a microphone.

Rachel Weisz accepts the supporting actress Oscar for her role in “The Constant Gardener.”

(Mark Boster / Los Angeles Times)

George Clooney greets fans outside the Academy Awards.

George Clooney greets fans at the 78th Academy Awards, where he took home the supporting actor Oscar.

(Al Seib / Los Angeles Times)

2005

Actors (L–R) Morgan Freeman, Cate Blanchett, Hilary Swank and Jamie Foxx pose with their Oscars.

Morgan Freeman, Cate Blanchett, Hilary Swank and Jamie Foxx pose with Oscar statuettes at the 77th Academy Awards.

(Ken Hively / Los Angeles Times)

Jamie Foxx, in a black suit, and daughter Corrine Foxx, in a white dress, pose on the red carpet.

Jamie Foxx and daughter Corinne arrive at the 77th Academy Awards.

(Béatrice de Géa / Los Angeles Times)

Hilary Swank arrives on the red carpet in a blue, open-back dress.

Hilary Swank arrives at the 77th Academy Awards, where she would win an Oscar for lead actress in “Million Dollar Baby.”

(Robert Gauthier / Los Angeles Times)

Morgan Freeman arrives on the red carpet in a black suit with his daughter Morgana, in a yellow dress.

Morgan Freeman arrives at the 77th Academy Awards with his daughter, Morgana.

(Robert Gauthier / Los Angeles Times)

Cate Blanchett arrives on the Academy Awards red carpet in a long, yellow dress.

Cate Blanchett arrives at the Academy Awards, where she won an Oscar for her role in “The Aviator.”

(Béatrice de Géa / Los Angeles Times)

2004

Charlize Theron, Sean Penn, Renee Zellweger and Tim Robbins smile and hold their Oscars.

Charlize Theron, Sean Penn, Rénee Zellweger and Tim Robbins pose with their Oscars at the 76th Academy Awards.

(Francine Orr / Los Angeles Times)

Charlize Theron, wearing a silver dress, arrives on the red carpet.

Charlize Theron, wearing Tom Ford for Gucci, arrives at the 76th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Sean Penn looks up at the audience as he accepts his Oscar.

Sean Penn accepts the leading actor Oscar for his role in “Mystic River.”

(Brian van der Brug / Los Angeles Times)

Renee Zellweger poses in the press room with her Oscar.

Actress Renée Zellweger poses with her Oscar for supporting actress for her role in “Cold Mountain” at the 76th Academy Awards.

(Francine Orr / Los Angeles Times)

Tim Robbins, Susan Sarandon and their son flash peace signs.

Tim Robbins, his then-partner Susan Sarandon and their son flash peace signs as they arrive at the 75th Academy Awards.

(Robert Gauthier / Los Angeles Times)

2003

 Adrien Brody, Nicole Kidman, Catherine Zeta–Jones and Chris Cooper hold their Oscars backstage.

Adrien Brody, Nicole Kidman, Catherine Zeta-Jones and Chris Cooper prepare to pose with their Oscars at the 75th Academy Awards.

(Richard Hartog / Los Angeles Times)

Adrien Brody smiles with his arms open wide.

Adrien Brody reacts to his Oscar win for “The Pianist.”

(Brian van der Brug / Los Angeles Times)

Nicole Kidman holds her Oscar while wearing a long, black dress onstage.

Nicole Kidman accepts the leading actress Oscar at the 75th Academy Awards.

(Brian van der Brug / Los Angeles Times)

Chris Cooper points to the camera.

Chris Cooper points to the camera after winning an Oscar for supporting actor for “Adaptation.”

(Anacleto Rapping / Los Angeles Times)

Catherine Zeta–Jones holds her Oscar onstage, smiling while speaking into a microphone.

Catherine Zeta–Jones accepts the leading actress award at the 75th Academy Awards.

(Brian van der Brug / Los Angeles Times)

2002

Denzel Washington holds his Oscar in the air while accepting the award.

Denzel Washington wins the leading actor Oscar for his role in “Training Day.”

(Ken Hively / Los Angeles Times)

Halle Berry arrives at the red carpet in a dress with a sheer, floral top.

Halle Berry arrives at the 74th Academy Awards, where she won an Oscar for her role in “Monster’s Ball.”

(Kevin P. Casey / Los Angeles Times)

Jennifer Connelly and Jim Broadbent smile while holding their Oscars backstage.

Supporting actress Jennifer Connelly and supporting actor Jim Broadbent smile at the 74th Academy Awards.

(Don Kelsen / Los Angeles Times)

Jennifer Connelly accepts her Oscar while speaking into a microphone.

Jennifer Connelly accepts her Oscar for her role in “A Beautiful Mind.”

(Ken Hively / Los Angeles Times)

2001

Benicio del Toro, Marcia Gay Harden, Julia Roberts and Russell Crowe pose with their Oscars.

Benicio del Toro, Marcia Gay Harden, Julia Roberts and Russell Crowe pose with their Oscars during the 73rd Academy Awards.

(Ken Hively / Los Angeles Times)

Russell Crowe scratches his forehead as he accepts his Oscar.

Russell Crowe wins an Oscar for his work on the film “Gladiator” during the 73rd annual Academy Awards.

(Al Seib / Los Angeles Times)

Julia Roberts screams with joy while accepting her Oscar.

Julia Roberts celebrates after winning the leading actress Oscar at the 73rd Academy Awards.

(Al Seib / Los Angeles Times)

Benicio Del Toro clinches his fist after accepting the Oscar.

Benicio Del Toro clinches his fist after accepting the supporting actor Oscar for his role in “Traffic.”

(Al Seib / Los Angeles Times)

Marcia Gay Harden accepts her Oscar while speaking into a microphone.

Marcia Gay Harden accepts her supporting actress Oscar at the 73rd Academy Awards.

(Al Seib / Los Angeles Times)

2000

Michael Caine, Angelina Jolie, Hilary Swank and Kevin Spacey pose while holding their Oscars

Michael Caine, Angelina Jolie, Hilary Swank and Kevin Spacey smile backstage at the 72nd Academy Awards.

(Ken Hively / Los Angeles Times)

Kevin Spacey holds an Oscar backstage.

Kevin Spacey poses with his leading actor award for his role in “American Beauty.”

(Ken Hively / Los Angeles Times)

Hilary Swank, wearing a green dress, holds her Oscar onstage.

Hilary Swank accepts her Oscar for her role in “Boys Don’t Cry.”

(Robert Gauthier / Los Angeles Times)

Michael Caine covers his mouth in disbelief, holding his Oscar on stage.

Michael Caine accepts the Oscar for supporting actor during the 72nd Academy Awards.

(Robert Gauthier/ Los Angeles Times)

Angelina Jolie kisses her Oscar backstage at the Academy Awards.

Angelina Jolie kisses her Oscar for supporting actress during the 72nd Academy Awards.

(Ken Hively / Los Angeles Times)

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Surprising new Brit actor lined up for James Bond role ahead of Oscars, say bookies

AN unexpected Brit name has been thrown into the ring to play the next James Bond.

Bookmaker Coral has announced the surprising news about who is currently in the lead to scoop the iconic role.

Daniel Craig’s role as the MI5 agent is up for grabsCredit: Rex
Back To Black star Jack O’Connell is the current frontrunnerCredit: Alamy

It has been revealed that Jack O’Connell’s name is flying high after seeing support rise over the last 48 hours.

The SAS: Rogue Heroes star is a big contender to jump into James Bond‘s boots with odds to 8-1 (from 33-1).

“Jack O’Connell’s next James Bond odds have collapsed over the last couple of days, with the British actor now just single figures in our betting for the iconic role,” said Coral’s John Hill.

The new movie will be written by Oscar-nominated filmmaker Steven Knight – who was behind iconic TV show Peaky Blinders.

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Steven also wrote SAS: Rogue Heroes and worked with Jack on the feature.

The 28 Years Later actor has come a long way since his days in the Skins cast.

O’Connell has played a variety of roles since he starred in the TV teen drama as James Cook from 2009 to 2010 – and for the show’s final season in 2013.

Ever since Daniel Craig said goodbye to the role in 2021 release No Time To Die, the role of super spy 007 has been up for grabs, with speculation rife over who should take over. 

Coral stated the odds: 4-5 Callum Turner, 3-1 Aaron Taylor-Johnson, 3-1 Theo James, 6-1 Henry Cavill, 8-1 Jack O’Connell, 10-1 Anthony Boyle, 12-1 Harris Dickinson, 16-1 Jack Lowden, 16-1 James Norton.

Actors thought to be in the running to play Bond include Spider-Man star Tom Holland, 28, Bridget Jones hunk Leo Woodall, 28, SAS Rogue Heroes leading man Connor Swindells, 28, plus Hero Fiennes Tiffin, 27, and Kit Connor, 21. 

Irishman Paul Mescal, 29, is also said to be in the frame along with Wuthering Heights heart-throb Jacob Elordi, 27.

Among the other names rumoured to be in the frame included Aaron Taylor-Johnson, Callum Turner and Henry Cavill.

The Sun recently revealed the latest 007 adventure — spearheaded by new owners Amazon Prime Video — will start filming before the end of the year.

Work has already begun on assembling the crew with a view to starting filming late autumn into early winter.

Amazon has yet to confirm anything about the new Bond movie and there’s no hint as to what it will be called.

But if the cameras start to roll this year it means it could wrap in 2027 and be on our screens by 2028.

The franchise was snapped up by the streaming giants after 2021’s No Time To Die featured the death of the super-spy, played by Daniel Craig.

Jack as James Cook in E4s Skins from 2009-2010Credit: E4
Jack starred in movie SAS: Rogue HeroesCredit: BBC
Could Callum Turner be the next 007?Credit: Alamy
Jacob Elordi of Wuthering Heights fame is a favouriteCredit: Alamy
Peaky Blinders boss Steven Knight will be behind the movie and has worked with JackCredit: Getty

Who will be the next James Bond?

Names in the mix to play 007 include:

Tom Holland

Fans have come up with a theory that Hollywood producer Amy Pascal – who has worked with Tom for years – could be involved in casting the new 007 film.

Henry Cavill

After playing legend Superman, Henry Cavill is now being tipped to be the next James Bond.

The former superhero would step into the role with ease.

James Nelson-Joyce

The actor first impressed audiences with his acting skills when he starred in Little Boy Blue alongside the legendary Stephen Graham.

Theo James

Theo’s name was thrown into the hat after he wowed fans in Netflix‘s The Gentlemen.

His performance in the Guy Ritchie series made him an ideal candidate for the next actor to fill the shoes of 007.

Aaron Taylor-Johnson

The actor has topped the bookies’ list for a long time.

It was after it was revealed back in 2022 that the Brit had already “filmed a top-secret scene” at Pinewood Studios, Berkshire.

James Norton 

The actor has been a hot contender for the next Bond for many years.

The chiselled star is known for playing the lead role of Sidney Chambers in Grantchester, and also evil Tommy Lee Royce in Happy Valley.

Jacob Elordi

Following the release of his blockbuster Hollywood movie Wuthering Heights, the popular actor’s odds to take on the spy role have soared.

After the release of his new flick, Jacob is now said to hold high odds.

Callum Turner

The London-born star was top of the list and has previously dodged questions on whether he’d take on the role.

Harris Dickinson

The newcomer actor’s stock has risen greatly over the past few years with appearances in Where The Crawdads Sing and steamy flick Babygirl, opposite Nicole Kidman.

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Call the Midwife star opens up on ‘witty’ new role in ‘not your typical period drama’

Ella Bruccoleri looks unrecognisable from her days at Nonnatus House as she takes on the leading role in new BBC period drama

Call the Midwife star Ella Bruccoleri has landed the leading role in new BBC period drama The Other Bennet Sister.

The 10-episode series, which is based on Janice Hadlow’s novel of the same name, follows the “overlooked” character of Mary Bennet, played by Ella, who looks unrecognisable from her days at Nonnatus House, where she featured as Sister Frances until 2022.

The series begins at Longbourn, where the Bennet family’s five unmarried daughters navigate the rigid expectations of Regency society.

“Her journey sees her leave her family home for the soirées of Regency London and the peaks and vales of the Lake District, all in search of independence, self-love, and reinvention,” the synopsis says.

“The series follows Mary as she steps out of her sisters’ shadows in search of her own identity and purpose, finding herself in the middle of an epic love story along the way,” it goes on.

Fans don’t have long to wait for the show to drop as it had since been confirmed that it will premiere on BBC One at 8pm on Sunday ( March 15) and all episodes will be available to stream on iPlayer.

Speaking to the BBC about her new role, Ella explained: “Mary’s not your typical period drama heroine.

“She lives in a world where, particularly for women, appearance is everything, and she doesn’t understand that value system at all.

“Instead, she turns to literature that offers a different viewpoint. Her favourite book is Fordyce’s Sermons to Young Women, because it argues that women shouldn’t have to be beautiful — they should be intelligent and pious.”

Giving fans further insight on her character, she added: “Mary Bennet has been written off by many members of her family, and as a result she’s written herself off too. When we meet her at the beginning of the series, she’s living with her family in a small village and has never really left that world.

“These are the only people she knows, and she understands herself through the values they impose on her. We know these characters from Pride and Prejudice, but it’s fascinating to see the impact they have on someone like Mary.”

Giving her thoughts on the new adaptation, the star said: “When I read Jane Austen, I’m always struck by how witty it is so witty, with humour in every line.

“Sarah Quintrell really brings that into the scripts, and Janice Hadlow’s book does the same. The novel is very different in style from Austen, but it feels like a genuine extension of Pride and Prejudice.

“Sarah’s scripts tread the line between comedy and drama better than anything I’ve ever read. It feels like a tragicomedy – it doesn’t take itself too seriously, but it’s also not afraid to delve into emotionally weighty material. That feels very true to Jane Austen.”

The Other Bennet Sister debuts on BBC One and iPlayer on Sunday (March 15) at 8pm

For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website.

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Hollyoaks recast child star after five years as soap newcomer takes over role

Naledi Raptou has joined Channel 4 soap Hollyoaks as Kathleen-Angel McQueen replacing actress Kiara Mellor

A Hollyoaks teenager is set to played by a new actress.

Naledi Raptou has joined the cast of the Channel 4 soap and has been already filming with Jorgie Porter and Danny Mac as she takes on the role of Kathleen-Angel McQueen, the daughter of Theresa McQueen and the late Calvin Valentine.

In the coming weeks, Theresa (Jorgie Porter) will find herself navigating the realities of raising a rapidly maturing teenager when her sixteen-year-old daughter Kathleen-Angel has unprotected sex with her Ant Hutchinson (Brook Debio).

Naledi’s first episode on Hollyoaks will air on Tuesday (March 17). Actress Kiara Mellor had previously played the role since 2021. Theresa also shares a daughter, Myra-Pocahontas, with now boyfriend Dodger Savage (Danny Mac).

Talking about joining Hollyoaks, Naledi said “I’m really grateful for the opportunity to join the cast of Hollyoaks, it’s a great place to work and a very nurturing environment to grow.

“It’s been a pleasure to play Kathleen-Angel as she develops into a young adult. We’re learning new things about her and I’m excited to be able to present a different side of her.”

Naledi has previously appeared in an episode of ITV’s Significant Other as Chloe in 2023.

Hollyoaks spoilers for next week reveal the Hutchinson teens decide to bunk off school for the day in upcoming scenes.

Kathleen-Angel decides to join them but she’s caught sneaking out by Dodger who ends up covering for her.

At the park, Kathleen-Angel tries to find out if Ant still likes classmate Trina (Sadie Williams) but berates him in the process and he leaves.

Back at the flat, Ant is playing computer games when Kathleen-Angel arrives. Tension rises between the teens when they both call out each other’s behaviour. Ant tells Kathleen-Angel to leave if he’s such an awful person but she refuses.

Uncle Dom Reilly (John Pickard), who is looking after the kids while Tony and Diane Hutchinson are in London seeking a second opinion following her cancer diagnosis, later learns the teens have bunked off school.

He finds Ant at home who claims he is unwell and admits Ro and Dee Dee are at the park. As Dom leaves, Kathleen-Angel emerges from the bedroom and it’s revealed the pair discover they have slept together.

The following day, In need of the morning after pill, Kathleen-Angel goes to text Dee Dee Hutchinson (Chloe Atkinson) for help but startled when Ant comes up behind her and she accidentally sends it Dodger.

Not wanting her mum to find out, Kathleen-Angel returns home and tries to delete the text from Dodger’s phone but he catches her and reveals he’s already read the text.

The teen pleads with him not to tell her mum and Dodger says he won’t because she must. Coming into the room, Theresa catches the end of the conversation.

Theresa is devastated to learn that her daughter has slept with someone and Kathleen-Angel pleads with her mum not to make a scene as she really likes Ant.

The mum is horrified to learn who her daughter slept with given his past behaviour but Dodger encourages Theresa to listen to her daughter.

Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

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Decades after Selma, organizers worry about fate of Voting Rights Act

Sixty-one years after state troopers attacked civil rights marchers on the Edmund Pettus Bridge in Selma, thousands gathered in the Alabama city this weekend amid new concerns about the future of the Voting Rights Act.

The March 7, 1965, violence that became known as “Bloody Sunday” shocked the nation and helped spur passage of the landmark legislation that dismantled barriers to voting for Black Americans in the Jim Crow South.

But this year’s anniversary celebrations — events ran all weekend, including a commemorative march across the bridge Sunday — come as the U.S. Supreme Court considers a case that could limit a provision of the Voting Rights Act that has helped ensure some congressional and local districts are drawn so minority voters have a chance to elect their candidate of choice.

“I’m concerned that all of the advances that we made for the last 61 years are going to be eradicated,” said Charles Mauldin, 78, one of the marchers who was beaten that day alongside civil rights icon John Lewis and others.

Justices are expected to rule soon on a Louisiana case regarding the role of race in drawing congressional districts. A ruling prohibiting or limiting that role could have sweeping consequences, potentially opening the door for Republican-controlled states to redistrict and roll back majority Black and Latino districts that tend to favor Democrats.

Democratic officeholders, civil rights leaders and others have descended on the Southern city to pay homage to the pivotal moment of the civil rights movement and to issue calls to action. Like the marchers 61 years ago, they must keep pressing forward, organizers said.

Former Alabama state Sen. Hank Sanders, who helped start the annual commemoration, said the 1965 events in Selma marked a turning point in the nation and helped push the United States closer to becoming a true democracy.

“The feeling is a profound fear that we will be taken back — a greater fear than at any time since 1965,” Sanders said.

U.S. Rep. Shomari Figures won election in 2024 to an Alabama district that was redrawn by the federal court. He said what happened in Selma and the subsequent passage of the Voting Rights Act were “monumental in shaping what America looks like and how America is represented in Congress.”

“I think coming to Selma is a refreshing reminder every single year that the progress that we got from the civil rights movement is not perpetual. It’s been under consistent attacks almost since we’ve gotten those rights,” said Figures, a Democrat.

In 1965, the Bloody Sunday marchers led by Lewis and Hosea Williams walked in pairs across the Selma bridge headed toward Montgomery. Mauldin, then 17, was part of the third pair behind Williams and Lewis.

At the apex of the bridge, they could see a sea of law enforcement officers, some on horseback, waiting for them. But they kept going. “Being fearful was not an option. And it wasn’t that we didn’t have fear, it’s that we chose courage over fear,” Mauldin recalled in a telephone interview.

“We were all hit. We were trampled. We were tear-gassed. And we were brutalized by the state of Alabama,” Mauldin said.

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Kennedy Center’s NSO executive director leaves for the Wallis in L.A.

The tumult continues at the John F. Kennedy Center for the Performing Arts as the National Symphony Orchestra’s executive director, Jean Davidson, steps down from her role to become executive director and chief executive of the Wallis Annenberg Center for the Performing Arts. Davidson will assume her new position May 4, the Wallis announced Friday.

Davidson is not new to L.A., having served as the president and CEO of the Los Angeles Master Chorale at the Music Center from 2015 to 2023. She left the Master Chorale for the NSO in Washington, D.C., where she worked for two years until President Trump began his controversial takeover of the Kennedy Center, firing its board and installing himself as chairman. Major artist defections ensued, culminating with a board vote to rename the center the Trump Kennedy Center in December and February’s surprise announcement that the center would close for two years for renovations, beginning July 4.

“I’ve learned a lot in the last three years, and I think it’s no secret that it’s been a hard year,” Davidson told The Times, adding that the politicization of the Kennedy Center was a factor in her decision-making. “I had intended to stay through the [orchestra’s] 100th anniversary in 2031, but found it more and more difficult to achieve the goals that we had set out to achieve given the external forces that are at work that are just so far beyond my control.”

It seemed like “I had reached a natural ending point,” she said.

With the imminent closure of the Kennedy Center, speculation has swirled around the NSO’s future, especially in light of the Washington National Opera’s decision in January to cut ties with the storied venue, which has been its home since 1971. The Kennedy Center’s Trump-appointed leadership, however, made it clear that it intended to support the NSO in the long term, and the orchestra’s board chair assured musicians that the orchestra and its staff would remain intact.

Davidson said the NSO is in the process of identifying venues for the next two years, and that the orchestra has been told by the Kennedy Center that its financial support is not in question.

“Many venue operators in the D.C. area have been very generously reaching out to us, asking how they can help,” she said. “Of course, we plan our seasons years in advance, and so next season was already planned. We already have conductors and soloists and all of that, and so it’s a bit of a jigsaw puzzle aligning our existing programming and obligations to those artists with venues that are appropriate for those programs.”

It will take several more weeks to come up with a cohesive plan and it will probably include several venues, “but we will have a season,” Davidson said. “And we hope that everybody will come.”

In many ways, Davidson said, the NSO is stronger than it has been in quite some time. During her tenure, Davidson helped reboot the orchestra’s international and domestic touring, which includes upcoming shows at New York’s Carnegie Hall in May and at the Hollywood Bowl in August. The orchestra also extended acclaimed music director Gianandrea Noseda’s contract through 2031.

“The orchestra is just playing at such a high level and they really have never sounded so good,” said Davidson, echoing what notable critics have also been saying. “We’re still welcoming many new players after our audition process, and I think that’s all very positive for the NSO.”

Davidson knows that leaving her role will be difficult for the orchestra, but she believes it will emerge stronger.

“I care deeply about the NSO and I am so proud of everything that we’ve accomplished together. I think the world of Gianandrea, of [principal conductor] Steven Reineke, our musicians, our staff and board — it’s a great community of people,” said Davidson.

Davidson also believes that the upcoming renovations to the Kennedy Center will ultimately result in a better experience for audiences and artists. She just wishes there had been much more advance notice.

“Usually orchestras will plan for being out of their hall years in advance, and we only have months to do that, so it is causing a bit of strain,” she said. “I think the most important thing is that our audiences and donors continue to support the NSO during this transition period.”

Davidson will now embark on her own transition as she moves from D.C. to L.A., rejoining her husband who has stayed in the area as a music professor at UC Irvine.

“This is an opportunity that’s been on my bucket list of things that I want to do in my life and it seems like the right time,” said Davidson of her new role at the Wallis in Beverly Hills.

Compared with the NSO, the Wallis is practically brand new, having opened in 2013.

Davidson is excited that there is lots of room for growth, and that the Wallis has evolved into one of the region’s most exciting multidisciplinary performing arts presenters and home base to a variety of local arts groups.

“I think anytime you’re starting a new role, there’s a lot of learning that needs to occur,” Davidson said. “And I’m not somebody that is prone to walking in with a big vision that’s going to suddenly change course. I think they’ve been doing a lot of great work and so I’m looking forward to collaborating with the team that’s there — to learn and to create a shared vision for the future.”

It’s an exciting time to be in Los Angeles, Davidson said.

“The last decade or so has seen a lot of growth in the art sector, and there are so many talented artists and organizations in L.A. that need a place to perform.”

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Trump demands ‘unconditional surrender,’ role in picking Iran’s next leader

President Trump said Friday that the United States would accept nothing short of Iran’s “unconditional surrender,” signaling that the possibility of regime change may be emerging as an objective as the expanding war in the Middle East entered its seventh day.

In a post on Truth Social, Trump said negotiations with Iran were off the table and that he wants to have a say on who will be Iran’s next leader once they capitulate.

“After that, and the selection of a GREAT & ACCEPTABLE Leader(s), we, and many of our wonderful and very brave allies and partners, will work tirelessly to bring Iran back from the brink of destruction, making it economically bigger, better, and stronger than ever before,” Trump wrote.

The comments mark one of the clearest indications yet that Trump is contemplating regime change inside Iran even as administration officials have said that is not a goal of the war.

Mojtaba Khamenei — the son of the former leader Ayatollah Ali Khamenei — has emerged as a leading candidate to succeed his father. But Trump has said he would be an “unacceptable” choice, and in an interview with Politico, the president said he expects his administration will “work with them to help them make the proper choice.”

The comments come as the war continued to escalate across the region, with Israeli forces carrying out attacks on targets in Tehran and in Beirut and Iranian forces launching missile and drone attacks against Israel and Gulf countries. The Israeli military also said it hit an area in Tehran where it said Iran had secretly moved some nuclear activities to underground bunkers.

As the fighting intensified, the White House paired its policy statement on the war with an unusual online messaging campaign that featured Hollywood movies and video games to promote Trump’s war efforts.

In a 31-second video posted on the official White House account on X, a series of clips featured Russell Crowe in “Gladiator,” Mel Gibson in “Braveheart” and Tom Cruise in “Top Gun” with the caption: “JUSTICE AMERICAN WAY” with an American flag and fire emojis.

Another video montage to market the administration’s efforts in Iran used clips from the video game “Grand Theft Auto” with one of its characters saying: “Oh s—, here we go again.”

The tone of the social media campaign highlights the administration’s effort to frame the conflict in dramatic and patriotic terms as questions grow about its potential human toll.

In an interview with Time, Trump once again acknowledged the possibility of U.S. casualties — not just abroad but at home.

Asked whether Americans should be worried about retaliatory attacks at home, Trump said “I guess.”

“You know, we expect some things,”Trump said. “Like I said, some people will die. When you go to war, some people will die.”

Trump’s response drew swift criticism from congressional Democrats, a majority of whom have tried to rein in Trump’s efforts through legislative action to no avail in the Republican-controlled Congress.

Sen. Chris Murphy (D-Conn.), a member of the Senate Foreign Relations Committee, was offended by the president’s “I guess” retort to the question of domestic attacks.

“You’ve got to be kidding me. We have totally unserious, completely incompetent people taking us into mindless deadly war,” Murphy said.

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Review: Philip Glass’ ‘Akhnaten’ is back at L.A. Opera, this time with a magnificent John Holiday

By my count, Philip Glass has written 28 operas, the same number as Verdi. The count is iffy because Glass pushes the boundaries between what we tend to call opera and the fuzzier idea of music theater. His first, “Einstein on the Beach” in 1976 — a collaboration between the composer and the late, innovative theater maker Robert Wilson — is a non-narrative effusion of imagery, movement, music and text, each a brilliantly independent entity that somehow excites a hard-to-pin-down purpose.

His latest (and probably his last, Glass turns 90 this year) is “Circus Days and Nights” — a touching and thrilling opera for a circus and staged at a circus in Mälmo, Sweden, in 2021 — caps a wondrous 45 years of operatic advancement. You would have to go back to Handel’s 42 operas, Mozart’s 22 or Verdi’s oeuvre for operatic equivalence.

Glass’ subject matter varies widely in epochs and ethoses, from ancient Egypt to Walt Disney’s Hollywood. Taken as a whole, these 28 operas reveal how we got to be who we are historically, artistically, spiritually, politically and fancifully, often including more than one of those categories, as in his third opera, “Akhnaten,” which Los Angeles Opera has now remounted at the Dorothy Chandler Pavilion. The instantly recognizable musical style has remained, over the years, consistently abstract and refreshing. It doesn’t tell you how to think, how to feel, even how to understand. It simply grabs your attention; you do the interpreting.

Still, America knows little of Glass’ operatic enormity. The early “portrait” operas — “Einstein,” “Satyagraha” (about Gandhi) and “Akhnaten” (the 14th century BC Egyptian pharaoh) — appear in repertory here and there (meaning mostly in Europe) as do a trio of operas based on Jean Cocteau films. The rest remain little mounted, while several but not all have been recorded. The Metropolitan Opera, for instance, commissioned “The Voyage” in 1992 to celebrate the 500th anniversary of Columbus’ arrival in the Americas, but the epic opera is nowhere to be found in our semisesquicentennial year. It is sadly no longer even thinkable that “Appomattox,” Glass’ revelatory reminder of an America that once honored goodwill negotiation over political self-interest, return to the Kennedy Center, where its final version had its premiere 11 years ago.

L.A. Opera has been better than most American companies in its attention to Glass. It has excellently presented the three portrait operas on its main stage, beginning with “Einstein” in the final and most brilliant revival of the original Wilson staging. The “Satyagraha” and “Akhnaten” revivals have been the designed-to-dazzle inventions of quirky director Phelim McDermott, a co-founder of Impossible, an eccentric British theater company. When new in the last decade, they felt the most arresting productions of these operas since Achim Freyer’s in Stuttgart, Germany, in the early 1980s. Almost every performance at the Dorothy Chandler Pavilion has sold out.

John Holiday as the titular ruler in Philip Glass' "Akhnaten" at the Dorothy Chandler Pavilion.

John Holiday as the titular ruler in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

McDermott’s “Akhnaten” got the most attention thanks to breathtaking jugglers and lavish costumes, along with a touch of full-frontal novelty as Akhnaten gets clothed in his kitschy, glittery getup for his inauguration. Glass had chosen the pharaoh because he is thought to have been the first monotheistic ruler.

Akhnaten is revealed in episodes of his life that are not fleshed out but presented as ritual, including the ravishing love duet with his wife, Nefertiti. The revolutionary pharoah builds a great city and reduces spiritual chaos by focusing on a single-minded form of worship. He looks androgenous in portraits, which led Glass to create the role for countertenor.

The sung texts are in ancient languages, and there are no projected song titles. Instead, a narrator gives a somewhat notion of what’s what in the language of the audience, as is Akhnaten’s great aria, a hymn to Aten (god of the sun).

Ultimately, the pharaoh’s prescient spiritual optimism comes in conflict with the all-powerful establishment priests, who kill Akhnaten and Nefertiti. The opera ends with Akhnaten’s son, presumably Tutankhamun, restoring polytheism, and then, once the staging jumps millennia into the future, it’s rediscovered by modern-day tourists. The currency couldn’t be missed Saturday, the Shia cleric and Iran’s supreme leader Ali Khamenei having just been assassinated along with his wife at the start of America’s and Israel’s Iran war.

Sun-Ly Pierce as Nefertiti and John Holiday as Akhnaten in Philip Glass' "Akhnaten" at the Dorothy Chandler Pavilion

Sun-Ly Pierce as Nefertiti and John Holiday as Akhnaten in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

In the opera, it so happens, the ghosts of Akhnaten, his wife and mother, have the last word in a glorious trio.

When first performed at L.A. Opera a decade ago, the lavish production, co-produced with English National Opera, helped recover a neglected opera. In the meantime, “Akhnaten” has gone practically mainstream. The Metropolitan Opera, which also mounted McDermott’s production, released it on CD and DVD, winning a Grammy for best opera recording.

Since then, the choreographer Lucinda Childs, veteran of “Einstein on the Beach,” has staged a stunningly chic “Akhnaten” in Nice, France, that is available on YouTube. Last year, director Barrie Kosky created a sensation with his staging at Komische Oper Berlin, which starred American countertenor John Holiday.

Holiday happens to be the Akhnaten in the L.A. Opera revival, and he is magnificent. McDermott had built his production around the gracefully emotive Anthony Roth Costanzo, slight and luminous in voice and build and game for nudity. If Costanzo’s disarming enthusiasm for the role has been significant in mainstreaming “Akhnaten,” Holiday, who is a very different presence, may be the next step.

Although he can be a popularly gregarious crossover performer, here he suggests a ruler of profound, unflappable dignity, rather than vulnerability. His hymn to Aten is an exercise in majesty, an ode not just to the sun but to the expanses in which our solar system circulates.

In general, the singers class up the production. Sun-Ly Pierce as Nefertiti and So Young Park as Queen Tye add allure. The large cast of smaller roles and chorus is excellent. Zachary James returns as both Amenhotep III, Akhnaten’s father, and the engaging narrator who occasionally threatens to get carried away. McDermott had perfectly employed James as the droll animatronic Disneyland Lincoln in his animation-friendly, slightly goofy production of “Perfect American” in Madrid, where the opera premiered. Here McDermott’s inspired staging demonstrated that Glass’ forgiving personal portrait of Walt Disney makes it the quintessential Hollywood opera that no one dares bring to squeamish Hollywood.

Zachary James as Amenhotep III in Philip Glass' "Akhnaten" at the Dorothy Chandler Pavilion.

Zachary James as Amenhotep III in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

Hollywood, however, is hardly squeamish when it comes to synchronized jugglers. For McDermott, they suggest somber ritual and were, in fact, known in Akhnaten’s Egypt. For the audience, they are a thrill a minute. For Glass, they may take on deeper meaning now that the circus is where he landed 26 operas later.

As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.

Childs’ exalted use of dance and Kosky’s dazzling theatrical imagination may have moved us into a sleeker, more sophisticated and paradisal Glassian realm, but the sheer passion McDermott and Stasevska bring continues its own attraction.

In the meantime, McDermott has worked with Glass on a theatrical show, “The Tao of Glass,” that has been seen in New York and will run throughout much of the summer in London. In a better world of Glass, it would be running alongside “Akhnaten” at the Ahmanson. But the Labèque sisters will be at Walt Disney Concert Hall at the end of the month with a two-piano program based on Glass’ operatic Cocteau trilogy. Also check out L.A. Opera’s several excellent podcasts on “Ahkhnaten” — the company has quietly become a leader in the medium.

‘Akhnaten’

Where: Dorothy Chandler Pavilion, 135 Grand Ave., L.A.

When: Through March 22

Tickets: $33.50-$415

Running time: About 3 hours, 40 minutes, with 2 intermissions.

Info: (213) 972-8001, laopera.org

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Canada PM Carney says unable to rule out military role in Iran war | Military News

Canadian leader also said the US-Israeli attacks on Iran appear to be ‘inconsistent with international law’.

Canadian Prime Minister Mark Carney said that he could not rule out his country’s military participation in the escalating war in the Middle East, after earlier saying that the US-Israeli strikes on Iran were “inconsistent with international law”.

Speaking alongside Australia’s Prime Minister Anthony Albanese in Canberra on Thursday, Carney was asked whether there was a situation in which Canada would get involved.

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“One can never categorically rule out participation,” Carney said, noting the question was “hypothetical”.

“We will stand by our allies,” he said, adding that “we will always defend Canadians”.

Carney said earlier that he supported the strikes on Iran “with some regret” as they represented an extreme example of a rupturing world order.

The Canadian prime minister also stressed that his country was not informed in advance of the US-Israeli attack on Iran, in his first remarks since the war was launched on Saturday.

“We were not informed in advance, we were not asked to participate,” Carney told reporters travelling with him in Australia on Wednesday.

“Prima facie, it appears that these actions are inconsistent with international law,” he said.

“The United States and Israel have acted without engaging the United Nations or consulting with allies, including Canada,” he added, according to Australia’s SBS News, while also condemning strikes on civilians in Iran and calling for “all parties … to respect the rules of international engagement”.

Whether the US and Israeli attacks on Iran had broken international law was “a judgement for others to make”, he added.

Canada’s Foreign Affairs Minister Anita Anand said on Wednesday that efforts were under way to help more than 2,000 Canadians who have requested assistance from the government to leave the ⁠Middle East region since the war broke out on Saturday.

Anand said about half of all inquiries for help were from Canadians in the United Arab Emirates, more than 230 from Qatar, at least 160 from Lebanon, more than 90 from Israel and 74 from Iran.

Canada’s Foreign Ministry has been instructed to contract charter flights out of the UAE ‌in the coming days, contingent on approval from the UAE government to use its airspace, the minister said.

Commercial ⁠air traffic remains largely absent across much of the region, with major Gulf hubs – including Dubai, the world’s busiest airport for international passengers – largely shut amid the conflict, in the biggest travel disruption since the COVID pandemic.

Repatriation flights chartered by foreign governments, including Britain and France, were due to leave on Wednesday and Thursday, while the UAE opened safe air corridors to allow some citizens to return home.

Under ⁠normal circumstances, thousands of commercial flights would depart the region each day.

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Hollywood still undervalues Latinas. “Real Women Have Curves” author gives them the spotlight

LIFE Film Festival (Latina Independent Film Extravaganza) returns to Los Angeles this week for its 13th year. Founded by “Real Women Have Curves” playwright Josefina López, the festival will screen over 60 short films and four feature movies at Casa 0101 in Boyle Heights, and for the first time at Cinépolis in Pico Rivera.

From Thursday to Sunday, LIFE Film Festival will offer a series of workshops and networking opportunities where aspiring filmmakers will have a chance to learn from Latinas in Hollywood, like Emmy Award-winning editor Michelle Tesoro, who worked on Netflix’s “The Queen’s Gambit” and the 2023 film “Maestro.

Since López founded LIFE Film Festival in 2013, her commitment remains the same: to celebrate Latino stories in cinema and empower the next generation of Latina filmmakers.

As a Chicana screenwriter and producer for over 30 years, López knows firsthand the underrepresentation of Latinos in Hollywood films. “Latinos are the majority here in California, and we’re still rendered invisible, even though the industry is right in our backyard,” López said. “They just really don’t want to invest in our stories.”

According to UCLA’s 2025 Hollywood Diversity Report, which looked at the 104 top-performing English-language movies released in 2024, only 1% of leading roles went to Latinos; less than 5% of directors were Latino; and approximately 2% of writers were Latino in last year’s top movies. Latinos make up nearly 20% of the U.S. population.

When it comes to gender, the disparities were even more glaring. There were zero Latina directors and screenwriters in the top theatrical movie releases of 2024. In front of the camera, the numbers weren’t that much better. Less than 1 in 50 movie roles went to Latinas.

“I never knew anybody in my family who was a screenwriter, and now I’m a WGA screenwriter and I’m giving back to my community,” LIFE Film Festival co-director Cristina Nava said. “I could be the tia [to] one of these filmmakers.”

López’s response to underrepresentation extends beyond opening doors. With LIFE, she says she wants to support storytellers who are challenging Latino stereotypes. “There are all sorts of Latinos,” López said. “Yes, we are the immigrants, the servants, but we’re more than that.”

Every year, LIFE recognizes a Latina moviemaker whose work has reshaped representation within the entertainment industry, with the Lupe Ontiveros Award.

Created by López to honor the legendary Mexican American actress, the award is bestowed to a filmmaker whose work amplifies Latino voices. This year’s honoree is “Encanto” Oscar-winning producer Yvett Merino.

In her 35 year-long career, Ontiveros played the role of maids and housekeepers over 150 times. López believed that Hollywood was wasting her friend’s talents and promised to cast her as a more complex and interesting character.

López kept her word, casting Ontiveros as Carmen, the hardworking, hysterical mother in “Real Women Have Curves.” “We have to keep telling stories so that all these talented Latino actors have better opportunities than to play stereotypes,” she said.



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Gayle King signs new deal with CBS News

Gayle King, the most high-profile star at CBS News, has signed a new deal with the network.

A CBS News representative said Wednesday the division reached an agreement with King, 71, to continue as co-host of “CBS Mornings” co-host but did not reveal the length or the terms. Her current deal was set to end in May.

King’s future at the program came into question last fall after the arrival of CBS News Editor-in-chief Bari Weiss. There were leaks to the trades and tabloid press that parent company Paramount was looking to trim King’s salary or reduce her role at the network as a means to cut costs.

“Rumors of my demise were inaccurate and greatly exaggerated,” King said in a statement. “CBS News is my longtime home, and I am committed to our mission. I’m excited about continuing at CBS Mornings. As always, I’m open to new adventures here and ready to go. It took a minute, but we got there. And now that we are here, I am all in.”

King is the highest paid on-air talent at CBS News, earning an annual eight-figure salary.

Known for her effusive charm, King apparently won Weiss over.

“There is only one Gayle King,” Weiss said in a statement. “We’re so proud that she’ll continue to call CBS home. We’re thrilled to have her on in the morning—and equally excited to work with her on new, enterprising projects that bring her talents to new audiences.”

While King is locked in for at least another year, there is a search underway for at least one new co-host on the program.

King’s current co-host is Nate Burleson, who is also an analyst for CBS Sports. The network has not permanently replaced Tony Dokoupil, who left “CBS Mornings” in January to take over as anchor of the “CBS Evening News.”

King joined CBS News in 2012, when she joined “CBS This Morning.” As co-hosts alongside Charlie Rose and Norah O’Donnell, the program experienced five consecutive years of ratings growth.

“CBS This Morning” was adrift after Rose — a major audience draw — was ousted over sexual harassment allegations. In 2021, it was renamed “CBS Mornings,” with King taking a more prominent role.

“CBS Mornings” ranks third in ratings behind NBC’s “Today” and ABC’s “Good Morning America,” but remains a significant revenue generator for CBS News.

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Rubio claim of Israeli role in US Iran attack reverberates, despite denial | Donald Trump News

Washington, DC – On Monday, Secretary of State Marco Rubio provided a looping justification for the US launching a war against Iran: Israel was planning to strike Iran, which would have prompted Tehran to strike the US assets in the region, requiring Washington to launch preemptive strikes on Iran.

Even as the administration of US President Donald Trump has sought to roll back claims made by several officials in recent days, they have continued to spark dismay across the political spectrum.

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Rubio’s statement was particularly notable, given the assessment by many Iran analysts that the US-Israel war, which has led to regional retaliation from Iran, serves the interests not of Washington, but of Israeli Prime Minister Benjamin Netanyahu.

Washington is seen as having outsized leverage over Israel, to which it has provided more than $300bn in military aid since 1948, including $21bn during Israel’s genocide in Gaza.

Trump, when asked about Rubio’s statement on Tuesday, appeared to offer a different characterisation, saying he launched the war because he “thought we were going to have a situation where we were going to be attacked”.

“They [Iran] were getting ready to attack Israel. They were gonna attack others,” he said.

The US president has spent the days since launching the initial strikes on Saturday arguing that the holistic threat posed by Iran justified the US-Israeli strikes, a position that experts say likely stands in contravention of both US and international law. The administration has provided scant evidence of a planned attack on US assets or that either Iran’s nuclear or ballistic programmes offered an immediate threat.

Rubio on Monday also sought to distance himself from his statements, claiming his words had been taken out of context.

Rubio had, in earlier comments, pointed to the broader threat posed by Iran, including its ballistic missile and drone capacity. But then he turned to what he called the question of “why now?”

“We knew that there was going to be an Israeli action,” he told reporters. “We knew that that would precipitate an attack against American forces, and we knew that if we didn’t preemptively go after them before they launched those attacks, we would suffer higher casualties.”

‘Stunning admission’

The shifting messaging on Tuesday was unlikely to allay the condemnation from Trump critics and supporters alike, including several influential figures within Trump’s Make America Great Again (MAGA) base.

Kelly Grieco, a senior fellow at the Stimson Center, told Al Jazeera that “what he’s basically publicly acknowledging would be that the United States was entrapped by the Israelis”.

“The notion that the Israelis were going to do it anyway, and so we had to do it as well – if that’s the case, then there’s a really serious conversation to be had here in the United States about US and Israeli interests, and where those are aligned and where they diverge,” Grieco said.

Kenneth Roth, a former executive director of Human Rights Watch, in a post on X, questioned: “Why is it in America’s interest to arm and fund Israel to draw America into an unnecessary war?”

In an earlier post, he said Rubio’s logic “isn’t even close to a legal rationale” for launching the war.

The Council on American-Islamic Relations (CAIR), meanwhile, called Rubio’s words on Monday a “stunning admission”.

In a statement, it said Rubio had revealed “what was clear from the start: the United States did not attack Iran because Iran posed an imminent threat to our nation. We attacked under pressure from Israel for Israel’s benefit”.

The organisation called on Congress to pass war powers resolutions to rein in Trump’s ability to wage war.

Looming war powers vote

Lawmakers have pledged to introduce the legislation in both the House of Representatives and Senate this week, although it is likely to face an uphill battle amid Republican opposition.

Trump’s party maintains razor-thin majorities in both chambers, and most Republican lawmakers have rallied behind the war and the reasons the administration has given for launching attacks.

War powers resolutions would require a two-thirds majority in both chambers to override a presidential veto, although advocates have long argued they offer an opportunity for lawmakers to put their stance on the record.

In a statement on Tuesday, progressive US Senator Bernie Sanders was among the lawmakers condemning the administration’s war.

“Netanyahu wanted war with Iran. Trump just gave it to him,” Sanders said.

The Israeli prime minister has, for more than two decades, called for the toppling of Iran’s government, and has been a leading opponent to diplomacy related to Iran’s nuclear programme.

During that time, Netanyahu has repeatedly pushed claims that Iran was on the immediate precipice of developing a nuclear weapon.

“American foreign and military policy must be determined by the American people,” Sanders wrote. “Not the right-wing extremist Netanyahu government.”

Thomas Massie, a Republican representative who has spearheaded the war powers push, connected Rubio’s statement to Trump’s “America First” pledges to prioritise domestic issues in the US.

“Before it’s over, the price of gas, groceries, and virtually everything else is going to go up,” Massie posted on X. “The only winners in [the US] are defence company shareholders.”

‘Worst possible thing he could have said’

Several influential figures in Trump’s MAGA base said Rubio’s statements were further inflaming the growing discontent over the war.

Daily Wire podcaster Matt Walsh said Rubio was “flat out telling us that we’re in a war with Iran because Israel forced our hand. This is basically the worst possible thing he could have said.”

Responding to Republican House Speaker Mike Johnson’s reiteration of Rubio’s claims, former congressman and Trump attorney general nominee Matt Gaetz said: “In making these statements, which are undeniably true, America looks like such a supplicant.”

Pro-Trump brothers Keith and Kevin Hodge, who run the influential pro-Trump X account HodgeTwins, with 3.5 million followers, also decried the administration’s actions.

“We did not vote for send[ing] Americans to die for Israel’s wars,” they posted on Tuesday. “We won’t stay silent about this.”

Ali Harb contributed reporting. 

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Persistent Champion of Choice : Women: Nineteen years after Roe v. Wade, attorney Sarah Weddington is speaking out about her role in the case and her own abortion.

The lobby walls of the Driskill Hotel are hung with the portraits of figures of Texas political lore, men like Sam Houston and William B. Travis of Alamo fame. But on a rainy evening, a rather demure-looking woman in a conservative black suit and tidy tucked hairdo is the center of attention.

First, Texas Democratic Party chairman Bob Slagle comes up to hug and say hello. They chat briefly about how well things are going in the presidential campaign.

Then two young women walk by, one whispering to the other, “Is that Sarah Weddington?” They turn back and stop to introduce themselves. As the two say goodby, one adds: “Of course, it goes without saying how much I admire you.”

Weddington is used to this by now. The 46-year-old lawyer gained fame from her first case, Roe v. Wade, the landmark 1972 Supreme Court decision.

Since then, Weddington has spent almost two decades advocating abortion rights. Today, she has been in her adopted hometown of Austin signing copies of her new book, “A Question of Choice: The Lawyer Who Won Roe v. Wade,” for a parade of admirers. Longtime friends presented many of the almost 500 copies she signs; young women like the two who paused to thank her offered others.

Weddington stood for more than five hours at a podium, first at a university bookstore and later in the hotel ballroom, signing in a consistently elegant hand. Everyone is greeted with a smile, some with hugs. An aura of restraint surrounds her, an almost Victorian quality in a woman some see as a sort of virago, a demon of the left who has led the charge for legalized abortion.

Some friends describe her as “ladylike”; almost all say she is very private.

And yet her book begins with a revelation that she had kept a very personal secret. In 1967, while a young, unmarried law student at the University of Texas, this daughter of a minister and graduate of a small Methodist college, traveled to “a dirty Mexican border town to have an abortion, fleeing the law that made abortion illegal in Texas.”

She was accompanied by her then-boyfriend and later husband, fellow law student Ron Weddington. Divorced amicably in 1974, they kept the secret until the publication of the book. “I am a very private person and would never have talked about this if I hadn’t felt that I wanted to do everything I could to help win it again. That I can’t win it in the courts, nobody can. That’s where we have to win is at the ballot box. And it was like I had to give it everything I had and it was the one thing I had never given. . . .

“My own thoughts about it are that if I had to write a caption it would be ‘giving up privacy in order to save it.’ I feel like I’m giving something very precious up and that is the ability to live my life in privacy. . . . We always had an agreement not to talk about this without talking to the other, and he (her former husband) always observed it.”

Journalist Linda Ellerbee, a friend and fellow Texan, suggested that Weddington humanize her book to make it more accessible to readers. The first draft, Weddington acknowledges, was long and perhaps too legalistic: “First, I wanted to write the perfect book, and I couldn’t write that book. Then someone said, ‘Why don’t you practice writing the book,’ and I could do that because I was freeing myself.”

Weddington admits that a more likely publication date would have been 1993, the 20th anniversary of Roe v. Wade. But in the last few years, it became increasingly obvious to her that the landmark decision was in jeopardy: “In the book, I say if anybody had said to me in 1969 or 1973, ‘You will still be talking about this in 1992,’ I would have thought they were crazy.”

As president of the National Abortion Rights Action League, she had witnessed the first skirmishes of what she calls a war of attrition during the early years of the Reagan presidency. But at that point, she says, “We still had the trump card, the Supreme Court.”

Reagan, who she notes signed California’s liberal 1967 abortion law, then began to make conservative appointments to the high court. And at that point, Weddington says, “I began to say I was for mandatory life support systems for older justices.”

The 1989, Webster v. Reproductive Health Services decision was the real turning point, she says, and now she sees the battle lines on three fronts: the Supreme Court, the Congress, which is considering the Freedom of Choice Bill, and state legislatures.

Her book’s publication, just two months before the fall election, is no accident. President Bush, she says, made “a pact with the radical right” in 1988, and abortion-rights advocates cannot risk more of his court appointments: “The sands of time ran out when Clarence Thomas was confirmed.”

Weddington says Bill Clinton would sign the Freedom of Choice Act. But even a Clinton victory will not persuade her to sit back and say the fight is over. The Arkansas governor has supported some restrictions, as Weddington describes them, particularly regarding abortions for minors. “We are trying to educate him; it’s not a natural,” she says. “I don’t think you can elect Clinton and say, ‘Well, let’s forget about that.’ ”

For this activist lawyer, who drew her strength from the women’s movement in the late ‘60s and early ‘70s, the fight is not over on other fronts, either. She sees a need to engage the younger generation and to remind Americans why Roe was so important.

“Intellectually, they believe that choice should be available, but emotionally, they have never known what it was like for it not to be,” Weddington says of younger Americans. “You can’t expect them to have the same emotional memories and commitments, and yet I don’t think you can preach to them.”

The book’s final section is a call to arms, a detailed plan for action that gives Roe defenders a game plan. Weddington expects the fight to continue well into the next century and plans to continue the battle.

“I think this issue is so basic you can’t desert it, and while it’s in trouble, you’ve got to keep plugging,” she says. “I see a new group of people who haven’t been as active, but I think they will be more comfortable with a broader focus.” That focus, she says, should include family issues and support for birth control programs.

*

In one sense, Weddington admits, her career peaked at age 27 when she stood before the U.S. Supreme Court and argued her case for a woman’s right to choose. But the legal fight that began at a garage sale fund-raiser in 1969 and culminated in Roe–and her subsequent service as a special assistant on women’s issues in the Carter White House–was heady stuff for a young woman from Abilene.

She also served as one of the first women in the Texas House of Representatives (1973-1977) and was frequently mentioned as a candidate for statewide office, long before Ann Richards, her former legislative aide, won the governor’s race. Privately, a few friends admit that the stellar political career has passed Weddington by.

Elective office is not likely at this point. “I have a question whether the price is worth it,” she says. “There’s no money, and everybody is in a sour mood. When I ran, I ran to do something, and right now I don’t see that you can do that much. . . .”

For her beliefs, Weddington has paid a high personal price. She is dogged by activists opposed to abortion. At the Austin bookstore signing, several security guards were on hand.

But Roe v. Wade has also given Weddington opportunities to spread her message. For several years, she and Phyllis Schafly toured on a sort of abortion cross-fire show. Apart from not sharing the same views, they never even shared the same car. “We once tried to find something to talk about, and the only thing we agreed on was airplane coffee was usually bad,” Weddington says.

Now, Weddington plans to continue to teach part time at the University of Texas, speak around the country and ready herself for the barrage of publicity next year on the 20th anniversary of Roe. Should Clinton be elected, she would not mind serving as an adviser, but she would not want to have a full-time position in Washington. And she would like to write another book or two.

Not the least of her contributions is the impact Weddington has had on young people, particularly women. Time after time, during her Austin book signing, women in their 20s approach her, say that they had heard her speak before and tell her that she has changed their lives.

And at the last minute, three young women dash in from the rain and ask Weddington to sign their books. All three are recent graduates of the University of Texas law school and all three are Texas Supreme Court clerks. When Weddington asks how many women are in their law class, they say about 150.

Weddington smiles and says there were five when she graduated 24 years ago.

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UC president defends diplomacy, calling it the ‘better course’ amid Trump attacks

University of California President James B. Milliken, in his first extensive interview since taking the helm of the nation’s premier public higher education system, defended UC’s diplomatic approach to President Trump’s fusillade of actions against the institution — contrasting it with the more aggressive fight Harvard is waging with the government.

UC has not repeatedly sued the federal government or publicly criticized Trump, while Harvard battles the administration in and outside court amid billions in White House funding freezes.

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“We could have said, ‘We’re going to sue tomorrow.’ We saw that movie with Harvard,” Milliken said of his first seven months on the job dominated by federal attacks. “Harvard is still in negotiations to settle the federal government’s actions, but they have had a series of devastating enforcement actions taken … Given our responsibility to the university and to the state of California, the better course for us was to engage.”

Yet days after the interview, the U.S. Department of Justice leveled another strike against UC in a lawsuit alleging UCLA “routinely ignored” and “failed to report” employee complaints of antisemitism since 2023.

In a statement after the interview, Milliken said UC has already committed to combating anti-Jewish hatred without court interference.

“Antisemitism has no place at UC and we have taken important actions to protect our Jewish students, faculty and staff … We will always have work to do, and our commitment to our community is unwavering,” the statement said. “In light of this — and our oft-cited willingness to work with the government in good faith — the new lawsuit is unfortunate and, in our view, unnecessary.”

In a wide-ranging interview at UC Berkeley’s Grimes Engineering Center, Milliken, 68, offered his assessment of Trump’s actions to overhaul higher education and declined to say whether UC would pay an amount smaller than the $1.2-billion proposed fine over UCLA’s alleged campus antisemitism.

On federal talks, Milliken said UC would “never compromise” on its independence, governance, values and academic freedom.

James B. Milliken.

James B. Milliken.

(Christina House / Los Angeles Times)

He touted UC’s accomplishments despite the challenges: Four faculty members received Nobel prizes last year — the largest ever number from one institution — and UC secured more patents for inventions last year than any university in the world.

Aside from Trump, UC faces internal pressures: multiple campuses, including UCLA, are in deficit. Labor unions are demanding better job conditions. Members of the UAW 4811 academic workers union have authorized a potential strike.

Milliken spoke in favor of diversity, celebrated immigrants and said he wanted to expand student access to the university. He said UC should lead on artificial intelligence.

Milliken started in August after more than six years as chancellor of the University of Texas system. He previously held top roles at the City University of New York, the University of Nebraska and the University of North Carolina. A news and history buff and former Wall Street lawyer who prefers reading paper over pixels, he often cites his study of “The Gold and the Blue,” a two-volume chronicle of UC’s ascent in the 1950s and struggles during the political turmoil of 1960s written by former UC Berkeley Chancellor turned UC President Clark Kerr.

He said his job is “to do everything we can to demonstrate the value that’s delivered by these amazing places … I don’t want to underestimate the difficulty in the current political environment,” but, he added, universities have been a national boon “over generations.”

Trump and higher education

Adjusting to the possibility of further retrenchment of Washington’s university research funding is among Milliken’s top concerns.

UC relies on $17.5 billion annually in federal monies, including research grants, Pell grants and hospital payments for Medicare and Medicaid. Last year, the government suspended $584 million in UCLA federal medical, science and energy research grants before a UC faculty-led lawsuit restored the money. But roughly $170 million in grants is still on hold systemwide.

Another independent faculty- and union-led federal suit has temporarily halted the $1.2-billion UCLA settlement demand seeking rightward ideological change on campus. But UC remains open to talks to quash federal probes on its own terms.

James B. Milliken.

James B. Milliken.

(Christina House / Los Angeles Times)

Milliken was vague on the status of negotiations and whether UC would pay a fine — such as the $200 million Columbia University signed off on last year — to settle federal investigations.

“It would be foolhardy of me to speculate on what ultimately might be proposed to the University of California or what we might find acceptable,” he said.

He declined to specify how he would uphold his promises to protect UC’s independence, governance, values and academic freedom.

“I’m not going to go into detail on those because it gets pretty close to the line of what could be a discussion with the federal government,” Milliken said.

Educational access

Milliken was more verbose on the role of higher education and his big-picture visions for UC.

College “helps make sure that we have an educated citizenry that is prepared to actively participate in a democracy that understands our civic traditions, that understands our political system, that understands how our economic system works,” Milliken said.

“Talent is universal,” he said, “but opportunity often isn’t.” Universities “match this talent with the opportunity.”

But federal moves have threatened to change access to education. The Trump administration has sued California’s public universities and community colleges for allowing undocumented immigrants to pay in-state tuition. A Trump travel ban on dozens of countries has stalled student and faculty applications from Asian, African and South American nations, while a $100,000 fee for new H-1B visas for highly skilled foreign hires could hurt university and hospital recruitment.

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Milliken pledged to protect immigrants.

“I think we need to take a step back and recognize how fundamental the country’s embrace of people from around the world has been,” Milliken said. “It has been an enormous boon in terms of talent and culture and the kinds of things that make this country what it is today. I know people are worried, they’re anxious. In some cases, they’re afraid … One of the things that our university presidents and chancellors think about every day is keeping these communities safe.”

Lifelong learning

UC — home to several of the most selective and prestigious campuses in the nation — continues to grow in size and popularity. The system set a record enrollment of about 301,000 students in 2025. And 252,000 high school and transfer students have submitted applications for the coming fall, another record high. Yet, vast numbers of academically qualified students do not get in, especially to UCLA and UC Berkeley.

Campuses, including UCLA, have upped professional certificate programs and extension school offerings in recent years. Milliken said universities should further embrace learning programs outside of the undergraduate experience. UCLA is developing a plan called “UCLA for Life” to reimagine the Westwood campus’ role for professionals.

“A four-year baccalaureate experience is not enough to prepare you for 40 years or 50 years of a career. You’re going to need to retool, going to need to re-skill. And I look at universities. Students ought to turn to their alma maters. There’s a relationship that you ought to have for life,” Milliken said.

The university’s future and evolution

Milliken wants UC to take on a lead role in AI.

“The continued adaptation of AI is inevitable, and there are good things and not so good things about that. But UC is the most important, impactful university in the world, and it should not be following others in developing what is the ethical and responsible,” Milliken said. “… We’re in a place where I think leadership, whether we wanted it or not, is a responsibility.”

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More Californians should take stock of UC’s role outside of undergraduate education, he said.

“Two-thirds of our students are undergraduates. It’s a hugely important thing. But so is the research we do. So is the healthcare that we do across the state. So is the work we do at national laboratories which support incredible innovation and national security,” he said.

Milliken said he hoped the cuts to university research were a short-term “aberration.”

New research funding state bond bill

UC has put its weight behind a $23-billion bond proposal that will be on the November ballot to create a California Foundation for Science and Health Research, which would fund university and private institutions in ways similar to the National Institutes of Health.

If voters pass it, Milliken said the measure would “go an enormous way” toward making up for federal losses but that it was “impossible to speculate” on the extent as federal research funding, priorities and procedures fluctuate.

“I hope we never get to the question of whether California can replace federal funding,” he said. “Would I like to see it supplement, ensure that disruptions — even if shorter term — don’t derail the important science that’s going on here and the preparation of the next generation of scientists? Yes, I think that’s an incredibly worthwhile endeavor for the state.”

More from The Times’ interview with Milliken:

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Amy Madigan wins SAG’s Actor Award for ‘Weapons’ role as Aunt Gladys

Amy Madigan is now a first-time Actor Award winner.

The “Weapons” actor scored in the supporting actress category Sunday for her performance as the unhinged Aunt Gladys in the Zach Cregger-directed horror film. She beat out Teyana Taylor (“One Battle After Another”), Odessa A’Zion (“Marty Supreme”), Ariana Grande (“Wicked: For Good”) and Wunmi Mosaku (“Sinners”).

The win shakes up the Oscars race for supporting actress, which prior to Madigan’s Actor Award victory seemed to be in Taylor’s favor.

“It’s such an honor to be here. I’ve been doing this a long ass time,” Madigan said as she accepted the honor Sunday evening.

“Gladys has surprised me. She’s getting a lot of love back,” Madigan said. “I didn’t know y’all want to hang out with her.”

The actor also offered a message of camaraderie to her fellow SAG-AFTRA members, citing the Chicago upbringing that made her a “union person.”

“We’re all union people,” she continued, “and I don’t care what somebody says. They’re not going to bust us, ever.”

Madigan went on to give a shout-out to her fellow “Weapons” cast members Julia Garner, Josh Brolin and others.

Madigan was the sole “Weapons” star nominated at this year’s Actor Awards. She also received nominations from the Golden Globe Awards, Critics Choice Awards and Academy Awards. She earned her last Oscar nomination 40 years ago for her performance as the fiery Sunny in “Twice in a Lifetime” (1985).

“I haven’t done this in a while, so it feels like a new experience for me, but I know what it is very well,” Madigan told The Times in a November interview about the awards buzz.

“It’s a little daunting at times,” she added.

But like her “Weapons” character, Madigan is fearless, having used a stunt double for only the very last scene in a physically demanding movie.

As for everything before that, the actor said, “I did all that running and all that ridiculous stuff.”

“I think everybody was holding their breath a little bit going, ‘Oh, I hope she doesn’t slip and crash into something,’ which I didn’t,” she said. “I’m proud of that.”

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Harrison Ford gets tearful while accepting SAG Life Achievement Award

Harrison Ford received a standing ovation Sunday as he accepted the SAG-AFTRA Life Achievement Award.

“It’s a little early isn’t it?” Ford joked, noting that “it’s a little weird to be getting a lifetime achievement award at the half-point of my career.”

The 83-year-old is one of the industry’s highest-grossing actors after catapulting to global stardom with his role as Han Solo in the “Star Wars” franchise, a legacy further cemented by his lead role in “Indiana Jones” movies.

Ford fought back tears, thanking his fellow actors, writers, directors and cast members. He “found a calling. A life in storytelling. An identity in pretending to be other people,” he said.

“While we’re all at different stages of our lives and careers in this room, we all share something fundamental. We share the privilege of working in the world of ideas, of empathy, or imagination,” Ford said. “Because of that privilege, I’ve come to know myself.”

Ford said he was “not an overnight success,” spending the first 15 years of his career jumping between acting and carpentry before landing an acting role.

Ford thanked film producer and casting director Fred Roos and his longtime manager Pat McQueeney, all of whom he said were integral to his success.

“They’re no longer with us, but it feels important that I think of them now. I feel them here tonight. They would be happy for me,” Ford said.

SAG-AFTRA’s recognition on Sunday is one of several lifetime achievement awards bestowed upon the actor over his extensive six-decade career, which is defined by two of Hollywood’s biggest film franchises.

A highlight reel of Ford’s various acting performances played ahead of his accepting the award.

The award was presented by actor Woody Harrelson, who lauded Ford’s varied achievements and called him a “timeless American treasure.”

“There’s too much of me in this tribute to Harrison, but I’m an actor, what do you expect?” Harrelson quipped. The actor first met Ford after following him into a sushi restaurant and the pair “sealed their friendship” over lunch, during which “at one point, we laughed — and I’m not kidding — for three minutes straight,” Harrelson said.

“This is a life achievement award and he has lived a full one,” Harrelson said.

Ford hasn’t shown signs of slowing down in recent years. The actor plays therapist Paul Rhoades in the Apple TV show “Shrinking,” which earned him his first-ever Emmy nomination last year. He also recently starred in the “Yellowstone” prequel “1923” and appeared in his first Marvel movie, “Captain America: Brave New World.”

Ford “thinks working more is the antidote to aging,” Harrelson said. The actor recently reprised his iconic role as a swashbuckling archaeologist in the 2023 sequel “Indiana Jones and the Dial of Destiny.”

Despite Ford’s massive success in the industry, the actor has yet to win a major competitive acting award. The Life Achievement Award is the first that Ford snagged from the guild. He was nominated last year for actor in a comedy series for his role in “Shrinking” but lost to Martin Short for his performance in “Only Murders in the Building.”

Ford said he was “quite humbled” to be honored with the award in a room full of actors, “many of whom are here because they’ve been nominated to receive a prize for their amazing work, while I’m here to receive a prize for being alive.”

“Sometimes we make entertainment. Sometimes we make art. Sometimes we’re lucky and we make them both at the same time,” Ford said.

The awards show’s highest honor is given to performers who foster the “finest ideals of the acting profession.” Ford joins a list of seasoned actors who have received the award, including Jane Fonda, Barbra Streisand, Morgan Freeman and Robert De Niro.

SAG-AFTRA described Ford as “one of cinema’s most enduring leading men” whose performances “have become woven into the fabric of our culture,” in a December release announcing the honor.

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Luke Grimes’ return as Kayce in ‘Marshals’ involves a twist of fate

This story contains spoilers for the pilot of “Marshals.”

When the curtain came down on “Yellowstone” last year, Kayce Dutton had finally found his happily-ever-after.

The youngest son of wealthy rancher John Dutton (Kevin Costner) had secured a modest cabin in a mountainous region where he could reside in secluded peace with his beloved wife, Monica (Kelsey Asbille), and son, Tate (Brecken Merrill), far from the turbulent dysfunction of his family.

“Kayce found his little peace of heaven, getting everything he ever wanted and fought for,” said Luke Grimes, who plays the soft-spoken Dutton in “Yellowstone.”

Grimes reprises the role in CBS’ “Marshals,” which premiered Sunday. But in the new series, Kayce’s serenity has been brutally shattered, forcing him to find a new path forward after an unimaginable tragedy.

The drama is the first of several planned spinoffs of “Yellowstone,” which became TV’s hottest scripted series during its five-season run. And while some familiar faces return and events unfold against the magnificent backdrop of towering mountains and lush greenery, “Marshals” is definitely not “Yellowstone” 2.0.

A man in a cowboy hat leans his hands against the railing of the porch of a rustic cabin.

Luke Grimes as Kayce Dutton in “Marshals,” which combines the gritty Western flavor of “Yellowstone” with the procedural genre.

(Sonja Flemming / CBS )

In “Marshals,” Kayce joins an elite squad of U.S. Marshals headed by his Navy SEAL teammate Pete Calvin (Logan Marshall-Green). The drama combines two distinct brands — the gritty Western flavor of “Yellowstone” with the procedural genre, a flagship of CBS’ prime-time slate.

During an interview at an exclusive club in downtown Los Angeles, Grimes expressed excitement about dusting off his cowboy hat and boots, though he admitted to having initial concerns about whether the project was a fit.

“I had never watched a procedural before, so I had to do some homework on what that was,” Grimes said hours before the gala premiere of “Marshals” at the Autry Museum of the American West in Griffith Park. “And I just couldn’t wrap my head around it at first. In the finale, Kayce had ridden off into the sunset. So I thought, ‘Let him be, let him go.’ ”

Those doubts eventually ebbed away.

“To be honest, there was a part of me that didn’t want to let Kayce go just yet,” Grimes said. “Saying goodbye to him was really hard, so the opportunity to keep this going was something I couldn’t pass up. We get to show his backstory and also this other side of him that we didn’t see in ‘Yellowstone.’ ”

But this Kayce is a man in crisis. “Yellowstone” devotees will likely be shocked by the “elephant in the room” — the revelation in the pilot episode that Monica has died of cancer. The couple’s sexy and loving chemistry was a key element in the series while also establishing Grimes as a heartthrob.

“I think fans will be upset — and they should be,” Grimes said as he looked downward. “Kayce is very upset. It’s the worst thing that could have happened to him. But as much as I’m really upset not to work with Kelsey, it’s a good idea for the show.”

He added, “His dream life is no longer available to him. Now the only thing he has is his son, who is not so sure he wants the same life as Kayce. A big part of the season is Kayce learning how to manage all these new things — new job, being a single father.”

A bearded man with his hands in his jeans looking downward.

“His dream life is no longer available to him. Now the only thing he has is his son, who is not so sure he wants the same life as Kayce,” said Luke Grimes about his character Kayce.

(Jay L. Clendenin / For The Times)

Executive producer and showrunner Spencer Hudnut (CBS’ “SEAL Team”) acknowledged in a separate interview that viewers may be stunned by the tragedy. “Real life intervenes for Kayce. Unfortunately it happens to so many of us.”

But he stressed that although Monica is physically gone, her presence will be heavily felt this season.

“She is guiding Kayce, and their relationship is moving forward,” Hudnut said. “His dealing with his inability to confront his grief is a big part of the season. It became clear that something horrible had to happen to put Kayce on a different path.”

As the development evolved, Grimes embraced the procedural concept: “This is a very different show and structure. This is an action show, very fast paced. I meet a lot of fans who say they really want to see Kayce go full Navy SEAL.”

Alumni from “Yellowstone” returning in “Marshals” include Gil Birmingham as tribal Chairman Thomas Rainwater and Mo Brings Plenty as his confidante Mo.

“Yellowstone” co-creator Taylor Sheridan, who had already spearheaded the prequels “1883” and “1923,” will further expand the “Yellowstone” universe later this month with “The Madison,” starring Michelle Pfeiffer and Kurt Russell, about a New York City family living in Montana’s Madison River territory. Later this year, Kelly Reilly and Cole Hauser will star in “Dutton Ranch,” reprising their respective “Yellowstone” roles as John Dutton’s volcanic daughter Beth Dutton and her husband, boss ranch hand Rip Wheeler.

Hudnut said fans of “Yellowstone” will recognize themes that were central to that series: “The cost and consequences of violence, man versus nature, man versus man.”

“We’re trying to tap into what people loved about ‘Yellowstone’ but to tell the story in a different framework,” he said. “The procedural brand is obviously very successful for CBS. And nothing has been bigger than ‘Yellowstone.’ So the challenge is, how do you marry those things?”

Taking on the lead role prompted Grimes to reflect on how “Yellowstone” transformed his life after co-starring roles in films like “American Sniper” and “Fifty Shades of Grey” and playing a vampire in the TV series “True Blood.”

“‘Yellowstone’ changed my life in many, many ways,” he said. “The biggest change is that I now live where we shot the show in Montana. The first time I went there, I would have never thought I would ever live there.

“I would come back to the city after shooting. But a little bit more each year, I felt more out of place here, and more peace and at home there. I’m a big nature person — I never was a big city person, but I had to be here to do what I wanted. But after the third season, my wife and I decided to move there. We wanted to start a family.”

The topic of a Kayce spinoff kept coming up during the filming of the finale, but “meanwhile we were having a baby, so that was the biggest thing on my plate.”

A man in a blue shirt standing with his arms crossed as horses with saddles graze in the background.

“‘Yellowstone’ changed my life in many, many ways,” said Luke Grimes.

(Jay L. Clendenin/For The Times)

Grimes was also dealing with the off-screen drama that impacted production due to logistical and creative differences between Costner and Sheridan. Costner, who was the show’s biggest attraction, exited after filming the first part of the final season. His character was killed off.

Asked about the backstage tension, Grimes said, “I just tried to do my job to the best of my ability, and not get caught up in all that. It was sort of frustrating, but I felt lucky to have a job.”

He recalled getting a call from Sheridan about the plans for a spinoff: “He said, ‘I think you should talk to the guy who is going to be the showrunner. I’m not telling you to do it, and I’m not telling you not to do it. But Spencer is great and he has some good ideas.’ ”

Hudnut said Kayce “was always my favorite character. Also, Luke is not Kayce. Kayce is an amazing character, but Luke is really thoughtful and smart. He is a true artist and has an artist’s soul, while Kayce is kicking down doors and terrorizing people. And Luke has such a great presence. He can do so much with just a look to the camera. He is a true leading man.”

In addition to starring in “Marshals,” Grimes is also an executive producer. He pitched the opening sequence — a flashback showing Kayce in the battlefield. He also performs the song that plays over the final scene, in which he visits his wife’s grave. The ballad is from Grimes’ self-titled country album which was released last year.

“Luke’s creative fingerprints are all over the pilot,” Hudnut said.

Grimes said he does not feel pressure about being the first follow-up from “Yellowstone” to premiere.

“We’re not trying to make the same show, so no matter what happens, its a win-win,” he said. “I had a blast doing it.”

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