Sarah

SACRAMENTO — Backers of a ballot measure that would require parents to be notified before an abortion is performed on a minor acknowledged Friday that the 15-year-old on which “Sarah’s Law” is based had a child and was in a common-law marriage before she died of complications from an abortion in 1994.

Proponents of the measure recently submitted an argument for the state voter guide saying the death of “Sarah” might have been prevented but her parents were not told she had had an abortion and so did not know the reason for her failing health. The proposal, Proposition 4, will appear on California’s statewide ballot in November.

In court papers filed in her home state of Texas after her death, the man with whom she lived declared himself her common-law husband in an effort to secure custody of the child. Texas recognizes common-law marriage and does not view a married 15-year-old as a minor, according to an attorney for Planned Parenthood.

A lawsuit co-sponsored by Planned Parenthood Affiliates and filed Friday in Sacramento County Superior Court asks the secretary of state to remove the girl’s story and other information it deemed misleading, including any reference to “Sarah’s Law,” from the material submitted for the official voter guide.

“If you can’t believe the Sarah story, there’s a lot in the ballot argument you can’t believe,” said Ana Sandoval, a spokeswoman for Planned Parenthood and the campaign against Proposition 4.

Backers of the initiative said they learned the details after submitting the ballot argument last month and would review the lawsuit before deciding whether to amend the language for the voter guide.

“However, she was still 15 and was not equipped to make medical decisions on her own, whether she was living with the father of her child or not,” said Erica Little, a spokeswoman for the campaign supporting the proposition.

She confirmed that “Sarah” was Jammie Garcia Yanez-Villegas, who died in Texas in 1994. The name Sarah was used to protect her identity.

“We will modify the way we present Sarah to be accurate with the information,” Little said. “But we don’t think the use of her story is marred.”

Planned Parenthood argues that the Sarah story should be dropped from the voter pamphlet because a parental notification law would not have applied in her case.

Proposition 4 would amend the California Constitution to prohibit abortion for unemancipated minors until 48 hours after a physician notifies the minor’s parent or legal guardian.

State voters have twice rejected similar measures.

Supporters of the measure, including Orange County Dist. Atty. Tony Rackauckas, signed a ballot argument that cites “Sarah’s” death as an example of why the law is needed.

“Had someone in her family known about the abortion, Sarah’s life could have been saved,” the supporting argument reads.

Sarah’s story was challenged in the rebuttal argument filed for the voter’s guide by a group that included Kathy Kneer, president of Planned Parenthood Affiliates of California.

“Nothing in Prop. 4 would have prevented her tragic death,” the rebuttal says.

—

patrick.mcgreevy@latimes.com

Viewers of ITV’s new true crime drama The Lady, starring Natalie Dormer as Sarah Ferguson, have voiced concerns about the timing of the series amid ongoing royal controversy

ITV’s The Lady debuted this evening, prompting immediate reaction from viewers just minutes into the Sarah Ferguson drama.

The four-part true crime series chronicles the devastating story of Sarah Ferguson’s royal assistant, Jane Andrews, whose trajectory from humble beginnings to palace life ended with her being convicted of murdering her partner, Thomas Cressman, in 2000.

According to the opening episode’s description, “Working-class woman Jane Andrews wants more for her life and is unlucky in love.”

It continues: “On the brink of losing all hope, she receives a letter inviting her to interview for a job with Sarah, Duchess of York, at Buckingham Palace. Securing the job, she moves to London – but life in the palace is gruelling, and Jane struggles to fit in, but she and Sarah find common ground in their experiences of love and betrayal.”

Mia McKenna-Bruce portrays Jane Andrews in the ITV production, whilst Natalie Dormer underwent a transformation to embody Sarah Ferguson, Duchess of York, reports the Express.

Within minutes of broadcast, audiences flocked to social media to voice their opinions, with numerous commenters branding it “poor taste” and “bad timing”.

One viewer declared: “Quite possibly, the worst-timed launch of a TV series, ever. #thelady,” whilst another questioned: “Was it the best time to show #TheLady, considering all the controversy around Andrew Windsor and Sarah Ferguson?”

However, a third viewer observed: “ITV couldn’t have timed this any better. It’s pretty good too #TheLady.”

Other viewers concurred, with one stating, “Bad taste at the moment showing anything to do with Sarah Ferguson,” whilst another remarked, “I don’t think this drama could have been timed any better #TheLady.”

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

The production also garnered widespread acclaim, with one fan writing, “Ok tunes have me hooked already…..”

Another viewer shared their enthusiasm: “#thelady ok 15 mins in, and I’m hooked! Quality-made drama.”

Tomorrow evening’s second episode, which can be streamed on ITVX, promises: ” Jane meets dashing businessman Luis Castillo, and the two begin a relationship, but tensions soon erupt on a holiday in Greece and she becomes increasingly unstable.”

The synopsis continues: “As Jane’s carefully constructed composure starts to fracture and puts her position with the duchess at risk, a lifeline appears in the shape of the charismatic Tommy Cressman.”

The third episode will subsequently be broadcast next Sunday at 9pm on ITV.

The Lady continues tomorrow evening at 9pm on ITV, with episodes currently available to stream on ITVX.

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The cast of “Scrubs” knows that the show’s creator, Bill Lawrence, has a habit of building communities with his series, which include “Ted Lasso” and “Shrinking.” But the “Scrubs” crew knows they are the closest.

“Since I work on all those shows, I can say that we’re the tightest-knit group,” says Zach Braff on a video call with his fellow fake doctors Sarah Chalke and Donald Faison. “We vacation together.”

Lawrence, just a day later, has to concede that Braff has a point. “It’s annoying because I have to admit that they are right,” he says. “We’ve stayed the tightest because we all still spend way too much time together.”

And now the gang is back together for a new, nine-episode season of the beloved series premiering Feb. 25 on ABC, and the next day on Hulu. When “Scrubs” debuted in 2001, narrator J.D. (Braff), his best friend Turk (Faison) and on-again, off-again love interest Elliot (Chalke) were interns at Sacred Heart Hospital. Now, J.D. is a concierge doctor, while Turk and Elliot have advanced to leadership positions at Sacred Heart. There’s a new batch of interns, a new cheery hospital representative (Vanessa Bayer) whose job involves making sure no one gets offended, and a new doctor (Joel Kim Booster) who is not too fond of J.D. But there are also other familiar faces including John C. McGinley as J.D.’s begrudging mentor Dr. Cox and Judy Reyes as nurse Carla, who also happens to be Turk’s wife.

“Scrubs” then and now: Sarah Chalke, Zach Braff and Donald Faison in the original series, left, and in the ABC revival. (Chris Haston/NBC) (Brian Bowen Smith/Disney)

In the Season 8 finale — before the show reset with a medical school setting — J.D., always prone to elaborate fantasy sequences, sees a vision of how his life is going to turn out. His reality doesn’t exactly resemble that.

“We say midlife crisis or whatever, but it’s a time of questioning, a time where you take stock of your life,” says showrunner Aseem Batra. “That’s really a cool time to catch up with our characters because when we saw them last, they were in their quarter life.”

Batra herself has followed a similar path to the characters. After working as an assistant at ABC, her first writing gig was on “Scrubs.” Now she’s in a position of authority. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says. (Longtime “Scrubs” writer Tim Hobert was originally announced as co-showrunner but departed the project.)

Lawrence, who serves as executive producer on the new incarnation, can also see a parallel between his path and that of his fictional creations. “I’m only good at writing about stuff that’s at least tangentially part of my life and the idea that of those young goofballs who are the students now being the teachers, it’s very much part of my life right now,” he says.

“Scrubs” creator Bill Lawrence has handed the reins to Aseem Batra, who is the showrunner of the revival. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says.

(Christina House / Los Angeles Times)

Still, Lawrence says the reason the revival of the show was able to work is because of the closeness of the original cast. Faison and Braff are still constantly collaborating whether that’s on a podcast or commercials, and even though she’s decamped from Los Angeles to Canada, Chalke makes a point to keep in touch. On a boisterous Zoom call, we spoke about returning to their beloved characters.

What were your reactions coming back to this world?

Donald Faison: Please. Please. Revive it. Do me that solid and revive it.

Sarah Chalke: I manifested it. A couple years ago, I was like, “Oh, I miss ‘Scrubs.’ I want to do a comedy like ‘Scrubs’ that shoots in Vancouver, and then it all happened.”

Zach Braff: To be honest, I was very surprised when it actually started happening that ABC was going to put it in prime time. I thought it might be something on Hulu. That felt like a giant audience with Hulu the next day and a really big scale and really a belief in the project. That was really exciting.

Why do you think the show’s legacy is so strong that there is that belief?

Braff: I think that it’s Bill’s unique mix of comedy and pathos and emotion and fantasy. It’s such a unique recipe. But in execution, as he did with the first pilot, it was undeniable. It was so groundbreaking at the time. No one had done that in the network space. It was also at a time when there was no streaming. So, the show was on at 9:30 and Bill was trying to push what you could still do on network [television]. That’s why it was a more risqué version of what we’re doing now. I think now the goal was — well, there’s streaming for that. What’s a show that we can have on at 8 that pairs with “Abbott Elementary” that parents can watch with their kids? Maybe some jokes will fly over the kids’ heads, but it’s not trying to compete with what people are doing on streaming.

What do you remember about getting cast? You were all in your 20s.

Faison: I was the oldest one. Still the oldest one. I remember how big of a deal it was. This was the pilot of the season. I remember everybody and their mama was talking about how great the script was and how they wanted to be on the show. I remember my agent telling me, “This is a big one. The creator of the show really likes you. Let’s see what you can do.”

Chalke: I didn’t know this until two days ago. Our casting director came up to set to visit, and she said I was the first person to audition on the first morning of casting. In the character description, it said she moves and talks at a faster pace than normal humans. And in every single job, I’ve been told, “Slow down.” It felt like the luckiest thing; I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.

When I think back on it, what I remember is what that felt like to be at work every day, genuinely laughing so hard to the point where it would get late at night and there was one sound that Zach and Donald could make that would make me laugh.

Sarah Chalke on being cast in “Scrubs”: “I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.”

(Christina House / Los Angeles Times)

What was the sound?

Faison: It’s almost like a fart.

Braff: No, it’s not a fart.

Faison: I’m not trying to make a fart joke. But do you know how when you fart, it always sounds like a question mark. So, that’s the sound.

Braff: Esther, do not use this, please. It’s a high-pitched noise like this [does noise]. We would do it quietly enough that no one would hear we were doing it. And then she would break down laughing and ruin the take and we’d be like, “Sarah, what are you doing? It’s late. We want to go home.”

Zach, what were your initial thoughts about the project?

Braff: I was waiting tables at a French-Vietnamese restaurant called Le Colonial at Beverly and Robertson [in L.A.]. And I had to wear a tunic, which I put into “Garden State.” I’d been auditioning for so many things and not really getting much traction in the sitcom space, but I read this and I thought it was so funny. I was like, “Oh, I think I could really sell this because I find it so funny.”

How did you know the chemistry between the three of you was going to work?

Braff: When we were shooting the pilot, I was just like, “Wow. I really love these people.” I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met. And then Bill was legitimately the funniest person I’ve ever met. I just felt in really good hands.

Chalke: We were all so excited to be there and we’d just hang out and watch the other scenes that we weren’t in. And I remember just being by the monitor, watching everybody else work and just being so blown away.

Braff: We would hang out after we were wrapped, which Sarah still does occasionally. This time Donald came early because there’s this really weird coffee robot in the production office that Donald seems to think is amazing coffee. So, I caught him a few times coming in early for the coffee robot.

Faison: That’s not why I came in early. I was notoriously late and unprepared the first go of “Scrubs.” I heard Tom Hanks talking about how he was a young actor and a very established actor kept forgetting their lines. And the director finally goes, “Ah, come on, come on guys. Three things. Show up early, know the text, have an idea. Let’s take 10,” and walks away. And Tom Hanks goes, “Oh, if that’s what it takes, I can do that s—.” So, I took that to heart and this is the second opportunity.

Braff: I thought it was the coffee robot.

Zach Braff on his co-stars: “When we were shooting the pilot, I was just like, ‘Wow. I really love these people.’ I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met.” (Christina House / Los Angeles Times)

But Sarah would hang out after you wrapped?

Chalke: We are all executive producers on this. Zach is producing and directing and editing and writing and doing all of the things, and that’s been really neat to watch. I legitimately do want to learn. Obviously, there’s a balance of that with also going back into work full-time and having two kids.

Braff: Sarah gave me this whole speech at the top of the show. She’s like, “Hey, I really do want to learn this stuff. I want to sit by your director’s chair. I want to ask you questions. I want to learn to genuinely [executive produce], genuinely direct.” And I was like, “Great.” The first week I was like, “All right. Sarah, we’re going on a big tech scout. It’s probably going to be about…”

Chalke: “In a van for seven hours.”

Braff: I go, “You’re going to learn more on the tech scout than you could in film school.” And she’s like, “No, I won’t be able to do that.” And then by the end of the nine episodes, Sarah was like, “I think my EP thing is morale.”

Faison: I want to piggyback on something Sarah said though. Zach has done a lot, these nine episodes. For this revival, he’s done so much and has worked so hard on this. And that’s made us all feel very safe and secure also because we know we have the No. 1 guy on the call sheet who cares about the show completely putting in 100% to make sure that we’re coming out the gate with something very, very, very, very strong and undeniable for the fans.

What were your conversations about where your characters would be after all these years?

Braff: One of the big conversations we had was we wanted to reground the show because the show got really broad over the years and we wanted to dial it back and go back to where we started, where it exists in a real place. We have the luxury of the fantasies where we can be super silly. And obviously, we dip our toe over the line sometimes and stuff is a little broad. But for the most part, the new show is back to Season 1 and grounded again.

As we all know, especially when you reach 50 years old, a lot of things in life don’t turn out the way you hope they would. And that’s why we opened the show with J.D. living this fantasy that he is this heroic trauma ER guy when in fact he’s fixing toes in the suburbs. Also, I think with regard to me and Donald, [Lawrence] said, “I want them to be silly as those two guys are in real life, but … when they drop in and they’re teachers, they’re really good teachers.”

Donald Faison on returning for the revival: “When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.”

(Christina House / Los Angeles Times)

Was it easy to fall back into your rhythms?

Faison: When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.

Braff: The whole room did. It was really funny because no one had heard me do that voice in 20 years.

Chalke: One of the coolest things that helped with the show was Bill would just write to everybody’s strengths or write to their quirks or write to their personalities and weave it in. That happened this season, but it happened all through the first eight years. And so, to a certain extent, the lines blurred sometimes between ourselves and our characters. So, stepping back into them, there’s a reason why it felt so comfortable.

Braff: Sarah is a fast-talking klutz.

Chalke: I am. We met all the interns and Zach said, “So, guys, Chalke’s going to come in every day and something’s going to be broken. Every day there’s going to be a story.” And then I proceeded the very next day, which was the day before filming, to fall and break my finger. So, I did have to come in on the first day and say, “So, I broke my finger.”

How did you break your finger?

Braff: Walking.

Chalke: It’s part of who I am, but it’s also part of who Elliot is.

Braff: I think if we put in the show how really klutzy you are, people would think it’s too much.

Was there anything you were nostalgic for that wasn’t in the new incarnation?

Chalke: Sam Lloyd.

Braff: Sam Lloyd who played the lawyer was such a big part of the show and not only a fan favorite, but our favorite. He was just the funniest, nicest man. And Bill calls people like Sam Lloyd “comedy assassins.” They come in and they have one line and you’re laughing. And he was one of the greats.

Faison: It’s not the same “Scrubs.” And I kind of miss a little bit of that. There are so many new stories to tell. And you get nostalgic when you see the stuff that we’re doing in it, but I do sometimes miss some of the stories that we told in the past. It’s like capturing lightning in the bottle again, and I feel like we did it. I really do hope we have that opportunity again. I really do hope that this isn’t just nine. But it’s important for the audience to know that we’re definitely older. That’s just real talk. I’m not a 26-year-old man anymore. I’m 50.

The Lady is a four-part limited series delving into the rise and fall of the former Duchess of York’s royal aide.

The Lady is set to grip ITV viewers with the royal true crime drama brought to life by the same producers of Netflix’s award-winning The Crown.

For weeks now, ITV has been teasing the release of The Lady, a true rags to riches tale that ends in convicted murder.

Sarah Ferguson’s former dresser Jane Andrews worked for the royal for nine years. Three years after she was let go, she murdered her boyfriend Thomas Cressman.

But how did she go from rubbing shoulders with those at Buckingham Palace to spending her days behind bars as a killer?

Here’s everything there is to know about The Lady on ITV as fans don’t have long before the drama drops.

ITV The Lady release date

The wait is almost over for the grand debut of The Lady with the limited series premiering on Sunday, February 22, on ITV and ITVX.

The Lady will consist of four episodes with instalments one and two airing on Sunday, February 22, and Monday, February 23, and episodes three and four the following Sunday and Monday.

Alternatively, fans can binge-watch the entire series on the day of its initial release via the free streamer ITVX.

ITV The Lady cast

At the heart of ITV’s The Lady is Jane Andrews, the working-class woman from Grimsby who got a chance of a lifetime when she was hired to work as Sarah Ferguson’s royal dresser before her life spiralled out of control.

She is brought to life by actress Mia McKenna-Bruce who has starred in How To Have Sex, The Fence, Get Even and Agatha Christie’s Seven Dials on Netflix.

McKenna-Bruce is joined by actor Ed Speleers – famed for his roles as Stephen Bonnet in Outlander, Jimmy Kent in Downton Abbey and Rhys Montrose in You on Netflix – who plays Jane’s boyfriend and victim Thomas Cressman.

Meanwhile, Sarah Ferguson is portrayed by actress Natalie Dormer, remembered for playing Margaery Tyrell in HBO’s Game of Thrones and Anne Boleyn in The Tudors on Channel 4.

What to expect from The Lady on ITV

Described as a “working-class girl from Grimsby”, Jane Andrews’ life changed forever when she answered an advertisement in the magazine The Lady.

Much to her surprise, she was hired to become the former Duchess of York’s official dresser at Buckingham Palace.

However, no one expected that following her time working for the royals that Jane would go on to murder her boyfriend Thomas Cressman, hitting him with a cricket bat before stabbing him in the chest.

Writer and executive producer Debbie O’Malley commented: “There’s a saying that ‘truth is stranger than fiction.’

“I’m not sure I’d always agree but when I first heard about the case of Jane Andrews, it was immediately clear that her true story was every bit as intriguing, compelling and tragically heartbreaking as any fabricated thriller.

“The fascinating tale of a working-class girl who became the dresser to a duchess, with a dramatic twist that ultimately sees her on trial for murder.

“This story looks beyond the headlines while remaining high stakes and uniquely British.

“It also poses thought-provoking questions about class and entitlement whilst exploring issues around mental health that have never been more relevant than they are today.”

The Lady premieres on Sunday, February 22, at 9pm on ITV.

But in an email to a “Ferg” in 2011, Epstein writes: “of course you can have mothers army, it was always for you„ Im not sure how to transfer it, but rest assured , it is your in its entirety, I will ask how the transfer is accomplished, we just want to be careful that there is no downside at the moment to have a transaction between you and I.”

Interiority is a concept that multimedia artist Sarah Sze has been fixating on lately.

“So much of what we experience is actually interior,” Sze said in a recent video interview. “We’ve become so exterior focused. We’re so outward looking.”

At a time when it’s all too easy to consume a never-ending stream of social media images, the celebrated New York-based artist is more interested in scrolling through the images stored inside her own mind.

Her new show, “Feel Free,” champions the mind’s eye, in all its random, fragmented glory. It brings a collection of new paintings and two immersive video installations to Gagosian Beverly Hills.

Sze is known for her unconventional sculptures and large-scale paintings, which she’s shown in such venues as the Museum of Modern Art, LACMA and the U.S. Pavilion at multiple Venice Biennales. In 2023, she left her mark on both the inside halls and the exterior walls of the Guggenheim Museum, and her public sculptures have transformed a grassy hillside as well as a pine grove and an international airport.

Sarah Sze’s Gagosian Beverly Hills show “Feel Free” is meant to feel intimate.

(Ariana Drehsler/For The Times)

At the Gagosian show, Sze leaned into the intimate and fragile, while continuing her signature experimental streak.

In one of her newest pieces, “Once in a Lifetime” — part sculpture, part video display — precarious clusters of bric-a-brac form a mechanical marvel that appears to defy gravity.

A stack of small projectors is cradled inside of a fantastical tower fashioned out of crisscrossed tripods, metal poles and ladders festooned with an assemblage of toothpick structures, empty cardboard containers that once held crayons and Lactaid, dangling prisms, arts & crafts scraps, and paper cut-outs of deer and wolves (figures that appear throughout the show).

The bare gallery walls surrounding the monument flash with rotating projections of construction sites where buildings are being erected and demolished, clouds drifting across tranquil blue skies, and city lights twinkling then slowly dissolving into floating fractals. The Dadaist piece is every bit as off-kilter and fascinating as the Talking Heads song that inspired its title.

“Once in a Lifetime” is part video display and part sculpture, made of tripods, toothpicks, lights, cardboard boxes and projectors that flicker images on the gallery walls. (Ariana Drehsler/For The Times)

“The most important thing about my show is that I hope it’s really challenging and exciting and gives young artists license to do what they want to do,” Sze said.

“When they come in and say, ‘Wait … I didn’t know you could put up toothpicks going to the ceiling and throw a video through it and make it into a movie. I didn’t know you could put a pile of things on the floor in front of a painting.’ It’s like, ‘OK! Yes, you can!’”

Meanwhile, large canvases in the main gallery space are covered with oil and acrylic paints and printed backdrops dotted with an assortment of images: sleeping female figures; hands pointing, drawing and flashing peace signs; the sun at different stages of setting; birds in flight; wolves and deer in their natural habitats. Layered on top are paint splotches and streaks, as well as taped-on paper and vellum, blurring and obscuring the collage of figures underneath.

“Escape Artist,” left, “White Night” and “Feel Free,” are new paintings by Sarah Sze at Gagosian Beverly Hills.

(Ariana Drehsler/For The Times)

“One of the things I was thinking about was when we dream and then we wake up, there’s this extreme, fleeting moment where you’re trying to grasp the dream,” Sze said. “The dream is disappearing at the same time, and you’re trying to re-create those images.”

She went on to describe “a landscape turning into a different landscape, and then you’re falling, and then you’re turning, and then someone appears that you didn’t expect to be there.”

In addition to this spree of the subconscious, the artist offers glimpses of her creative process. Pooled on the ground below the canvases (and even dangling from the rafters above) is an assortment of the tools of her trade — from tape measures to paint scrapers. Brushes, pens and pencils lie next to the ripped cuffs of cotton workshirts, and drops of blue and white paint are splattered on the floor, extending the artwork beyond the wall.

Sze spent five days installing the show inside the gallery and the commonplace supplies incorporated into the pieces are what she dubbed “remnants of the workspace.”

“Sleepers,” a video installation Sze debuted in 2024, plays with the light entering through a gallery window. Images of sleeping heads and forest animals play amid the sound of cello notes and deep breathing.

(Ariana Drehsler/For The Times)

If the paintings act as snapshots of dreamscapes, “Sleepers,” the video installation she debuted in 2024, sets those images in motion. Dozens of hand-torn paper fragments connected by rows of string become miniature projection screens, each flashing with images of the same sleeping heads, busy hands and forest animals. These are interspersed with flashes of TV static and ocean waves, all set to the sounds of humming, disjointed cello notes and deep breathing.

Directly in the center, a slender vertical window — part of the gallery’s architecture — illuminates the otherwise darkened room with a pillar of natural light, further contributing to the ethereal nature of the piece.

Viewed at the right angle, the piece resembles a giant eye. It’s the perfect visual cue to get visitors thinking about what we see and how we see it.