Scott

Dana Williamson, California Gov. Gavin Newsom’s onetime chief of staff, is seeking to delay her criminal sentencing date for political corruption because of health issues, according to documents filed last week in federal court.

Williamson’s attorney McGregor Scott, asked the court to delay her Sept. 17 sentencing and seal documents related to her health condition.

Scott submitted documents that reference a Sept. 4 surgery that Williamson underwent, medical records, and a text message from Williamson’s mother about the surgery.

Williamson underwent a liver transplant earlier this year, prompting a judge to delay a February hearing in her case.

A spokesperson for the U.S. attorney’s office for the Eastern District of California didn’t immediately respond to a request for comment about the requested sentencing delay.

Scott declined to comment.

Williamson, who worked for Newsom until 2024, pleaded guilty in May to three counts, including committing bank and wire fraud.

Williamson, a veteran political consultant who also formerly worked for former Govs. Jerry Brown and Gray Davis, admitted she took part in a scheme from 2022 to 2024 to skim campaign funds from then-U.S. Health and Human Services Secretary Xavier Becerra, now a leading candidate for governor, and divert the money to Becerra’s then-chief of staff.

She also admitted in her plea deal to filing a false tax form in 2024 and lying to FBI agents that same year.

Beyond lying to the FBI about the scheme involving Becerra, Williamson misled federal authorities on another topic, the plea agreement stated.

She lied to FBI agents when asked about the state’s lawsuit against video game company Activision Blizzard Inc., details contained in the November indictment against Williamson and other public records show.

The midfielder, who will return to training in two weeks, will miss Wednesday’s Champions League game against Arsenal.

Scotland midfielder Scott McTominay has had successful surgery on a minor heart issue on Tuesday and will return to training in two weeks’ time, his club Napoli said.

The former Manchester United player recently experienced a heart rhythm disorder, something which is not considered serious but did require surgery.

“On Tuesday morning, Scott McTominay underwent an ablation procedure at Spire Manchester Hospital. The operation was a complete success,” the Serie A club said in a statement.

“McTominay will rest for two weeks and then resume training.”

McTominay, 29, has been a key player for Napoli since joining from Manchester United in 2024, scoring 27 goals in 82 matches.

But he was off-form in their opening two Serie A games.

Napoli previously said McTominay would miss Scotland’s upcoming Nations League fixtures against Slovenia (twice), Switzerland and North Macedonia.

Napoli, who have just three points from their opening three Serie A games this season, host Arsenal in the Champions League on Wednesday and then play Bologna and Fiorentina before the international break.

Napoli have said Scott McTominay’s heart surgery “was a complete success” and expect the Scotland midfielder to resume training this month.

The 29-year-old’s ablation procedure – a minimally invasive operation to correct irregular heart rhythms – took place at Spire Manchester Hospital on Tuesday morning.

McTominay was substituted after 56 minutes of Napoli’s 2-1 Serie A defeat by Como on 30 August.

A mild benign arrhythmia was discovered, prompting the corrective treatment.

Napoli, who said in statement, external that “McTominay will rest for two weeks and then resume training”, had expected the former Manchester United player to return to action after the international break in early October.

When his heart issue was announced, McTominay posted on Instagram: “See you soon Napoli. I won’t take long.”

Sebastien Pocognoli’s first four games as Scotland head coach – home and away against Slovenia as well as matches with North Macedonia and Switzerland in the Nations League – are scheduled for the end of September and early October.

According to the NHS,, external an arrhythmia is when the heart beats too quickly or too slowly, or the heartbeat is not steady.

The British Heart Foundation explains, external a cardiac arrhythmia ablation involves using heat or cold energy to create tiny scars in the heart to block faulty signals and restore a typical heartbeat.

SCOTT Mills’ husband has appeared to have taken a shady swipe at the BBC as their pal Zoe Ball started her new gig.

Scott, 53, was unceremoniously axed from BBC Radio 2 back in March after details of an historic police investigation emerged.

He was dismissed after new information came to light regarding the investigation about alleged sex offences with a boy aged under 16 in 2018.

As well as losing his role on Radio 2, he was also sacked from working on the BBC’s Eurovision coverage and from a new podcast spin off from Race Across The World – which he won the celebrity series of in 2024.

Zoe, 55, famously left the BBC Radio 2 Breakfast Show in December 2024 and was replaced by close pal Scott.

She completely left the network a year later when she hosted her final Saturday show as Emma Willis stepped into her shoes following her departure.

cryptic comment

BBC’s Tina Daheley shares post about ‘bouncing back’ after quitting Radio 2

BEEB SHAME

Scott Mills’ pay DOUBLED despite ‘sex offence’ probe as BBC salaries revealed

The former It Takes Two host started her new show on Greatest Hits Radio on Monday this week.

A short clip of Zoe on her first show was shared on the radio’s official Instagram account as she welcomed her viewers for the first time.

Scott’s husband Sam Vaughan took to the comments section to show his support as he appeared to shade the BBC.

He penned: “Perfect afternoon soundtrack, we’ve got you on.”

This isn’t the first time Sam has appeared to have thrown some shade as he previously took a swipe at Scott’s Radio 2 replacement, Sara Cox.

She was named as his successor and took over hosting duties back in July.

Sam doesn’t often appear on social media but the timing of his post on Sara’s first day was definitely noticable.

He shared a picture of their cute dog in the lounge, standing in front of a TV screen with Heart FM breakfast playing — NOT Radio 2‘s offering.

Sara was always seen as a natural successor to Scott and we reported how execs moved quickly to secure her for the role when he was dismissed.

A source said at the time: “This is something the BBC have always had lined up for her and she could not be more excited to take on the role.”

Scott confirmed he was quizzed by Metropolitan Police officers in 2018 after an allegation of a “historic sexual offence”.

The case – said to have taken place between 1997 and 2000 – was later dropped in full due to a lack of evidence.

But bosses claimed they only became aware of the age of the alleged victim in the weeks before Mills’ sacking, according to reports.

TELLURIDE, Colo. — Do you believe in ghosts?

Andrew Scott considers the question and looks at me with a mischievous grin, retreating to a corner of the restaurant booth where we’re catching up a few hours before his new movie, “Elsinore,” the most personal film he has ever made, premieres at the Telluride Film Festival.

Scott turns over the question again. “Do I believe in ghosts?”

It feels like a reasonable thing to ask. Three years ago at Telluride, the yearning romantic fantasy “All of Us Strangers” memorably premiered, featuring Scott playing a character who worked through unresolved trauma by talking to the dead. Ghosts are elsewhere in his work, metaphorical (“Vanya”) and literal (“Hamlet”).

“If I had a gun put to my head — which you don’t have to — I would say that I don’t believe in them,” Scott says. “But the idea of the afterlife and where we will go is still really fascinating to me. Dreams and the subconscious, too. I don’t know what went on consciously in the world outside my hotel room here last night. I was perfectly content to be asleep. And I like the idea of thinking about death that way. I’ll just be asleep. It’ll be OK. It’s the undiscovered country.”

“The movie for me is about time,” says Andrew Scott. “What are you going to do with your time? Ian decided to to live and to be a light and to be around people for the glory of the theater.”

(Anthony Dickenson / Focus Features)

Dropping a line from Hamlet’s “to be or not to be” soliloquy in this context feels unavoidable. In the powerfully moving “Elsinore,” Scott plays the real-life actor Ian Charleson, who, as he was secretly dying from AIDS, played Hamlet in a 1989 Royal National Theatre production, still considered one of the great performances in London theater history. Charleson was 40 at the time, known for playing Scottish Olympic athlete and missionary Eric Liddell in “Chariots of Fire.” He died eight weeks after leaving the National Theatre stage. “Elsinore” captures that journey in all of its glories and taxing challenges.

“That he would go for treatment in the morning and then play this Olympian role is just endlessly moving,” Scott says. “I don’t know how he did it.”

With our pint glasses filled with water as we adjust to Telluride’s altitude, we try to figure it out.

Charleson playing Hamlet, scaling the Everest for actors, reminded me of David Bowie making “Blackstar” as he was dying. As an artist, you’re not often given the chance to shape the narrative of your own end.

Being offered Hamlet doesn’t happen to every actor. To take it and turn it into something generous and useful — useful is a word I love about acting, that it’s useful to people.

When people are feeling down, they can watch a movie they love.

And see themselves. That can’t be underestimated.

What’s your go-to movie?

I will always watch “Bridesmaids” when it comes on TV. Comedy is precious to me. Laughing is precious to me. I don’t see it as the antithesis of tragedy. I think they’re one and the same.

The last time we talked, around the time of “Ripley,” you wanted to put out into the universe the idea of starring in a musical or a comedy. That hasn’t happened by the strictest definition. But you seem to be saying that genre labels don’t matter.

The reason, hopefully, that “Elsinore” is moving is that we approach some of the stuff with quite a bit of lightness. The effect is tragic and there are some heavy things in it. But my job, what I prioritized, is keeping it light.

You are seen dancing to Ethel Merman’s disco album. It doesn’t get much lighter than that.

My favorite actors are the ones that are funny. I worked with Lisa Kudrow last year on “The Comeback,” and yes, of course, she’s very funny. But if you look at that performance she gives toward the end, it’s so moving. People come away from things that are labeled comedies and go, “I just laughed at that.” Or people come away from things that maybe were really sad and say, “I was just devastated by that.” I think the job is to get rid of categorizing and make it more fluid.

Like life. Sometimes you eat the bear and sometimes, the bear, he eats you.

Exactly! I don’t love things that are overly serious. One of my big dreams for this film — and I do wish so much for this film because it’s so personal — is that people don’t feel like that they’re going to see something that’s depressing. I didn’t want to fetishize Ian’s death.

What do you hope audiences take away from watching it?

That they see themselves in it. You know, it doesn’t end well for any of us. The movie for me is about time. What are you going to do with your time? Ian decided to to live and to be a light and to be around people for the glory of the theater.

Speaking of time, next month you’re going to be celebrating a milestone, turning 50. Or not celebrating. I don’t know how you feel about birthdays.

I don’t love my birthday.

Any year?

My friends have said to me, “You gotta make some plans.” I love a party. Which is to say, I love other people’s parties. What I usually do is I leave it to the last minute and send texts around, saying, “I understand if you don’t want to come, but I might do this.” And then you do something small. I read something yesterday where you should go to your own parties like you’re a guest. I think that’s a very good way to to do it.

What about just being around for half a century? Is that in your head? You’re the one who just said it doesn’t end well for any of us.

I’ve definitely thought about it more. Sometimes in the middle of the night, I’ve thought, “Jesus, what?” I’m sure that’s because of my mom dying and that I’m approaching my mortality. Again, how am I going to use my time? One of the reasons I was so ferocious about getting “Elsinore” made was that I would put all of myself into this and then maybe I can chill out a bit more.

Andrew Scott in the movie “Elsinore.”

(Anthony Dickenson / Focus Features)

The personal aspects of this movie are striking. In addition to producing “Elsinore,” you yourself have played Hamlet on stage. You’re also a gay actor portraying someone who, at the time, would have torpedoed his career by coming out.

When I was a kid, I was obsessed with the movies and would read Premiere and Empire magazine. Around 16 or 17, I started to realize that maybe if you’re gay, you wouldn’t be invited to movies. And I wasn’t wrong in thinking that, because there weren’t many examples. So I would omit things in interviews. I wouldn’t lie, but I really understood that about Ian’s generation.

There’s a melancholy moment in the movie where he says, “I wanted to be in the movies. I didn’t scale the heights.”

What a gorgeous little dream. A young boy goes, “I want to be in the movies.” And then to have that knocked out of you bit by bit. You’re not even going to be seen for the audition. Or, “Are you being a little fruity there?”

Did people tell you not to talk about being gay?

Very well-meaning people said to me, “Just keep that [private] because you’re not obviously gay,” which I often think is such an insult to say to people. “So maybe you can get away with it.” And I was like, OK. And I did that for awhile. But it was so insidious. When audiences think of acting, they think of actors pretending, like you’re putting yourself in somebody else’s shoes. So the fact that there was this whole section of gay actors who weren’t allowed to do that is awful. I’m so grateful that I get to do that.

What do you remember about the late ’80s and early ’90s in terms of navigating the AIDS epidemic?

It makes me emotional. It was extraordinary just to to have lived through that time and to be completely abandoned by your government, who wouldn’t even say the name of the illness. When I was a young adult, that’s what I was scared of. If you go for a sexual health screening, you go, “My God, am I going to die?” I remember going into those situations, and with no cause for such concern, feeling like I’m going to be punished for expressing myself in that way, because that’s the way the world was set up.

Let’s get back to Ethel Merman.

Please! [Laughs]

There’s that stanza in “There’s No Business Like Show Business” that goes: “There’s no people like show people / They smile when they are low.” Would you say that sums up the spirit of “Elsinore” about as well as any couplet could?

Yes, it’s so much about the power of community and show people. It’s about show people and smiling and getting on with the show.

When did you first feel that power of community?

Putting on “The Wizard of Oz” in a school play when I was about 10.

What part did you play?

Guess.

Dorothy?

[Laughs] No, a friend of Dorothy. Oh, come on. One more guess.

The Cowardly Lion?

No. The Tin Man. My mom sprayed me silver, in my hair and everything. We had a probably bit of aluminum foil and I had a funnel. I loved it so much. And I remember having a really extraordinary feeling of surprise, knowing the audience was there. For such a shy boy, when I had to do the big number, “If I Only Had a Heart,” it went to another level, better than rehearsal. I suppose the little showman, the little 10-year-old silver showman, came out.

BBC Sport pundit Ashley Williams analyses Alex Scott’s “impressive” display, after the midfielder scored Bournemouth’s only goal in their 1-1 draw against Everton in the Premier League.

MATCH REPORT: Bournemouth 1-1 Everton – Premier League

Available to UK users only.

Aug. 28 (UPI) — Treasury Secretary Scott Bessent announced Friday that the United States is working to cut off bank branches in the United Arab Emirates from the U.S. financial system, part of his campaign to target financial systems that enable Iran.

The Department of the Treasury said it is proposing a rule that will ban U.S. banks from facilitating transactions involving the UAE-based branches of Banque Misr, one of Egypt’s largest banks.

“Iran’s enablers cannot continue to enjoy access to the U.S. dollar and the global financial system,” Bessent said in a statement. “Banque Misr UAE decided to find out the hard way, and today, we are taking the first step in holding it accountable for its continued, egregious support of the Iranian regime.”

Bessent on Monday announced a new pressure campaign called Operation Economic Outcast to force countries to sever ties with Iran.

The department accused Manque Misr’s operations in the UAE of being “a significant conduit for Iranian shadow banking.” It said the bank allows Iranian entities access to U.S. dollars, circumventing U.S. sanctions.

Treasury said it had found 103 potential front companies that moved $1.8 billion through Banque Misr UAE accounts from January 2024 to June 2026.

Bessent is invoking powers under the Patriot Act that allow the treasury secretary to take action against foreign banks that are a “primary money-laundering concern” to the U.S.

It also said the Treasury will sanction the general manager of the Dubai branch of Bank Melli and a Hong Kong-based company it alleges is laundering money for Iran.

Earlier this month the UAE said it was suspending all trade with Iran.

Grammy-winning singer Jill Scott brought her “To Whom This May Concern” album — her first in more than a decade — to life at Inglewood’s YouTube Theater last week. Backed by a razor-sharp 11-piece all-male band (including background singers fittingly dubbed “Freeman”), Scott moved effortlessly through a two-hour set filled with songs from the genre-expansive album along with several fan favorites like “He Loves Me (Lyzel in E Flat)” and “Gettin’ in the Way.”

Enforcing a phone-free policy at her personal request, the North Philadelphia native kept the audience intensely locked in — hanging onto her every word and every seemingly impossible note she struck with ease. Before long, it was easy to forget that we didn’t have our devices. Smiles filled the intimate room. Couples danced together. Strangers sang to each other in joyful unison, while others closed their eyes or held their hands on their chest in complete awe of witnessing a veteran artist in her element.

Jill Scott is on tour for “To Whom This May Concern,” her first album in over a decade.

(Jada Imani M)

In her only interview during the tour thus far, we caught up with Scott backstage to talk why she never performs a song the same way twice, how removing devices makes concerts better and why she thinks “To Whom This May Concern” deserves several accolades.

I’m still coming down from all of the energy from the show. How are you feeling post-show?

I am hot from the inside, and it’s gonna take me hours to calm down. [Laughs]

You’ve always described music as an intimate, two-way conversation between you and the audience. For this tour, you created a strictly phone-free space. Why did you decide to do that and how did this shift the experience for you as a performer?

In a couple of ways. One part is that it’s terrifying because there’s no buffer between me and them, so that’s actually scary, but I embrace it. The other part of it is that it’s wonderful because people initially come in kind of nervous about not having a buffer between myself and the space or themselves and space. Then I watch them gradually release, and I get a kick out of that every night. That’s my favorite part.

I’m surprised to hear that it’s scary for someone like you who’s been performing at such a high level for so many years.

Because I care. It matters to me. I really want them to have a good time. I really want them to release some things, allow themselves to be. If you want to make out, if you want to dance, if you want to cry, if you want to shout, or put up your hands in the air, or sit still, I want them to be able to do that. I think it’s important. That’s the relationship. That’s the real relationship between artist and fans of the music. It’s the connection between the music. I’m here to [be of] service. I’m here to push the ship along, but it’s really their relationship with the music and I’m a conduit. That part is probably one of my other favorites. You have to relinquish your id and allow the thing to be the thing. I think sometimes you can practice the joy and the life out of a thing. We practice a lot, but then we forget everything we practice so that it’s alive. My musicians’ freedom is mandatory. It’s a part of the job. So if they show up and play the exact same thing in the exact same way every night, they’re probably not going to be around very long. I need them to be wide open and to rediscover the music every night from their perspective. It’s their 11 perspectives on stage, and then of course there’s the lighting designer. I need him to be free. Don’t give me the same light at the same time every night. Even front-of-the-house sound engineer as well as our in-ear monitors, everybody is playing a part. “What does she need? Let’s read her. Let’s, you know, pay attention. What does she want?” It’s a lot of fun.

You could see really feel that from you and your entire band.

Tonight was a different audience. They were very attentive. Last night they danced all night long from the very beginning. I couldn’t even see the floor. Tonight they were listening. I know it’s a Wednesday night. Everybody’s got to go to work [the next morning], but they were beautiful. The listening audience is probably my favorite. They get quiet and I’m like “Oh, it’s so scary. Am I doing the right thing?” [Laughs] But that means they’re listening. Who doesn’t want to be heard?

Your son came out with you tonight. How was that experience for you?

It’s beautiful to see. He told me Tierra Whack is not traveling with us because she has a new album out, “Whack’s Museum,” so she’s a little busy. He was like, “Mom, how do you feel about me doing the second verse?” and I was like “Be at sound check tomorrow with a mic in your hand.”

He looked so comfortable on stage.

He does. It’s kind of scary. Super exciting. I don’t know what he’ll want to do, but he’s working our set, so he’s a part of the crew. So after he does his performance, he puts back on his blacks and he does his job, and I love that for him, to have that sense of responsibility. He’s exceeding anybody’s and everybody’s expectations. He’s so good at this. All the clothes you see, he steamed up.

He’s really working his way up.

Yes, you must earn your way.

Your album “To Whom This May Concern” released in February, and it feels like a love letter from your favorite auntie. There’s lessons about learning from your mistakes, honoring your ancestors and loving yourself. Now that your fans have been living with these songs for several months, I’m curious if performing them live has shifted your relationship with them at all?

No. On a great night, I like telling the stories that I’ve read. I like embodying them in front of other people. I like watching them experience them in a new way. I’m a fan of that. It just makes it more and more true. Then I see how many people are singing along and how many people are looking at me, and I’m like “Yesss.” It’s reaching the people and I know it’s going to be different because there’s a different audience every night. So I’m thrilled about the project and how it’s touching people. You hope you don’t work this hard at a thing for it to fall on deaf ears, and I know how microwavable music has been, but I believe the cream rises to the top. It’s been a beautiful 26 years. I look forward to 26 more — in my way.

Your album has been receiving a lot of praise from fans and critics. There’s still a few months before the Grammy nominations are announced, but at this point in your career, how important is that recognition to you? Is it as important as it was when you first started your career?

I think I deserve it. That’s all. [Flashes a smile]

I mean everything about this project from beginning to end is blood, sweat and tears. I stayed up many nights just to write, a hunger in my belly and a savage appetite. And I mean it. Everything is true and I love that for me. That’s the kind of thing that takes time and I think musically, it’s incredible. I think the stories are awesome and intentional, and everything about it, from the planning of it to the marketing, has been from my soul, and I think it deserves several.

WASHINGTON — A Massachusetts woman who told police that she brought homemade firebombs to the U.S. Capitol to kill Treasury Secretary Scott Bessent was sentenced on Tuesday to just over six years in prison.

Riley English, a 26-year-old transgender woman, said she was in the grips of a mental health crisis and abusing drugs when she drove to Washington in January 2025 and told Capitol police that she was there to kill Bessent on the day of his Senate confirmation.

“I never wanted to hurt anyone,” she told U.S. District Judge Rudolph Contreras. “I’m not a political person. I’m not a violent person.”

Contreras, who was nominated to the bench by Democratic President Barack Obama, sentenced English to six years and one month of imprisonment followed by three years of supervised release. English has remained jailed since her arrest and will get credit for the nearly 20 months that she already has spent in custody. She pleaded guilty in March to two weapons charges.

“You’ve had a very difficult life,” Contreras told English. “Hopefully, the progress you’ve made in jail to this date has set you on the right path.”

Nobody was injured, and Contreras said her plan to harm Bessent had an “exceedingly low or non-existent” chance of success. Bessent wasn’t at the Capitol when English arrived on Jan. 27, 2025. The Molotov cocktails that English brought to the Capitol appeared to be incapable of igniting, the judge noted.

Prosecutors had recommended a prison sentence of 10 years and one month for English. Assistant U.S. Attorney Brendan Horan said English had been planning the “attempted political assassination” for at least a month at a time when the threat of politically motivated violence has been mounting in the U.S.

“This was not a chance encounter or an impulsive act,” Horan said.

The case against English fits a pattern of politically motivated violence that has plagued the U.S. over the past decade. In a letter addressed to the judge, Bessent said he worries the country “cannot survive this assault.”

“Political violence is an attack on the rule of law and on representative government itself,” Bessent wrote. “It also deprives our country of service by talented men and women with ability and integrity who may reasonably decide that no job is worth threats to themselves and their families.”

English’s prosecution drew comparisons to the case against California resident Sophie Roske, who was sentenced last October to over eight years in prison for attempting to assassinate U.S. Supreme Court Justice Brett Kavanaugh at his Maryland home. Prosecutors had recommended a prison sentence of no less than 30 years for Roske, a transgender woman. They appealed Roske’s sentence by U.S. District Judge Deborah Boardman, calling it unreasonably lenient.

Defense attorney Maria Jacob said English was “terrified and traumatized” by fears of what would happen to transgender people under the second Trump administration.

“Our argument is that she was in a diminished mental state,” Jacob said.

Investigators said they found a folding knife, two homemade firebombs and a lighter in English’s possession at the Capitol.

English, of South Deerfield, Massachusetts, told police that she was influenced by Luigi Mangione, the man who was charged with fatally shooting the CEO of UnitedHealthcare. She said she was “on a mission” and “had been thinking about this for a while because of Luigi Mangione,” prosecutors said. English told officers that she was terminally ill and “wanted to do something before I go,” according to prosecutors.

English also said she traveled from Massachusetts to Washington intending to kill other Republican political figures — Defense Secretary Pete Hegseth and House Speaker Mike Johnson — and to burn down the Heritage Foundation, a conservative think tank, according to police. English changed her target to Bessent after reading an internet post about his confirmation hearing, police said.

Jacob said English’s actions last year were “a cry for help.”

“There was no indication that she was acting rationally that day,” the judge said.

Kunzelman writes for the Associated Press.