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Just in time for next week’s midterms, Brooklyn-based artist Phil Buehler has unveiled another one of his series of public art installations critiquing modern politics on a stretch of chain link fence between a coffee shop and a bar in Bushwick. The 50-foot-long, 10-foot-high piece, “Wall of Crazy,” features 1,516 of President Trump’s social media posts — selected from more than 70,000 — and arranged chronologically, with color-coded statement categories aligning with the American Psychiatric Assn.‘s Diagnostic and Statistical Manual of Mental Disorders, fifth edition.

These include: social-emotional incongruity (“Happy Thanksgiving to all including the racist and incompetent Attorney General of New York State”); divine favor/ magical thinking (an AI photo of Trump seated beside Jesus Christ in court); catastrophizing (“This miscarriage of justice will destroy America if they don’t change their absolutely insane decision”); contradictions and reversals (a 2019 post calling Atty. Gen. Bill Barr “fair and reasonable” vs. a 2023 post calling him “dumb, weak, slow moving, lethargic, gutless and lazy”); hostility, humiliation and threats (calling Tucker Carlson a “very low IQ individual. He could barely get out of college and maybe he didn’t.”); grandiosity (“I am far healthier than Clinton, Bush, Obama, Biden, but especially, Kamala”); extraordinary and implausible claims (“The U.S.A. is locked and loaded and ready to go against the Islamic Republic of Iran at levels of military strength and power not seen since World War II”); persecution and victimhood (“Only 25 percent want the president impeached, which is pretty low considering the volume of fake news coverage, but pretty high considering the fact that I did nothing wrong”); and conspiracy thinking (“Wayne County (Detroit) Michigan is one of the most corrupt voting areas in the United States, if not the world”).

In a recent phone interview, Buehler said he made the wall over a period of months beginning in July, using his day-job background in market research and data analysis and statistics to search for patterns in large amounts of data in order to distill it down to something simple. Buehler’s first foray into making a wall of public art came in 2020 with the “Wall of Lies,” which documented more than 20,000 false or misleading claims made by Trump.

A detail shot of the “Wall of Crazy” by Brooklyn-based artist Phil Buehler, featuring 1,516 of Donald Trump’s social media posts.

(Photo from Phil Buehler)

At that time, he said, he was struck by the massive volume of falsehoods. “I wanted to dramatize that in a way that brought the sheer scale of it to life,” he said, noting that the same objective holds true for the “Wall of Crazy.” People have known that Trump tells lies since the 2020 presidential election, Buehler said, adding that it’s a story that is continuously told and has simply become part of the daily news cycle that people move on from.

“Making something into a public artwork brings it back into that cycle because I think it comes into people’s heads in a different way,” Buehler said. Plus, because it’s sandwiched between a coffee shop and a bar, it gets both the thinking morning crowd and the more raucous and celebratory evening crowd. The piece, which is being presented by the independent community radio station Radio Free Brooklyn, has been up for about two days, but will be officially unveiled during a modest neighborhood ceremony today at noon EDT.

“The scale of it is important,” Buehler said. “By attracting your eye and attention and then allowing you to walk up to it and read … Trump’s posts.”

In photos Buehler shared, people are doing just that. Some pass by quickly, others stay immersed for quite some time.

The “Wall of Crazy” is the fifth such collaboration between Buehler and Radio Free Brooklyn. After the “Wall of Lies” came the “Wall of Liars and Deniers” (2022), “featuring 381 Republican election-denying candidates”; then the “Wall of Shame” (2025), “documenting 1,575 January 6 defendants pardoned by Trump”; and “Wall of Tears” (2026), “memorializing 18,457 children documented killed in Gaza.”

The “Wall of Lies” was extensively vandalized by Proud Boy protesters, but the others have been mostly left alone, Buehler said.

“The Wall of Crazy shows how Buehler and Radio Free Brooklyn use public art to spotlight our political climate. Calling out the inflammatory, incoherent, divisive and obscene rhetoric under this administration is critical to democracy,” said Orie Givens, president of the Radio Free Brooklyn Board, in a news release. “Like earlier walls, it captures our political culture and urges action before Election Day: voters can change the country’s direction. And it shows why we must support free media — especially independent outlets — that expose this administration’s actions and impact nationwide.”

I’m Arts editor Jessica Gelt, wishing us all a peaceful and sane midterm election and a Happy Halloween. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Singer Lila Downs.

(Berenice Bautista / AP Photo)

Lila Downs
The singer blends Mexican tradition with jazz, cumbia, folk and contemporary rhythms in a celebration of Día de Muertos, featuring Ballet Folklórico de Los Ángeles and songs from Downs’ new album “Cambias mi Mundo.”
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Hercules vs. Vampires
LA Opera presents a musical reimagining of Mario Bava’s 1961 cult film “Hercules in the Haunted World,” starring Reg Park and Christopher Lee, with an original score by Patrick Morganelli, conducted by Blair Salter.
8 p.m. Friday-Saturday. United Theater on Broadway, 929 S Broadway, downtown L.A. laopera.org

Kiki Smith
“Untethered Journey,” the artist’s first solo show in L.A. in 30 years, includes historical and recent works.
Opening reception, 6-8 p.m. Friday; exhibit continues through Jan. 23. Jeffrey Deitch, 925 N. Orange Drive. deitch.com

SATURDAY

Dr. Jekyll and Mr. Hyde
Organist Brett Valliant performs the score live with John S. Robertson’s 1920 silent horror film starring John Barrymore.
3 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Día de los Muertos
Forest Lawn celebrates the Mexican holiday at four of its locations, with marigolds, handcrafted Catrina and alebrijes (spirit guide) artworks and brightly colored community ofrendas (altars), plus folklorico dance and mariachi music performances, arts & crafts, face painting, food and refreshments. A free family-friendly event.
Noon-3 p.m. Sunday. Forest Lawn Covina Hills, 21300 Via Verde Drive, Covina, Forest Lawn Cypress, 4471 Lincoln Ave., and Forest Lawn Glendale, 1712 S. Glendale Ave.; 5-8 p.m. Monday. Forest Lawn Cathedral City, 69855 E. Ramon Road. forestlawn.com

Harriet Sansom Harris in “Werewolf by Night.”

(Marvel Studios)

Werewolf by Night & Headless
Michael Giacchino hosts an evening featuring the premiere of “Headless,” a musical by the Academy Award-winning composer and collaborators Elyssa Samsel and Kate Anderson, based on “The Legend of Sleepy Hollow,” followed by a live-to-picture screening of his 2022 film “Werewolf by Night,” with Sarah Hicks conducting the Los Angeles Philharmonic.
8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

SUNDAY

Building Bridges: The Master Chorale in Concert With the National Chorus of Korea
Two world-class choral organizations team up for a cross-cultural program uniting more than 100 singers.
7 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org

Family Fest: Día de los Muertos
A free event featuring activities, festive music, dance and foods.
11 a.m.-2 p.m. The Wallis, 9390 N. Santa Monica Blvd, Beverly Hills. thewallis.org

TUESDAY

Singer Lyle Lovett.

(Allen J. Schaben / Los Angeles Times)

Lyle Lovett and His Small Large Band
The four-time Grammy-winning Texan performs his greatest hits.
8 p.m. Cerritos Center for the Performing Arts, 18000 Park Plaza Drive. ccpa.cerritos.gov

WEDNESDAY

Daniel Passer direct “The Farce Awakens: Ferdeau x 2” at Odyssey Theatre Ensemble.

(Odyssey Theatre Ensemble)

The Farce Awakens: Feydeau x 2
Cirque du Soleil clown Daniel Passer directs “Going to Pot” and “Stark Naked,” two one-acts by Georges Feydeau.
Through Jan. 17, 2027. Odyssey Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com

The Laugh Track
Playwright Wendy MacLeod’s comedy goes behind the scenes of “I Love Lucy,” the groundbreaking 1950s sitcom starring Lucille Ball and Desi Arnaz. Directed by Brian Shnipper.
Through Nov. 22. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org

The SoCal scene

The Endeavour shuttle is on display in launch position at the Samuel Oschin Air and Space Center in Exposition Park.

(Allen J. Schaben / Los Angeles Times)

ICYMI: The best of this week’s L.A. Times arts coverage.

The Samuel Oschin Air and Space Center opens next month, and the Arts team put together a great package including an architecture review of the new $450-million addition to the California Science Center; an Endeavour shuttle walk-through with an astronaut; a list of noteworthy artifacts in the museum; a list of exciting interactive experiences; and a fun fast-facts sheet.

In theater news, critic Charles McNulty gave a mixed review to the Latino Theatre Company production of playwright Luis Alfaro’s “Speaking in Tongues,” at the Los Angeles Theatre Center; and issued an indictment of Center Theatre Group’s decision to stage a non-Equity touring production of “The Music Man.” McNulty reserved words of praise for an Antaeus Theatre Company revival of George Bernard Shaw’s “Heartbreak House.”

Artist Barry McGee poses for a portrait at Jeffrey Deitch gallery.

(Jason Armond / Los Angeles Times)

San Francisco artist Barry McGee is back in L.A. after February’s wild takeover of a 99 Cents Only Store. This time he’s staging a show called “Another Round” at Jeffrey Deitch gallery on Santa Monica Boulevard.

The Times’ Features section ran a piece of commentary about the lack of a true native plant habitat at the Lucas Museum of Narrative Art, calling it a “missed opportunity.”

Culture news

Branden Jacobs-Jenkins poses in the press room with the award for best revival of a play for “Appropriate” during the 77th Tony Awards.

(Evan Agostini / Invision / AP)

London’s Royal Court Theatre announced that playwright Branden Jacobs-Jenkins’ 2025 Tony Award and Pulitzer Prize-winning “Purpose,” directed by Phylicia Rashad, will launch its new season in January, marking the hugely successful Broadway show’s first staging outside of the U.S. (“Purpose” opens at Geffen Playhouse next month.)

— Jessica Gelt

And last but not least

The desert just keeps on giving — including an upcoming “sandlocked yacht club” in Joshua Tree.

The other memory Carney hopes proves ineradicable is the powerful feeling that accompanied carrying Sam onto Achill Island alongside team-mates Donnacha McHugh and Diarmuid O’Connor.

Carney has deep family roots on the island. His father and grandfather hail from there and both were present as Carney, McHugh and O’Connor – soundtracked by more than 100 bagpipers, including his father – carried the famous trophy across the Michael Davitt Bridge and onto the island.

Given his connection to Achill, the power and significance of the moment was not lost on Carney.

“According to my father and grandfather, that’s never happened before [bringing Sam Maguire on to the island], so I recognised the cultural importance of it – and you could feel it,” says Carney.

“That originally wasn’t on the calendar as a club until further down the line. The island empties when summer is over. People return to where they’re from originally, Dublin or Galway or wherever, and I really wanted to get the trophy down there while the island was vibrant and alive.

“My grandfather was the sergeant on Achill Island. My father grew up in the barracks and the GAA pitch was the back garden. They kind of claim me as half one of their own.”

Carney, whose two-point score launched Mayo’s All-Ireland final comeback against Kerry, added: “With no Achill player on the team, it was really important that both myself and Donnacha – both our fathers are from there – to get down there and show our appreciation for what they’ve done for us and our families.

“And Diarmuid O’Connor just has a sense of knowing when something will be good and when to be there.

“He came down with us and I’m delighted he was there because someone who didn’t really understand the weight of it all – when we were crossing the bridge, he could say he could just feel it, he said, ‘this is something different here’.”

LAS VEGAS — The Strip is broiling on a recent afternoon, but it’s cool and dark inside Mary J. Blige’s dressing room at the Park MGM.

As a humidifier moistens the dry desert air, the 55-year-old R&B star sits on a sofa wearing a brown jumpsuit and matching gaucho hat; through the walls we can hear Blige’s band sound-checking for her My Life, My Story residency, which launched in May and will pick up again Friday night for shows through Oct. 31.

In some ways, Las Vegas is a funny fit for the Queen of Hip-Hop Soul, who’s been transforming pain into music since her 1992 debut, “What’s the 411?” Yet her stay in this glittering showbiz mecca comes amid a season of flower-getting for Blige: Two years ago, she was inducted into the Rock & Roll Hall of Fame; two years before that, she played the Super Bowl halftime show and landed a nomination for album of the year at the Grammy Awards.

“It definitely feels like people are taking notice of the fact that Mary J. Blige is one of the most important performers in R&B history,” she says. “I opened up a lane that hasn’t been closed yet. Female after female after female after female continue to do what Mary J. Blige has done and still does.”

Who opened that lane with you?
Back in the ’90s, when we first came out, it was myself and SWV that were really, really strong. Then there was 702, then Jazmine Sullivan and SZA and Beyoncé, and now right down to Summer Walker, who’s singing her truth.

That’s how you define what you do.
I’m not a great singer because I can sing better than everyone — I’m a great singer because I sing from my heart. Bono gave me that jewel. When Hurricane Katrina happened, we were doing [U2’s] “One,” and Bono was like, “Don’t worry about singing on key — people aren’t moved by you singing on key. What makes you a great singer is how you make them feel.” Not all of us are like the eighth wonders of the world — Aretha Franklin or Chaka Khan or Whitney Houston. They have pitch-perfect and they have emotion.

I saw Chaka Khan the other night and was thinking about how, even now, you never know where her voice is about to go.
She’s Chaka Khan — there’s nothing else you could say, really.

Why’d you cover “Sweet Thing” on “What’s the 411?”
First of all, when I was growing up, my mother played “Sweet Thing” all the time — it was our favorite song. So when I got to Uptown Records, Andre Harrell, the CEO, he was like, “You should do ‘Sweet Thing.’” I was like, “I don’t wanna do ‘Sweet Thing’! Chaka Khan could really sing — I can’t sing like that.” But he said I could do it, so I went and did the song and they all went crazy over it. My fans who didn’t know Chaka Khan, they thought it was my song. Same with Rose Royce’s “I’m Going Down” — to this day, a lot of people don’t know that’s a remake. I was afraid of both those songs. But I wanted to sing “I’m Going Down” all my life because I heard the song when I was 5 years old from the “Car Wash” soundtrack.

Tell me about your routine in Vegas. You stay on the Strip or you have a house somewhere?
I have a house out here. I’m not staying here — this is a lot. So I go home after I finish my performance, and I get ready for my performance tomorrow: I rest, I drink water, I do whatever I need to do. Then it’s the same thing: I come here, go into glam, do my meet and greet.

Get the humidifier going.
I got a steamer that I actually pull on over my mouth. Then I do my warmups, relax, keep my mind clear of any nonsense.

How do you think about doing your thing in a town built on glitz?
Mary is not the slickest Vegas person. But you can let people see that you’ve evolved — that you wear gowns now.

Would 19-year-old Mary be surprised to see her future self in a gown?
Hundred percent. Nineteen-year-old Mary was all tomboy — all baggy everything. Right now, I barely want to wear a gown, this Mary right here. But I’ve actually grown to like some of it when it looks good.

Did you look at anyone else’s residency when you were putting yours together?
I saw two people’s shows, and I said, “That’s not it.”

Shows in Vegas tend to be on the shorter side. The casino wants people back out there gambling.
I got 90 minutes — it’s a lot of time. People are very happy, but they’re standing there like they want more. I’m like, “I did 90 minutes! I don’t know how much more y’all want from me.”

Silk Sonic’s residency here was a no-phones show, which Bruno Mars told me was his attempt to preserve the freedom to make mistakes. Does it bum you out as a performer to know that everything winds up on the internet?
I don’t care about that at all. Social media, it’s bull—. You know what’s gonna happen — you know they’re gonna say, “Oh, her jaw is swollen.” Whatever. As long as you live truthfully, what they’re recording doesn’t matter.

In a recent interview with Fat Joe and Jadakiss, you talked about keeping your romantic partner a “mystery man” to the world. I wondered how you came to the decision not to make everything available to the public.
Because for so many years it has all been available. What you know already is what you know — I’ll elaborate on that. But what you don’t know, you will never know. I think I’ve given a lot, and it’s important to have something for myself. Nowadays, people just take things and ruin it for you. So if you have something beautiful, hold onto it, keep it to yourself. You have to protect the person that you’re with as well, because they don’t deserve to get beat up for something someone else did. I protect the ones I love — I’m not having anybody speaking ill about my family or the man that I love. I’m too old for that. Early in my life, if social media was around in 1991, I’d have been on that s— all day, cursing and going nuts on people.

Mary J. Blige performs during halftime of Super Bowl LVI at Inglewood’s SoFi Stadium in 2022.

(Robert Gauthier / Los Angeles Times)

We were talking before about your accolades. Did the Rock Hall mean anything in particular to you?
It was important to me because those things don’t happen to us.

To Black women.
Yes. It happens to rock ’n’ roll stars every day, and they’re in their grave — there were people in their grave that they were honoring when I went. So when it happens to Mary J. Blige or Chaka Khan or Aretha Franklin, we have to honor that and raise it up. That’s a big deal.

Did Las Vegas feel like a place open to Black women?
I’m trying to think of what Black females I’ve seen do Vegas.

Mariah Carey was here. Toni Braxton had a show.
Yeah, but like me? But you know what I love? It’s time. And how I know it’s time is because my fans went up. When I made the announcement, they was going crazy — they still going crazy. I’m probably the first to open this door, and next it’ll be somebody else. You better believe they on their way. “Oh, Mary doing Vegas? I’m doing Vegas too.” That’s how it goes: “Mary did her hair blonde? I’m dying my hair blonde too.” That’s how my whole life has been, even actually before the music business.

Nosy question, but what’s an aspect of financial comfort that you especially enjoy?
Flying private — that’s the best one for me.

Getting to bypass the grind of travel.
That’s what I love about Vegas, because it’s not like tour. Tour, it’s a lot.

Are you soft now?
Probably a little spoiled.

Last one: Name an artist that meant a lot to you when you were young that might surprise people.
There were so many. I mean, Earth, Wind & Fire —

Everybody loves Earth, Wind & Fire.
But that “Way of the World” song — that really does something to me. We loved George Michael — George Michael was always one of our favorite artists. Duran Duran, come on. Oh, “Everybody Wants to Rule the World” — Tears for Fears. And Hall & Oates! [Sings] “Private eyes, they’re watching you.” Ambrosia. The Eagles. I could keep going.

I didn’t expect you to hit me with Ambrosia.
They were so soulful — I just got goosebumps. And Queen. That’s one of my favorite movies — “Bohemian Rhapsody.”

Who should play you in a movie about Mary J. Blige?
She wasn’t born yet.

On the balcony of a pink dockside building in San Pedro, a neon sign reading “Saturday Morning Fish Market” glows in the darkness. There’s a quiet stillness in the harbor — the only sounds are of the occasional gull and car whirring by. That is, until 1 a.m. rolls around.

Doors open at 1:30 a.m. at the Saturday Morning Fish Market.

This is when people begin to gather outside the roll-up door, some carrying backpacks ready to be filled.

At 1:30 a.m., a man in an orange apron lifts the door, releasing rays of white light onto the customers. They file inside, stepping onto the wet floor, eager to see the night’s beauties: freshly caught fish, filleted, deboned, washed and thrown onto thick mountains of crushed ice.

Shellfish, sardines, squid, mackerel and a market favorite, glowing salmon filets, sit on display. One employee pulls out crabs with a small net before letting a customer take their pick of the lot. Machines whir in an adjacent room, where fish are processed. Out back, sea lions bark, hoping for scraps.

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The Saturday Morning Fish Market, more formally known as J Deluca Fish Co., has existed for some time — owner John DeLuca claims a variation of the business began operating as early as the late ‘60s. As a child, DeLuca would greet his grandfather when he’d return to the San Pedro port with his catch, perhaps a fresh tuna or a bass to sell. For decades, the wholesale seafood distributor would open its market to the public just once a week — from 1:30 to 7:30 a.m. on Saturdays — usually seeing a smattering of mostly locals, the seafaring type, who might be shopping around after a late-night shift.

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1. Harikrishnan Babuchandran holds up his fresh fish. 2. Customers can watch their fish be processed. 3. The fish that’s for sale changes from week to week. (Linnea Stephan / For The Times)

The Saturday Morning Fish Market in San Pedro has existed in some form since the late ‘60s but thanks to social media, flocks of new customers are wanting in on the late-night seafood-buying adventure.

Neither DeLuca nor his son and co-owner, Chris, could have predicted the San Pedro institution would experience the boom in popularity it’s seeing now, especially in an industry that’s struggled over the past two decades.

Thanks to social media, the market is witnessing an unprecedented revival. At its pre-pandemic peak, it would get around 800 to 1,000 customers on a typical Saturday morning. Nowadays, up to 2,000 people walk through the doors, according to Chris, many of whom are visiting for the first time.

Owners John and Chris DeLuca.

Regarding Instagram and TikTok, where posts giving a glimpse of the late-night fish market have gone viral, John, 73, says, “I know absolutely zero.”

To his credit, he does exhibit some understanding of its effect. And he’s glad for it. “People that live within walking distance never knew we existed. Now they do, and it’s got nothing to do with me,” he says, grinning.

What’s most notable is the number of young people roaming around the market well before the crack of dawn, Chris says. The business has changed a lot since his “father’s generation,” and social media unlocked access to a new audience.

“I think people like those hidden gems and people like that fresh seafood experience,” he says.

Between rows of sea bass and salmon, the energy is buzzing. Abdul Fahwami, dressed in jeans and flip-flops, visits the fish market at least once or twice a month, depending on how many people he‘s having over at his house that week.

“Every time we come here, we buy a minimum of between 100 and 200 pounds,” he says. “Red snapper is one of the best fish.”

Branzino is a favorite among customers and employees.

He smiles as he watches employees process his fish on a long table. First, blades run against the fish scales, removing them in quick fashion. Then, there’s a swift slice across its belly, starting at a hole near the tail and ending up near the gill plate. Finally, the guts are removed and filets are cut, skin optional.

Prices change week in and week out, and depend on supply. While prices are typically 10% to 40% less than at stores, market representative Joe Castelao says the team values the “quality of our products” over “trying to cater to bargain finders.” Another advantage for customers is the ability to buy seafood in bulk, which often isn’t possible at your standard, local grocer.

On this day, there wasn’t much branzino, the fish Fahwami came early to look for. “I found only 11 pieces,” he says. “I took all of it!”

Not far away, a man named Terry Jackson waits in line; he’s wearing black overalls and swaying side to side, eager to advance.

Customer Terry Jackson at the Saturday Morning Fish Market.

“It’s definitely worth waking up a little late — or a little early, you could say,” he says. “The quality of the fish is good, plus the pricing.”

His fish of choice? “Tuna, my new favorite is tuna!” he says, proudly raising a plastic bag full of bright red filets.

Briskly pacing across the market floor are team members Mike and George Stahl, a father-son duo both wearing orange aprons and gloves.

Mike got into the seafood business about two decades ago. At the time, he lived in Florida and often purchased products from J Deluca Fish Co. By 2018, he’d moved his family out to California and started working at the market.

He says his favorite part is the variety of duties. “No two days are the same,” he says. “One day I could be selling a couple containers of squid, the next day I could be meeting face to face with someone at a conference on the other side of the country.”

Staff member George Stahl helps a patron.

He brought in his son George during the pandemic. As George explains, “We were bored and didn’t have anything to do at home so my dad said, ‘Why don’t you come down and put some boots on and start working?’”

George has become somewhat of a micro-celebrity around the market, frequently appearing in its Instagram posts. However, his time with the company might be temporary — he’s currently in school and plans to be a physical therapist at some point.

While the market is riding a wave of success, John doesn’t gloss over the grim outlook of the fishing and seafood industry as a whole. He says the industry has taken a hit over the years, between restrictions, overfishing and changing regulations.

“It’s a dying business,” John says, bleakly. “There’s very few seiners down here because it’s very difficult to make a living [fishing].

But for now, they’re able to survive. They watch as customers walk out of the market into the wee hours of the morning, proudly grasping their bags of the day’s freshest catch.

“A lot of things have gone the opposite direction,” John says. “But we’re still here.”

The fish market’s blue neon sign shines through the night.

Class action could be first in Australia to blame social media for harming its users.

Meta and its social media platforms Facebook and Instagram are facing a class action lawsuit in Australia over allegations that addictive design features are harming children and teenagers.

The lawsuit, filed by MinterEllison in the Australian Federal Court, seeks to recover compensation for current and former users of Facebook and Instagram who claim they were exposed to harmful content or developed an addiction to social media as a result of using those platforms, the law firm said in a statement released on Thursday.

“This proceeding raises important questions about the design and operation of social media platforms and their impact on children and teenagers in Australia. Those questions will now be considered through the Federal Court process,” MinterEllison Partner William Nolan said in the statement.

The class action suit was filed on behalf of eight plaintiffs who allege they were harmed by Meta while they were below the age of 18.

In a suppression order on Monday, the court prohibited the reporting of any information that could reveal their identities and the statement of claim.

“We are aware of this claim and we will defend ourselves vigorously,” a Meta spokesperson said.

Litigation Lending Services said it was funding the class action for Australian families who “would have no practical means of pursuing these claims against a global technology giant”.

The lawsuit comes amid rising tensions between Australia and Big Tech after a world-first ban on social media for children below 16 in 2025, and newly proposed rules that could let users switch off algorithm-driven content on their feeds.

Meta agreed in August to pay $18bn to settle with nearly all US states to resolve claims that it designed social media to addict children.

The messages, reported by a Brazilian daily, say the platform recommended Bolsonaro’s profile and his WhatsApp channel.

Employees at Meta have acknowledged in internal communications that the Instagram accounts of Brazilian President Luiz Inacio Lula da Silva were negatively affected by restrictions during the country’s election, media reports say.

The messages, reported on Friday by Brazilian daily Folha de S Paulo, also acknowledged the platform recommended the profile of Lula challenger Senator Flavio Bolsonaro, as well as his WhatsApp channel. Folha, the Sao Paulo-based paper, cited messages it had reviewed.

Meta told the Reuters news agency that the technical issues cited in the report were already public and the conversations it referenced related solely to the severity of the issues, not political interference.

“Any suggestion that Meta favors one side is false,” it added in a statement.

Lula, the left-wing incumbent, will face right-wing challenger Bolsonaro in a presidential runoff on October 25, following a stronger-than-expected performance by the senator in the first-round vote earlier this month.

Friday’s report came on the heels of a Brazilian court ruling on Thursday that ordered Meta to immediately adopt measures to provide equal treatment of the two candidates ahead of the runoff.

The ruling by a judge in Brazil’s top electoral court was made shortly after Lula filed a complaint that accused the tech giant – which owns Instagram, Facebook and WhatsApp – of using biased algorithms and AI restrictions to favour opposition candidate Bolsonaro ahead of the election.

Justice Marco Aurelio Bellizze ruled that Meta cannot reduce the distribution of political content, restrict searches or remove posts in a way that creates an imbalance between Lula and Bolsonaro. His ruling also orders the company to ensure its artificial intelligence tool applies identical criteria to both candidacies.

Bellizze said in his ruling that Meta must pay a fine of 500,000 reais ($98,700) per day if it fails to comply.

According to Lula’s party, some of his posts appeared without a share button and had reduced reach. Options for reactions, sharing, audio or accelerated speed were also missing.

Tom Cruise’s latest film Digger is expected to lose around $245m (£185m), Hollywood analysts have said, after the film’s continuing poor performance in cinemas.

Ticket sales for the satirical black comedy, which stars Cruise as oil magnate Digger Rockwell, dropped by around 60% in the movie’s second weekend.

It brings Digger’s total box office takings to around $35m (£26m) globally so far. The film is estimated to have cost its studio Warner Bros around $280m (£211m) to make and market.

But Cruise said last week, external that he “never thought of movies when I’m making them [in terms of] opening weekend,” adding he was instead focused on making films that “hopefully will translate, last and evolve”.

The film’s takings relative to its budget mean it could become one of the biggest film flops in Hollywood history.

Digger’s performance is in sharp contrast to the success of IP-driven hits starring Cruise in recent years, such as new instalments of the Top Gun and Mission: Impossible franchises.

Digger is directed by Alejandro G Iñárritu, best known for films such as Birdman, Babel and The Revenant.

Hollywood trade publication Variety said Digger was expected to end its box office run with around $50m (£38m) worldwide.

The film would need around $350m (£264m) to break even, due to its budget, marketing costs, the portion of ticket sales that go to theatres and the likely spend on an awards season campaign.

However, a Warner Bros spokesman pushed back slightly on the figure, telling Variety the film’s break even point was $300m (£227m).

Digger was the last standalone release for the studio before its recent takeover by Paramount.

Aaron Sorkin’s “The Social Reckoning,” a sequel to 2010’s David Fincher-directed “The Social Network,” is hitting theaters as part of a surge of tech geek takedowns that includes documentaries on Elon Musk and Theranos’ Elizabeth Holmes, as well as Luca Guadagnino’s upcoming comedy “Artificial” about OpenAI’s Sam Altman.

Still, its timing couldn’t be worse.

Cursory and hollow, it recounts the true story of Wall Street Journal reporter Jeff Horwitz (Jeremy Allen White) and Facebook whistleblower Frances Haugen (Mikey Madison), a disenchanted data engineer on the company’s civic integrity team, who paired up for a 17-part investigative series that provided proof of what people already sensed: Facebook boosted misinformation and rage-bait to juice user engagement at the cost of our country’s mental health.

The script ends shortly after Haugen testified before Congress in October 2021, noting that the carpet in her waiting room had recently been swapped out because of bloodstains from the Jan. 6 Capitol attack. The film rewinds to that day, too, and attempts to squeeze drama from slow-motion reenactments of the rioters, which Alexandre Desplat scores to an overbearing military dirge as Mark Zuckerberg (Jeremy Strong) and his good little Facebook soldiers mull over whether to take down the U.S. president’s incendiary posts.

Back in our own reality, Zuckerberg and the president just had lunch last week. At this point, we’re all so psychically drained that the only response we can muster to this vacant period piece is: So what?

Sorkin has my sympathies. The future moves faster than a film in development. And he fundamentally gets the peril we’ve put ourselves in by entrusting Zuckerberg, who is, at minimum, an ethically askew man. After all, Sorkin’s own screenplay for “The Social Network” remains a prescient masterpiece.

But the movie’s problems go beyond arriving simultaneously too slowly and too soon for Zuckerberg’s endgame, where his emptying social media empire has him gambling his fortunes (and ours) on AI. Expanding his scope from Harvard to the planet, Sorkin now aims to show that we’re all trapped in Zuckerberg’s insensitive mind view. Cold computer speak has infected everyone like a virus. When Madison’s Frances goes on a blind date, her online match says he appreciates that the internet makes it simpler for singles to pair up “within their own vector.” The buddy-buddy Winkelvoss twins’ version of the app might actually have been better for the world.

Meanwhile, Zuckerberg, who mostly stays on the sidelines of the movie, is now a mighty billionaire and, as Strong plays him, a dour, lifeless dork. Gone are the beer bashes, the thrill of invention and any hint that Zuckerberg lusted for something — women, attention, clout — other than a quarterly earnings report. This Zuckerberg is no longer made of flesh and blood but ones and zeros. Pity Strong couldn’t play the CEO after his bro-y 2024 mutation into MMA-fighting Marky Mark. At least that guy is amusingly ridiculous. Trapped in this stiffer, earlier incarnation, the only acting Strong is able to do is poke his head straight up from his shoulders until he resembles a retractable pen.

Worse, all the other characters in the film talk just like him: charmless, frigid and quick to cut each other off with snippy corrections. I could forgive that if it was just Facebook’s employees: Madison’s quavering, exasperated Frances, the co-worker (Anna Lambe) who insists she and Frances are merely colleagues, not friends, even after their company frittered away the meaning of the word, and a media relations executive (a smooth Billy Magnussen) who gets the scariest line, coolly insisting that “we’re post-government around here.” After all, these are the folks who saw “The Social Network” and still wanted to work for Zuckerberg.

But the opposition is steeped in that same monotone rudeness. Sorkin must have adored that earlier film’s opening scene where Rooney Mara insults a clueless Jesse Eisenberg because he’s written three-dozen takes on it. At Sorkin’s version of the Wall Street Journal, everyone up and down the masthead — editors, writers, even interns — insults each other with such relish that someone should be written up by HR. The fast-and-furious dialogue hits its nadir when Madison’s Frances slips Jeff important documents that he can’t even read because she nonsensically starts chattering about the looming coronavirus.

Here’s where you say that this is just how Sorkin writes characters. And here’s where I counter that a movie about how algorithms destroy humanity has to have some credible humans in it, if only to illustrate its own point.

Instead, Sorkin’s protagonist-bots come with bolted-on personality quirks. White’s journalist is a Luddite who would rather be late to his own job interview than use Google Maps. He comes across as so clueless that the audience can barely credit him for his reporting work winning an eventual Pulitzer — he’s just soulful eyes and a cellphone ringtone that tinkles old show tunes.

Madison, 15 years the junior of the real Frances, is too young to convince us that her character truly believes she can turn Facebook into a digital utopia. An ultra-online 20-something, she was a front row witness to Gamergate, yet somehow she’s shocked to overhear about middle-school girls getting bullied on Instagram. Her character wears legwarmers and knit wristlets to the office as protection against the air conditioning, which also serves to emphasize her company’s interpersonal chill.

Yet, bizarrely, the script makes Frances dress like a sex worker whenever she sneaks to Jeff’s hotel to slip him some corporate secrets. It’s a disguise, she explains, although the gag is so forced that it’s just as easy to believe the literal-minded girl is taking her Deep Throat identity too seriously. Or perhaps Sorkin just wanted to remind audiences that this awkward creature is the same actor who won the Oscar stripping off in “Anora.”

A few moments do work, like an opening showdown between a drunk blond (a nasty-great Portia Doubleday) and two cops that gets live-streamed to the web, and Zuckerberg’s congressional coaching sessions with his crisis team, played by Wunmi Mosaku and the comedian Bill Burr. From what we learn of Burr’s Charlie Garrigan, an insider who sold his Facebook stock too fast and then wrote a negative New York Times editorial against the company, he seems to be inspired by early co-founder Christopher Hughes, which would made him the only other callback character from “The Social Network.” But Sorkin has changed his name and upped his age, so as fun and ferocious as Burr is, we also spend his scenes feeling a little confused.

Do we learn anything new about Facebook itself? No. Still, I appreciated how dismissive Frances gets when asked to confirm small scandals that she finds too piddly to care about, like Jeff’s suspicion that Zuckerberg is goosing his posts so that positive comments outrank negative ones 32 to 1. That’s just obvious, her posture says. Facebook is over two decades old and he still hasn’t made many friends.

KATIE Price told social services she feared her then husband Kieran Hayler had groomed and sexually abused his alleged child rape victim, a court has heard.

The 39-year-old is accused of three counts of rape and one count of sexual assault against the girl between June and October 2016, when she was 13.

Katie told a social worker in 2018 that Hayler, 39, had been grooming the girl since she was 13 in a list of agreed facts read in Lewes Crown Court yesterday.

She alleged that Hayler had been grabbing the teen’s bottom, trying to kiss her and said he was falling in love with the girl, jurors heard.

The social worker then informed Sussex Police about the allegations.

Authorities contacted the mother soon after but she told police her daughter did not want to talk about it or take the allegations any further.

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Defence barrister Arlette Piercy asked the mother if she had betrayed her daughter’s trust by going to Katie Price with her allegations in 2017 – nearly a year before she reported them to social services.

She asked: “You said you felt you had to tell Katie Price. “You went behind your daughter’s back?

The mum – who cannot be named for legal reasons – responded: “Yes, she probably didn’t want anyone to ever know.

“It probably did cause arguments. We did have a big fall out.”

Asked if the girl was “OK” about her telling Ms Price, the mum said: “No, she wasn’t OK about it.

“But I said to (the girl) because the marriage situation (with Kieran) had broken down, it was only fair that I let Katie know.”

The child told her mum that Hayler had “done everything” to her during a conversation in 2017 – almost a year after his last alleged attack, jurors were told.

The woman then informed former glamour model and mum-of-five Ms Price, 48, weeks after she was told.

Speaking about when she told Ms Price, the woman said she told her: “I think Kieran has done something to (the girl).”

She told the court: “She was shocked and probably swore.”

The mum said she felt “like I have to” tell Ms Price, who was having marriage problems with Hayler at the time.

She added: “She was quite angry and I didn’t feel that she was particularly upset for (the girl).

“I just felt that she was angry and feeling revengeful towards Kieran for the situation they were in.

“And she said, ‘Well, you could get him into trouble if you told somebody’.”

The woman – who said her daughter did not want to tell authorities about the allegations – continued: “I said we have to respect her wishes, she doesn’t want anybody to know, we have to just look after (the girl).”

The girl – now aged in her 20s – denied making up the claims and became emotional, leaving the courtroom at one point as she faced questions from Hayler’s legal team.

The court was shown a video of her police interview from 2021 where she recalled the alleged abuse, sobbing as she said “I thought it was my fault for ages”.

Jurors previously heard Hayler allegedly begged the girl to not tell anyone and told her to “take it to the grave”.

The court also heard previously that before the first alleged rape, Hayler told the schoolgirl he really liked her and began speaking to her about sex – he is accused of raping the girl again on two further occasions.

The girl, who is not a member of Hayler or Katie’s family, contacted the NSPCC in December 2021 when she was aged 18, which prompted an investigation, it was said.

Former stripper Hayler denies all the allegations, which are said to have happened at an address in West Sussex.

The trial at Lewes Crown Court continues.

Coco Gauff says she suffered racial abuse on social media following an incident in her win over 16-year-old Sun Xinran at the China Open.

The American had been serving at 4-5 in the first set her Chinese opponent thought she had hit a winner.

However, Gauff raised her hand to halt play because of a flickering light in the side panels surrounding the court.

Gauff won the next three points to hold for 5-5 before she closed out the set, and then dropped just one game in the remainder of the contest as she claimed a 7-5 6-1 victory to reach the last 16 in Beijing.

The world number four gave a lengthy explanation of why she stopped the point in a post on X and said it was “an unfortunate situation” but “out of my control”, adding that Sun had understood and accepted her apology.

Gauff then responded to a reply to her original post which included racist language.

“You can dislike me or disagree about what happened without being racist,” Gauff wrote.

“The amount of racist comments/direct messages I’ve received in the last few hours is insane. Lastly, I’m not a cheater or a thief.”

Gauff is far from the first player in the women’s game to suffer social media abuse.

A report in July said female players were subjected to more than 12,000 abusive posts and messages on social media in 2025.

The WTA and World Tennis said “collective action” was required to make “significant progress” in tackling abuse.