video

Alan Ritchson, star of the series “Reacher,” appears to have engaged in a violent altercation with his neighbor over the weekend, though it’s not entirely clear who began the brawl.

The confrontation broke out Sunday in the suburban city of Brentwood, Tenn., and allegedly included the 43-year-old actor punching a man down to the ground multiple times, according to TMZ, which published video of the squabble. The video, seemingly recorded by a witness from their home window, also shows Ritchson attempting to pick up his motorcycle, which then veers onto the grassy patch by the sidewalk while his two sons, also on motorbikes, watch the confrontation play out. The other man, after getting to his feet, appears to continue scolding Ritchson before the actor and his family drive off.

A representative for Ritchson did not immediately respond to a request for comment Monday.

According to TMZ, the man on the receiving end of Ritchson’s punches was neighbor Ronnie Taylor, who accused the actor of speeding on his Kawasaki motorbike through the affluent suburb, revving his engine and “disturbing the peace.” Taylor told the outlet he flashed an obscene hand gesture at Ritchson, who allegedly returned it.

Tensions between the neighbors allegedly came to a head Sunday when the actor and his sons rode their motorbikes through the neighborhood, TMZ reported. Taylor reportedly approached Ritchson, pleading to “stop this please.” That reportedly led to the altercation, which allegedly left Taylor with bruises and swelling. Taylor said he reported the incident to police. The Brentwood Police Department did not immediately respond to a Times request for comment.

A source close to Ritchson denied Taylor’s claim that the actor began the altercation, telling TMZ that Taylor had pushed Ritchson off his bike twice and and ran into the street in an attempt to stop the actor’s bike in a “really aggressive manner.” The source also told the outlet Ritchson crashed, fell off his motorcycle and incurred cuts and bruises.

Ritchson, according to the source, attempted to defuse the situation after Taylor allegedly dared him to get physical. However, the source claims Taylor shoved Ritchson to the ground first, prompting the actor to throw punches.

TMZ reported that Ritchson “has been cooperative with the police” and that no arrests have been made in this case.

Ritchson, a former model and “American Idol” hopeful, is best known for portraying the powerful and highly intelligent leading man of Prime Video’s “Reacher.” The show, an adaptation of Lee Child’s “Jack Reacher” book series, premiered in 2022 and is set to return this year for its fourth season, according to Ritchson.

Though the actor has not publicly addressed the brawl, in the days before the incident, he posted several videos detailing his struggles with jet lag.

“The second best time to vlog … is after 48 hours of work and travel with no sleep,” he joked in one late-night video, “I think that’s how the saying goes.”

In the summer of 2025, Walt Disney Co. executives placed a big bet on a reality TV star prone to high drama: messy personal relationships and allegations of domestic violence.

Now, Disney’s ABC network could lose at least $70 million with a nearly finished season of “The Bachelorette” sitting on the shelf.

Last week, ABC yanked this season of “The Bachelorette,” which features 31-year-old Taylor Frankie Paul, just three days before the premiere episode was set to air Sunday night. Disney pulled the plug after the emergence of a three-year-old video that showed Paul — the protagonist of Hulu’s massive hit series, “The Secret Lives of Mormon Wives” — physically attacking her ex-partner.

Paul can be seen screaming and throwing metal chairs, one of which apparently struck one of her children who witnessed the altercation. Her onetime partner, Dakota Mortensen, recorded the video of the attack on his cellphone.

Trouble has been brewing around “The Bachelorette” for weeks as Paul was doing publicity for the show.

Draper City, Utah, police have separately confirmed an investigation into a subsequent domestic violence incident in February between Mortensen and Paul. As part of that inquiry, Paul, 31, has temporarily lost custody of the couple’s son, Ever, who turned 2 last week — the day the troubling video came out.

“Taylor is very grateful for ABC’s support as she prioritizes her family’s safety and security. After years of silently suffering extensive mental and physical abuse as well as threats of retaliation, Taylor is finally gaining the strength to face her accuser and taking steps to ensure that she and her children are protected from any further harm,” said a spokesperson.

Representatives of Mortensen could not immediately be reached for comment. In a statement to People magazine, a representative for Mortensen said that “his number one priority here is protecting” his son, Ever.

Last month, Disney requested an investigation to sort out Paul’s and Mortensen’s differing accounts of the February incident, according to people close to the situation who were not authorized to speak publicly about the sensitive situation.

The scandal has become the first big test for Dana Walden, who last week was installed as Disney’s president and chief creative officer — the day before the video showing a violent Paul was leaked to TMZ.

The episode has raised uncomfortable questions about why Disney made Paul the face of one of ABC’s marquee franchises.

It also has shined a light on the decision-making of Walden’s newly anointed ABC team: Debra OConnell, the chair of Disney Entertainment Television; Disney Television Group President Craig Erwich; and Rob Mills, Disney TV’s executive vice president of unscripted and alternative entertainment.

Disney declined to comment.

The network has not said whether it plans to eventually air Paul’s season of “The Bachelorette.”

But the network made a huge investment, paying a license fee of about $5 million an episode for the season to Warner Bros., said sources familiar with the matter. The season includes nine episodes and other programming elements, including a special that ran immediately after ABC’s Oscar telecast this month, which attracted 5.5 million viewers, according to Nielsen.

Dakota Mortensen, left, and Taylor Frankie Paul are stars of “The Secret Lives of Mormon Wives.”

(Fred Hayes / Disney)

ABC also orchestrated a huge marketing blitz — billboards for the show had sprouted around the country, social media channels were crackling and Paul appeared on ABC’s stalwart “Good Morning America,” where she discussed her role on “The Bachelorette,” where she dated nearly two dozen men in search of her soulmate.

She also acknowledged simultaneously facing domestic abuse allegations, which she called a “heavy time.”

“For me, dating as a mom of three is extremely difficult,” Paul told ABC anchor Lara Spencer. “I was like, I get to go out, get away from my toxic cycle here in Utah, go date, and also have my kids come out and visit me. That to me seemed like, why not?”

Advertisers, including Cinnabon, have also pulled back in light of the controversy.

Viewers have long been fascinated by Paul, who earned notoriety on TikTok and formed a community there called MomTok. Her combative relationships added to the intrigue.

Hulu’s “The Secret Lives of Mormon Wives” has been a massive hit, developing a loyal following and an alternative to the “Real Housewives” franchise on the rival network, Bravo. A clip from the show was included in a Disney video montage of movies, TV shows and other headlining attractions shown to investors last week.

Mills and other Disney executives who oversee ABC and Hulu programming had been looking for ways to reinvigorate “The Bachelor” franchise, and they had taken notice after fans latched on to a playful video that Paul had posted on TikTok, expressing her desire to join the long-running ABC show, which is produced by Warner Horizon.

Comments posted about Paul’s video were intriguing, particularly for viewers who said that they would return to watch “The Bachelorette,” if it featured her.

“I flew out to Utah and met with her and she was serious [about joining],” Mills told The Times two weeks before the controversy. “Then I sent her roses the next day and said, “Would you be ‘The Bachelorette’ and the rest is history.”

Disney recognized that Paul’s relationship with Mortensen was messy.

Disney executives were aware of the altercation in 2023 and briefly debated internally whether to move forward with Paul in a prominent role in “Mormon Wives,” according to a source close to the situation but not authorized to comment. Paul is an executive producer on that show.

The first episode of the first season of “Mormon Wives,” which debuted in September 2024, featured Utah police bodycam footage from the February 2023 fight that was the subject of the just-released video.

The final moments of the most recent season ended with Paul and Mortensen sleeping together again, the night before she was scheduled to fly to L.A. to begin filming “The Bachelorette.” She missed her initial flight, but took a later flight.

Disney also has paused filming on “Mormon Wives” during production of its fifth season.

Over the show’s four-season run, there have been tensions among the castmates, which accelerated as Paul and the other wives pursued fame in other venues, including on ABC’s “Dancing with the Stars.”

When the recent allegations of domestic violence surfaced, castmates expressed concerns about working with her, which contributed to the decision to hire an outside law firm to investigate.

The firm was hired, at Disney’s request, by the show’s production firm, Jeff Jenkins Productions, based in Sherman Oaks.

Times Staff Writer Yvonne Villarreal contributed to this report.

Afroman has emerged victorious from an invasion of privacy and defamation case filed against him by seven members of Ohio’s Adams County Sheriff’s Office over mocking videos and social media posts the rapper put out after a failed 2022 raid on his home.

“We did it, America! Yeah, we did it! Freedom of speech! Right on! Right on! Yeah! God bless America!” the 51-year-old rapper, born Joseph Foreman, shouted outside the courthouse after the Wednesday evening verdict as supporters rallied behind him. In the clip, under a white fur coat, he was rocking the same American flag shades and red, white and blue suit and tie he had worn on the stand Tuesday.

Four deputies, two sergeants and a detective with the Adams County sheriff filed the lawsuit in March 2023, seeking to reclaim any money the rapper made from what they said was unauthorized use of their likenesses. The group wanted nearly $4 million in damages. Foreman used footage from the raid in videos for songs including “Lemon Pound Cake” to make money to pay for the damage done to his home during the raid, when his front gate was broken down and his front door smashed in.

The plaintiffs said in their lawsuit that the posts and videos caused them “humiliation, ridicule, mental distress, embarrassment and loss of reputation” and made it difficult to do their law enforcement work.

At trial, all seven plaintiffs testified about the harassment they had suffered because of the rapper’s music and videos. One, Deputy Lisa Phillips, had her gender identity called into question in Foreman’s videos and social media posts. She cried on the stand as a video suggesting she enjoyed sex with other women was played for the court.

The jury apparently agreed with the argument that the sheriff’s officers were acting in a public capacity during the raid and therefore were not shielded from criticism of their behavior.

“No reasonable person would expect a police officer not to be criticized. They’ve been called names before,” defense lawyer David Osborne said in closing arguments for the rapper and comedian, known for his breakout 2000 hit, “Because I Got High.”

In 2022, the sheriff’s team was acting on a warrant showing probable cause that drugs and drug paraphernalia would be found on the property and alleging that trafficking and kidnapping had happened there. No evidence of a crime was found, and no charges were filed.

Foreman wasn’t home during the raid but was able to see at least part of it via a video recorded by his ex-wife and footage captured on his home security system before law enforcement turned off those cameras. He said on the stand that the raid traumatized his children, who were 10 and 12 at the time.

“The whole raid was a mistake. All of this is their fault,” Foreman testified Tuesday. “If they hadn’t wrongly raided my house, there would be no lawsuit, I would not know their names, they wouldn’t be on my home surveillance system, and there would be no songs, nothing.”

Foreman also defended his right to use the raid footage as fodder for his work.

“After they left, I had the right to kick the can and to do what I had to do to repair the damage they brought to my house. Yes, I did,” he testified. “I have freedom of speech. I’m a rapper. I entertain.”

Foreman discussed his reaction to the lawsuit with local station WCPO Channel 9 in 2023. “From the first 10 seconds, I was offended. I was appalled. I was like ‘What?’ Then I started laughing,” he said. “These guys with their rifles are crying about my comedy songs.”

Meanwhile, as the jury deliberated Wednesday, an entirely different Adams County Sheriff’s Office was feeling online heat linked to the trial: the office in Colorado’s Adams County.

“The Adams County Sheriff’s Office has received a flood of social media comments, DMs, and phone calls about the #Afroman defamation trial,” the Colorado department said on X. “It’s clear this is important to a lot of people. There’s just one small issue: that’s the ACSO in Ohio. We are the ACSO in #Colorado. Different states, same name.”

The Associated Press contributed to this report.

The fate of an Iranian woman caught in a US-Israeli bomb attack is unknown, after video emerged of the moments she filmed the bombardment on her phone.

A review will also be allowed at the end of a point if a player feels his opponent may be guilty of hindrance.

Daniil Medvedev used the review system against Jack Draper in Indian Wells last week, after the British player briefly stretched his arms out wide during a rally to signal his belief that a Medvedev forehand was long.

Umpire Aurelie Tourte watched a replay on her tablet and ruled Draper was guilty of hindrance – of making either an action or a noise to disturb an opponent – and awarded the Russian the point.

Draper admitted it was a difficult situation for the umpire, but thought Medvedev had “played the rules quite well” and did not believe his gesture had been enough to distract him.

The US Open has been using video reviews since 2023, and the Australian Open since 2025.

It is becoming more common on the women’s WTA Tour and by next season the men’s ATP Tour will have video reviews in place at all of its events.

Another change at Wimbledon this year will be the addition of visual indicators on scoreboards to complement the audio calls produced by ELC.

Spectators have sometimes been unsure whether a ball was in or out – and at the Australian Open this year, the net posts flashed red to give the crowd a visual cue whenever a ball was out.

With exactly 100 days to go until the start of The Championships, the AELTC has also announced that capacity at the qualifying competition in Roehampton will increase from 3,500 to 4,000 each day.

Despite the show’s approach to make their actors unrecognisable you might remember some from big series

A Prime Video series that was dubbed ‘best show ever’ is finally returning with a whole new cast and approach, although there are still some faces that you might recognise.

Jury Duty is returning with a second season and a new set up, with the first episodes available to stream from March 20. Part social experiment, part reality series and part sitcom, the show is unlike most of what you’ve seen before.

According to its synopsis, Jury Duty Presents: Company Retreat is a comedy series that captures a corporate offsite event at a family-owned hot sauce company from the perspective of Anthony, a recently hired temporary worker.

Unbeknownst to Anthony, the entire experience is staged. Every colleague around him is performing a role and each moment whether in conference rooms or during downtime has been meticulously orchestrated. As the founder prepares to step down, the getaway transforms into a clash between big corproate ambitions and small business values, with control of the company hanging in the balance.

While the premise of the show means that all the actors involved have to be unrecognisable to the one non-actor, there are actually a few faces you may have seen before. But who are they and what have they starred in that you may remember them from? Here’s all you need to know.

Jerry Hauck plays Doug, the CEO of Rockin Grandma’s Hot Sauce. He’s described as “a lovable papa bear with Big Dad Energy who cares deeply about the company he’s built and the people that work for it.” Hauck has had memorable small roles on huge shows including ER, Seinfeld, It’s Always Sunny in Philadelphia and Paradise.

Alex Bonifer stars as Doug’s son and heir apparent to the business, Dougie Jr. He is “well-meaning but directionless” who is suddenly handed huge responsibilities. Eagle-eyed viewers will recognise Bonifer from Kevin Can F*** Himself where he played the role of Neil.

Amy, of customer relations is played by Emily Pendergast who has a lot of experience in comedy TV. She starred in multiple episodes of Veep and Netflix sitcom Leanne. Meanwhile the eventually nicknamed Other Anthony, who is he company’s Assistant Sourcing Manager, is played by Rob Lathan who previously appeared in Inside Amy Schumer and has served as a writer on other sketch shows.

Comedian Rachel Kaly plays remote worker and web designer Claire. While her character might be obsessed with the series Bones, she herself has appeared on animated comedy Digman! and High Maintenance.

Straight talking Helen, from accounting who has been at the business from the very beginning alongside Doug, is played by Stephanie Hodge. She is one of the most experienced cast members with past credits including NCIS, Young Sheldon and Scandal. She also had starring roles in the 90s on Nurses and Unhappily Ever After.

Jackie, who works in distribution and logistics when not taking charge of her kids at home, is played by LaNisa Renee Frederick. She’s previously appeared in smaller roles on Brooklyn Nine Nine, The Goldbergs and Mom.

Jim Woods, who was a writer on The Last O.G. starring Tracy Morgan, and starred on Reno 911!. takes on the role of warehouse manager Jimmy. He may have once been the non P.C. employee but he’s working maybe a bit too hard to be a better version of himself.

Erica Hernandez plays Kate from sales and marketing, who often gives the impression she should have a leadership role herself. Hernandez previously starred in the drama series True Lies, based on the 1994 Arnold Schwarzenegger film as well as New Amsterdam.

The other half of Team Skate (Steve & Kate), Steve is a “confident salesman that plays the calmer yin to Kate’s high-strung yang.” He is played by Warren Burke who has appeared in 13 episodes of Family Reunion and eight episodes of Bigger.

Snack obsessed receptionist PJ, is played by Marc-Sully Saint-Fleur who you may have seen before in Steve Carrell starring Netflix comedy Space Force or his brief appearances in Curb Your Enthusiasm and The Good Place. There’s also HR manager Kevin who is the one who seemingly hires Anthony to be his assistant.

He is played by Ryan Perez. Perez is actually a seasoned comedy actor, writer and director. He has written for Saturday Night Live and The Tonight Show with Jimmy Fallon while he has also directed Funny or Die shorts with Will Ferrell and Kevin Hart.

Ranch manager Marjorie who is looking after the company workers while on retreat is played by Blair Beeken. She most recently appeared in Apple’s hit sci-fi series Pluribus.

Jury Duty Presents Company Retreat is streaming on Prime Video.

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

Europe’s top leagues have been summoned to a meeting with Uefa in the summer to discuss how video assistant referee (VAR) technology is being used.

The summit of referee chiefs from the Premier League, La Liga, Serie A, the Bundesliga and Ligue 1 will discuss how to reset VAR to its intended interpretation of only intervening in the clearest of errors.

Roberto Rosetti – the head of Uefa’s referees – called the meeting after saying last month the game must not “go in this direction of microscopic VAR interventions”.

Uefa wants to discuss with leagues how they use VAR, and the thresholds applied.

“I believe that we forgot the reason why VAR was introduced,” Rosetti said.

“In objective decisions, it is fantastic. For interpretations, subjective evaluation is more difficult.

“That’s why we started to speak about clear and obvious mistakes – clear evidence.”

VAR is operated very differently across Europe.

The Premier League has the lowest VAR intervention rate this season – 0.275 per game – thought that has not meant less controversy over decisions.

Figures released last month showed the Bundesliga and La Liga come next at 0.38 interventions per game, with Serie A at 0.44 and Ligue 1 at 0.47.

In the Champions League, interventions are at a rate of 0.45 per game.

Rosetti also wants all leagues to speak “only one technical language” after controversy over the inconsistent application of laws such as handball.

It is hoped the meeting could lead to a more universal approach to the laws and with how VAR is used.

Afroman testified Tuesday in a civil lawsuit brought by seven members of an Ohio sheriff’s office who allege he used their likenesses without permission in music videos and on merchandise and spread lies about them after they raided his home in August 2022.

The fault, the “Because I Got High” rapper maintained, was not his. On Wednesday, the jury was deliberating the case.

The 51-year-old, whose real name is Joseph Edgar Foreman, said on the stand Tuesday that he was in the right, according to local station WCPO Channel 9 in Cincinnati.

“The whole raid was a mistake. All of this is their fault,” Foreman testified, taking the stand wearing sunglasses with American flag lenses and a red, white and blue suit and matching tie made of fabric recalling the American flag. “If they hadn’t wrongly raided my house, there would be no lawsuit, I would not know their names, they wouldn’t be on my home surveillance system, and there would be no songs, nothing.”

Officers were acting in 2022 on a warrant showing probable cause that drugs and drug paraphernalia would be found on the property. The warrant also alleged that trafficking and kidnapping had happened there. No evidence of a crime was found, and no charges were filed. Foreman wasn’t home during the raid but was able to see at least part of it via a video recorded by his ex-wife and footage captured on his home security system before law enforcement turned off those cameras.

It was that footage that was used in the various videos the rapper subsequently posted, including a music video for the song “Lemon Pound Cake,” which he wrote about the raid.

Officers tore down his door, he said, and damaged his house, taking money, vape pens and a small amount of marijuana. There was a discrepancy about the amount of money taken and returned to the rapper, which seemed to be a point of contention linked to whether he was misrepresenting what the deputies did during the raid.

“After they left, I had the right to kick the can and to do what I had to do to repair the damage they brought to my house. Yes, I did,” Foreman said. “I have freedom of speech. I’m a rapper. I entertain.”

His testimony came on the second day of the trial, after the deputies took the stand the first day and testified that though the raid wasn’t perfect, Foreman had been spreading lies about them for years since it occurred. Deputy Lisa Phillips, whose gender identity had been called into question in Foreman’s videos and social media posts, cried on the stand as some of those videos were played for the court.

Footage with a song called “Licc’em Low Lisa” showed Foreman saying he thought he would “crack some musical jokes” in the wake of the raid, then going to comfort a crying actor who resembled Phillips. “I didn’t know they hurt you that bad. … I was just having fun with a bad situation.” The same video showed the actor engaging in sexual activity with another woman.

In their lawsuit, WCPO said, the deputies said the posts and videos caused them “humiliation, ridicule, mental distress, embarrassment and loss of reputation” and made it difficult to do their law enforcement work.

In an amicus brief, however, the ACLU argued that the deputies’ lawsuit was a “classic entry into the SLAPP suit genre,” referring to a type of lawsuit that seeks to discourage criticism of public officials.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A man was rescued from under the rubble of a destroyed building following an Israeli strike in the Iranian city of Hamedan, as the US and Israel continue to bombard the country.

The Israeli military has launched waves of air raids across southern Lebanon after announcing “limited and targeted ground operations” against Hezbollah positions. Al Jazeera’s Zeina Khodr is in Marjayoun, which has been turned into an active war zone following clashes.

A video circulating online appears to show signature collectors paying people to sign initiative petitions under other people’s names, according to officials, and now the state has opened an investigation.

The video, filmed by videographer JJ Smith, shows a long queue leading to a table set up at 6th and Mission streets in San Francisco. A man in line says they are being offered $5 to sign petitions. At the table, where there are lists with the information of apparent registered voters, a woman confirms the payment and — using a highlighter — instructs a person on the name and address that she is supposed to use.

“I get $5 too?” the videographer asks.

“Yeah,” says the woman.

“And what is it?”

“Just sign it,” she says.

• Share via Close extra sharing options

Petitions connected to at least three ballot campaigns — including the billionaire-backed effort to thwart California’s proposed billionaire tax — appear in the video.

“I approached some people and asked them what they were there for,” Smith told The Times. “They told me they didn’t know what they were signing for, that they just wanted the $5.”

Smith said he watched the scene for hours and estimated that a few hundred people cycled through the line over roughly two hours.

Those running the table did not ask for anyone’s identification and gave no explanation of what was actually being signed, he said.

The video showed voter data from San Luis Obispo County that was both visible and, as details were spoken aloud, audible in the footage.

The county acted immediately after becoming aware of the video and initiated an investigation through the fraud unit of the California secretary of state’s office, said Erin Clausen, public information officer for the San Luis Obispo county clerk’s office.

Clausen noted that, although voter registration data can be legally requested from county election offices, the data in this case may have been used inappropriately. The county is also planning on reaching out directly to voters who were specifically mentioned or identified in the video, according to Clausen.

“The activity shown in the video, if verified, would violate California election law,” County Clerk-Recorder Elaina Cano said in a formal statement released Wednesday morning.

The secretary of state’s office confirmed it had opened a formal investigation.

“Under California law, it is illegal to give money or other valuable consideration to another in exchange for their signature on an initiative petition,” a spokesperson said in a statement. “ Those who abuse our system will be held accountable.”

The office is working with local officials and encouraged anyone with information to file a complaint.

One political committee, Californians for a More Transparent and Effective Government, confirmed its petitions were among those whose signature gatherers were allegedly paying people to sign and moved quickly to distance itself from the activity.

“Under no circumstance do we tolerate this type of activity in the signature gathering process,” said spokesperson Molly Weedn. “We’ve taken immediate action and have demanded that the signature gathering firm identify these circulators and reject their petitions.” Weedn said the collectors were subcontractors, not campaign employees, and that attorneys were contacting authorities.

That committee is funded by another group, Building a Better California, which was also among campaigns that appeared in the video. The other was for a proposed initiative called the Retirement and Personal Savings Protection Act of 2026. Representatives for the latter two have not responded to requests for comment.

Smith said this was not the first time he had witnessed this type of activity in the area.

“I saw something similar with ballots three days ago,” he said.

The investigation is ongoing. Anyone with information can submit a complaint to the Office of the California Secretary of State or contact their local county elections office.

Times staff writer Seema Mehta contributed to this report.

Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.

AI will not be replacing you any time soon.

On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”

Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.

It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.

For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.

SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”

Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”

Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.

In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”

A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”

Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.

The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.

Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.

And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.

Though Charlie did have the advantage of being able to be seen live and in person.

Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”

People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.

Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.

You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.

Cruise missiles were seen launching into the sky as North Korean leader Kim Jong Un oversaw tests from a new naval destroyer aimed at assessing the warship’s capabilities.

A judge recently entered an eviction ruling against actor Mickey Rourke who, despite owing nearly $60,000 in unpaid rent at his Beverly Grove home, rejected more than $100,000 raised in a GoFundMe campaign coordinated by his manager to keep him housed.

On Monday, a judge issued a default eviction ruling in favor of Rourke’s landlord, Eric Goldie, for possession of the home and termination of the rental agreement, according to documents in Los Angeles Superior Court. The default ruling means that Rourke failed to take action to defend against the eviction complaint within the time allowed by law.

Rourke, who was a leading man in the 1980s with movies including “Barfly” and “Angel Heart” and was later Oscar-nominated for his role in 2008’s “The Wrestler,” was served a three-day notice to pay rent or vacate the premises on Dec. 18 and failed to comply, according to court documents filed in Los Angeles Superior Court.

On Dec. 29, his landlord filed the eviction complaint, alleging that Rourke owed him $59,100 in back rent on the $7,000-a-month rental.

In January, Rourke’s management team set up a GoFundMe to help keep the actor in his home, with his representative Kimberly Hines listed as the benefactor. Hines did not immediately respond to a request for comment Tuesday.

“Mickey Rourke is an icon — but his trajectory, as painful as it is, is also a deeply human one,” read the description for the since-shuttered GoFundMe. “It is the story of someone who gave everything to his work, took real risks, and paid real costs. Fame does not protect against hardship, and talent does not guarantee stability. What remains is a person who deserves dignity, housing, and the chance to regain his footing.”

Fans quickly rallied to support the 73-year-old, with around 2,700 donors raising more than $100,000 within three days.

But Rourke refused to accept the money, denouncing the campaign in a Jan. 5 video posted on his Instagram as “humiliating” and stating he would rather shoot himself (in a rather graphic way) than accept charity.

Rourke said he was in a “really bad situation” after new owners purchased the home he had been renting for years and would not fix anything. “I said I’m not paying rent, because there’s mice, there’s rats, the floor is rotten, one bathtub there is no water,” he said in the video.

The “Iron Man 2” villain said he didn’t know who started the GoFundMe but assured fans he would speak to his lawyer and get to the bottom of it. He repeatedly urged anyone who donated to get their money back.

Hines, his manager of nine years, previously told the Hollywood Reporter that it was not true that he did not know who started the fundraiser, noting that she and her assistant ran the idea past Rourke’s assistant and everyone agreed it would be helpful.

“Nobody’s trying to grift Mickey. I want him working. I don’t want him doing a GoFundMe,” Hines told THR in January. She said she had arranged to move him out of the unit and into an apartment in Koreatown, noting that the Beverly Grove home had severe water damage and black mold.

An attorney for the landlord did not immediately respond to The Times’ request for comment Tuesday.

Times staff writer Christie D’Zurilla contributed to this report.

JESY Nelson has shared an adorable video of her daughter’s “ballerina” leg exercises amid her twins’ SMA diagnosis.

The singer gave birth to her little girls prematurely at 31 weeks last year.

And, back in January, Jesy bravely revealed the twins, Ocean Jade and Story Monroe, have since been diagnosed with Spinal Muscular Atrophy Type 1 (SMA1).

It is a genetic condition that weakens the muscles by damaging motor nerve cells in the spinal cord.

It leads to progressive muscle wasting, and if untreated, the life expectancy of a baby with SMA Type 1 is just two years.

Jesy and her ex-fiancee Zion Foster have been told it is unlikely the girls will ever walk, and may face serious breathing and swallowing difficulties.

N-WORD SHAME

Little Mix’s Jesy Nelson slammed for racial slur video at New Year’s Eve party

BAND OF THREE

Jade Thirlwall drops biggest hint yet that full Little Mix reunion is OFF

The brave mum-of-two has been keeping her fans updated on the twins condition on social media.

Jesy, 34, has now shared a sweet clip of the twins doing their “ballerina” exercises to keep their legs mobile.

Speaking to one of the twins in the video, she said: “Are you gonna show them how you move your legs? Your a little ballerina, come on.

“Good girl. Little ballerina, yes you are.”

Progressive resistance training (PRT) with a little resistance band has the potential to increase strength and increase motor function in children and young adults with SMA, according to the National Institute of Health.

Jesy panned the camera up to her daughter’s face and she seemed super chilled as she bent and unbent her leg.

The tot was spotted with her feeding tube in her nose as it helps to clear their chests.

The former Little Mix singer recently released a fly-on-the-wall Amazon Prime documentary.

The series, which climbed to number one in Amazon’s viewing charts, follows her shock departure from Little Mix in 2020 and her journey to motherhood with her now ex-boyfriend Zion.

Since revealing her twins’ diagnosis, Jesy is now campaigning for the NHS to expand the standard heel prick test to screen for SMA1.

She says the test, which costs around £1, could have “saved their legs” by giving them access to treatment sooner.

If the twins had been tested and treated in time, there was a chance they would have avoided disability.

QUEEN of pop Madonna is Like a Virgin all over again — in a throwback to her 1984 hit video.

The megastar, 67, wore a white bridal corset and suspenders for the shoot.

Her outfit was similar to the look she had for her Eighties song clip — as she modelled and sang for Dolce & Gabbana.

Images posted online were captioned La ­Bambola — The Doll in Italian — a nod to the Patty Pravo 1968 hit Madonna recently covered.

Last week we told how Madonna was preparing to push boundaries yet again.

The 67-year-old singer will be filming her most X-rated music video to date, as she gears up to release her new album, dubbed Confessions Part 2.

Material girl

LaLiga club write letter to pop legend Madonna asking her to return shirt

MADON-NO

Madonna ‘turned down SEVEN million pound payday for just 20 minutes work’

A 200-strong team descended on a top-secret location in the UK to start work on the adventurous video, which will accompany her lead single later this summer.

This video is the first of a new campaign, which comes off the back of her signing a massive deal with Warner Records — the label she launched her career with — last year.

And as well as ramping up the sex, Madonna is preparing to push herself to the extreme physically.

A source said: “Madonna is reclaiming her throne.”

A video has been released showing huge explosions near Tehran’s Azadi Tower. The US and Israel are continuing to target locations across Iran as the war enters its seventh day.

Boston Celtics star Jaylen Brown was in the middle of a brand event at a Beverly Hills mansion on Valentine’s Day when police showed up.

It was 7 p.m., and the music for the event — an invite-only gathering for his 741 Performance brand — had long been silent. Brown came down to talk to an officer, expressing confusion at why police had been called.

“We’re just trying to have an event — a panel talking about culture, talking about future, talking about leadership, and for whatever reason I feel like we’re being targeted,” Brown said in a video of the encounter posted on social media.

He asked the officer why the city was shutting it down. “It’s beyond my pay grade,” the officer replied. “They want it shut down.”

The video immediately went viral, with many questioning why the city shut down what appeared to be a calm event. The debate was framed by a series of incidents in recent years in which the local Police Department was accused of profiling Black people.

Beverly Hills officials issued a statement defending their actions. But it didn’t take long for the city to reverse course, issuing an apology to the NBA star and the owner of the home that hosted the event, Oakley founder James Jannard, for initially putting out inaccurate information.

Brown told ESPN he is considering legal action against the city, saying the episode tarnished his and his brand’s image.

“I feel offended by it,” he said. “It’s hard to say that you were not being targeted.”

Beverly Hills officials insist the city did not unfairly single out Brown and stressed the incident was a code-enforcement matter, not one involving policing issues.

The police’s presence at the event on Trousdale Place was prompted by a resident reporting “excessive vehicles on the street,” Beverly Hills Deputy City Manger Keith Sterling said in an email to The Times. A traffic control officer then found “high vehicular traffic, numerous parking violations (including a vehicle blocking a driveway and several vehicles parked in the wrong direction) and numerous people congregating in the driveway.”

“Code enforcement was on site for several hours and observed what they believed to be well in excess of 50 people congregating for an event, which would require a public assembly permit for the safety of event attendees,” he added.

There was also the sound of a generator, which would require a permit, a check-in table, a metal detector and a temporary wall with branding, Sterling said.

Brown’s function occurred during the NBA’s All-Star Weekend in Los Angeles. Sterling noted there were six other NBA-related events in the city at that time.

“The City was aware that the event was timed to coincide with NBA All-Star Weekend but did not have details on who was sponsoring or participating in the event,” Sterling wrote. “The event was shut down for safety reasons alone without regard to the event sponsor or participants.”

Still, the incident revived questions of policing in Beverly Hills — a majority white city in which Black residents make up about 2% of the population.

Some advocates called on Atty. Gen. Rob Bonta to investigate allegations of racial profiling in Beverly Hills. Bonta’s office declined to comment.

In 2020, the Beverly Hills Police Department launched a special detail — the Rodeo Drive Team — amid complaints over what residents and shop owners said was a “criminal element” along the famed shopping corridor. Officers were tasked with combating what officials said was a rise in thefts, people spending money obtained by defrauding the state’s unemployment system and quality of life issues like loud music and the smell of marijuana drifting into stores, according to a 2021 Times investigation. One document The Times reviewed that year showed about 90% of those arrested by the task force were Black.

The task force was disbanded after just two months.

Attorneys Bradley Gage and Benjamin Crump filed a class-action lawsuit against the city in 2021 that remains ongoing. The lawsuit claims none of the arrests led to convictions and some were never prosecuted because police lacked probable cause to make the initial arrest.

The department has denied allegations that it targeted Black shoppers, saying in a statement in 2021 that officers are “committed to keeping our community safe while enforcing the law with respect and dignity for all.”

Shortly after the task force was disbanded, Salehe Bembury, then the vice president of sneakers and men’s footwear for Versace, was carrying a Versace shopping bag and crossing Rodeo Drive next to the luxury store when police stopped him for jaywalking, told him to put his hands behind his back and searched him for weapons.

Body camera footage showed Bembury repeatedly said he was uncomfortable and thought the pat-down was “excessive,” adding he’d designed the shoes inside the bag he was carrying. He started recording on his cellphone.

“I’m getting f— searched for shopping at the store I work for and just being Black,” Bembury said in the recording, holding up the Versace bag. One of the officers involved in the stop disagreed, saying Bembury was changing “the narrative.”

“It’s a very dangerous, scary situation for people of color, and one that we want to remedy so everyone is treated fairly. I don’t know why that’s such a novel idea, but it seems to be a foreign concept for a lot of folks,” Gage said.

In his clients’ lawsuit against the city, two plaintiffs say they were arrested for riding a scooter on the sidewalk. Another allegedly was jailed for three days after officers pulled him and his friend over on their way to the beach for stopping about three inches over the limit line at an intersection. He never was charged with a crime, according to the complaint.

Mike Asfall, president of Beverly Hills/Hollywood Branch of the NAACP, said he’s been working behind the scenes with city officials and the police chief over issues of race and policing. Asfall was honored in February by the Beverly Hills City Council in recognition of Black History Month.

“I do know that we’ve had obstacles,” he said. “We shouldn’t have to walk on eggshells or tiptoe around things just because of the color of our skin. But what I’m not going to do is create more of a rift to give us a problem that’s going to create drama for us.”

Staff writer Cierra Morgan contributed to this report.

Videos showed a projectile striking near Kuwait’s Ali al-Salem Air Base, which has hosted a substantial number of US forces. Earlier on Thursday, the United States announced it was closing its embassy in the country and is reportedly evacuating its staff.

Intense US-Israeli bombardment sent flames and plumes of smoke into the night sky across Iran. Strikes hit Sanandaj near a media centre and across an expanse of the capital, Tehran.

Ulysses Jenkins, the pioneering Los Angeles-born video artist whose avant-garde compositions embodied Black experimentalism, has died. He was 79.

Jenkins’ death was confirmed by his alma mater Otis College, where he studied under renowned painter and printmaker Charles White in the late 1970s and returned as an instructor years later. The Los Angeles art and design school shared a statement from the Charles White Archive, which said, “Jenkins had a profound impact on contemporary art and media practices.”

“A trailblazing figure in Black experimental video, he was widely recognized for works that used image, sound, and cultural iconography to examine representation, race, gender, ritual, history, and power,” the statement said.

A self-proclaimed “griot,” Jenkins throughout his decades-spanning career maintained an art practice grounded in the tradition of those West African oral historians who came before him. Through archival documentaries like “The Nomadics” and surrealist murals like “1848: Bandaide,” he leveraged alternative media to challenge Eurocentric representations of Black Americans in popular culture.

He was both an artist and a storyteller who sought to “reassert the history and the culture,” he told The Times in 2022. That year, the Hammer Museum presented Jenkins’ first major retrospective, “Ulysses Jenkins: Without Your Interpretation.”

“Early video art was about the problems with the media that we are still having today: the notions of truth,” Jenkins said. “To that extent, early video art was a construct that was anti-media … a critical analysis of the media that we were viewing every night.”

Born in 1946 to Los Angeles transplants from the South, Jenkins was ambivalent about the city, which offered his parents some refuge from the blatant systemic racism they encountered in their hometowns, but housed an entertainment industry that had long perpetuated anti-Black sentiment.

“What Hollywood represents, especially in my work, is the classic plantation mentality,” Jenkins told The Times in 1986. “Although people aren’t necessarily enslaved by it, people enslave themselves to it because they’re told how fantastic it is to help manifest these illusions for a corporate sponsor.”

Jenkins, who participated in a group of artists committed to spontaneous action called Studio Z, was naturally drawn to video art over Hollywood filmmaking. “I can address any issue and I don’t have to wait for [the studios’] big OK. I thought this was a land of freedom, and video allows me that freedom and opportunity that I can create for myself and at least feel that part of being an American,” he said.

Jenkins went on to deconstruct Hollywood’s vision of the Black diaspora in experimental video compositions including “Mass of Images,” which incorporates clips from D.W. Griffith’s notoriously racist “The Birth of a Nation,” and “Two-Tone Transfer,” which depicts, in Jenkins’ words, a “dreamscape in which the dreamer awakens to a visitation of three minstrels who tell the story of the development of African American stereotypes in the American entertainment industry.”

Jenkins’ legacy is not only artistic but institutional, with the luminary having held teaching appointments at UCSD and UCI, where he co-founded the digital filmmaking minor with fellow Southern California-based artists Bruce Yonemoto and Bryan Jackson.

As artist and educator Suzanne Lacy penned in her social media tribute to Jenkins, which showed him speaking to students at REDCAT in L.A., “he has been an important part of our histories here in Southern California as video and performance artists evolved their practices.”