PRESIDENT Donald Trump has revealed why the FBI hasn’t taken over the search for Nancy Guthrie as the investigation approaches the two week mark.
He confirmed the reason the federal agency was pushed to the backburner when asked about the missing 84-year-old on Friday.
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President Donald Trump has revealed why the FBI hasn’t led the search for Nancy GuthrieCredit: APNancy has been missing since February 1Credit: Instagram/savannahguthrie
On Friday, Fox News reporter Jacqui Heinrich asked Trump, “Why hasn’t the FBI taken over the Nancy Guthrie case as the lead investigator?
“Do you have any updates on how it’s going?”
Trump responded, “Well, they took it over originally. You know, it was a local case originally, and, they didn’t want to let go of it, which is fine.
“It’s up to them. It’s really up to the communities. But ultimately, when the FBI got involved, I think, you know, progress has been made.”
In the past few days, several reports have claimed the Pima County Sheriff’s Department in Tucson, Arizona, is at odds with federal authorities over the investigation.
Pima County Sheriff Chris Nanos was accused of bypassing federal analysts by an anonymous FBI source who spoke with Reuters.
However, Nanos dismissed the concerns and vowed he was collaborating with other agencies to find the truth.
He responded to reports claiming that he sent DNA evidence and gloves recovered at the scene to a lab in Florida without keeping the FBI in the loop.
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“Actually, the FBI just wanted to send [to their own lab] the one or two [gloves] they found by the crime scene, closest to it, mile, mile and a half,” he told NBC affiliate KVOA.
“I said, ‘No, why do that? Let’s just send them all to where all the DNA exist, all the profiles and the markers exist.’ They agreed, makes sense.”
More to follow… For the latest news on this story, keep checking back at The U.S. Sun, your go-to destination for the best celebrity news, sports news, real-life stories, jaw-dropping pictures, and must-see videos.
When the Justice Department released an additional 3 million pages of documents related to convicted sex trafficker Jeffrey Epstein at the end of January, ARTnews unearthed and published excerpts from dozens of emails between Epstein and David A. Ross, a former director of the Whitney Museum of American Art who started his career in the 1970s as deputy director and curator of video art at the Long Beach Museum of Art.
Ross, who served as the chair of the MFA art practice program at New York’s School of Visual Arts since 2009, promptly resigned.
If the emails had been less damning, the revelation of Ross’ connection to Epstein might have played out differently, but that was not the case. In one letter, dated Oct. 1, 2009, Epstein wrote to Ross that Roman Polanski’s attorney was coming to see him and that he was considering funding an exhibit titled, “Statutory.”
“Girls and boys ages 14 – 25, where they look nothing like their true ages,” Epstein wrote. “Juvenile mug shots, photo shop, make up. Some people go to prison because they can’t tell true age. Controversial. Fun. Maybe it should be a web page with hits, tallied.”
“You are incredible,” Ross wrote back. “This would be a very [sic] owerful and freaky book. Do you know that total porno commercial kiddie picture of Brooke Sheilds that Richard Prince appropriated for an exhibition in the early 1980’s?”
Epstein replied in the affirmative to Ross’ reference to a Prince photo titled, “Spiritual America,” which appropriated a 1976 photo of a naked, 10-year-old Shields taken by commercial photographer Gary Gross.
“They closed it off in the London show,” Epstein noted.
Ross also expressed sympathy for Epstein’s legal travails in 2009 following a 13-month sentence he served in Florida after pleading guilty to reduced state charges of procuring a minor for prostitution.
“Glad the nightmare is over, Jeffrey,” Ross wrote. “It was an undeserved punishment foisted upon you by jealous creeps.”
In an email to ARTnews, Ross expressed remorse that he “fell for” Epstein’s lies.
“Like many he supported with arts and education patronage, I profoundly regret that I was taken in by his story,” Ross wrote. “I continue to be appalled by his crimes and remain deeply concerned for its many victims.”
Ross noted that he first met Epstein when he was director of the Whitney in the mid-1990s. Ross also served as director of the San Francisco Museum of Modern Art and the Institute of Contemporary Art in Boston.
“I knew him as a wealthy patron and a collector, and it was part of my job to befriend people who had the capacity and interest in supporting the museum,” Ross wrote, adding that when Epstein was jailed in 2008, he told Ross that it was a political “frame-up” resulting from his support for former President Bill Clinton. Ross said he believed him.
It seems lots of men believed Epstein. Meanwhile, behind all the power lunches, private plane rides and callous late-night emails, far too many women and girls suffered.
I’m Arts editor Jessica Gelt with your arts and culture news for the week.
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Michael Feinstein and the Carnegie Hall Ensemble will perform Valentine’s Day at Segerstrom Hall in Costa Mesa.
(Segerstrom Center for the Arts)
Michael Feinstein: A Broadway Valentine The singer, musician, conductor and stalwart proponent of the Great American Songbook celebrates the holiday of the heart with the Carnegie Hall Ensemble. Timeless love songs and lush orchestrations seem like a perfect way to spend the evening. 7:30 p.m. Saturday, Segerstrom Center for the Arts, Segerstrom Hall, 300 Town Center Drive, Costa Mesa. scfta.org
A detail of miniature “sportraits” from Lyndon J. Barrois, Sr.’s exhibit, “Fútbol Is Life,” at LACMA.
(Allen J. Schaben / Los Angeles Times)
Fútbol Is Life: Animated Sportraits GOOOOOOOOAAAAAAAL! Ahead of this summer’s World Cup, with L.A. as one of 16 host cities across the U.S., Canada and Mexico, arrives this unique exhibition celebrating the beautiful game. Portraying transcendent moments in men’s and women’s soccer, award‑winning animator and visual effects artist Lyndon J. Barrois, Sr. fashions engrossing scenes in miniature from gum wrappers, glue, paint and other materials. The handmade sculptures and stop-motion animations on display bring together the visual and emotional elements that make it the world’s most popular sport. Jasmine Mendez spoke to Barrois about his process and Times photographer Allen J. Schaben provides more marvelous images. Sunday through July 12. LACMA Resnick Pavilion, 5905 Wilshire Blvd. lacma.org
The Academy Museum’s exhibition “Studio Ghibli’s Ponyo” opens Saturday.
(Nibariki-GNDHDDT)
Studio Ghibli’s Ponyo A deep dive into Hayao Miyazaki’s 2008 animated film about a goldfish who longs to be human honors the traditional hand-drawn animation processes used by its creators. The exhibition includes more than a hundred items handpicked by Studio Ghibli: art boards, posters, a Studio Ghibli animation desk and original hand drawings by Miyazaki and others. “Because writer-director Miyazaki very much follows his own star when it comes to story, narratives like ‘Ponyo’ remind you of no one else’s tales,” wrote Times film critic Kenneth Turan upon the film’s U.S. release. “Not only do they offer up fantastical images, like Ponyo running on the crests of waves, they make deep connections to our emotions without following conventional paths, using the logic of dreams to excellent effect.” Screening 2:30 p.m. Saturday; exhibition, Saturday through Jan. 10. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
The week ahead: A curated calendar
FRIDAY Nitrate Festival The American Cinematheque’s annual tribute to the beautiful, if highly volatile, film format that was used from the 1890s until the 1950s, offers audiences the rare opportunity to see this work on the big screen. The festival opens with the 1947 noir “Dead Reckoning,” starring Humphrey Bogart and directed by John Cromwell, and continues with William Wyler’s “The Good Fairy” (1935), Gregory La Cava’s “My Man Godfrey” (1936), William Wellman’s “Nothing Sacred” (1937), Mikio Naruse’s “Wife! Be Like A Rose!” (1935), David Lean’s “Blithe Spirit” (1945) and Cecil B. DeMille’s “Samson and Delilah” (1949). 7 p.m. Friday, through Feb. 22. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com
Foursome Matthew Scott Montgomery, Adrián Javier, Jimin Moon and Calvin Seabrooks star in Montgomery’s comedy about a quartet of queer friends who reunite for an emotionally fraught, desire-filled weekend at a cabin. Directed by Tom DeTrinis. Through March 23. Atwater Village Theatre, 3269 Casitas Ave. iamatheatre.com
Guards at the Taj Two sentries at the Taj Mahal have their friendship, faith and sense of duty challenged in Rajiv Joseph’s play set centuries in the past with contemporary resonance. Behzad Dabu and Kausar Mohammed star. Directed by Behzad Dabu. 8 p.m. Friday and Saturday; 2 and 7 p.m. Sundays, through Feb. 22 El Portal Theatre, 5269 Lankershim Blvd., North Hollywood elportaltheatre.com
Alfredo Rodriguez, left, and Pedrito Martinez will perform Friday at the Nimoy.
(Anna Webber)
Alfredo Rodriguez and Pedrito Martinez Pianist Rodriguez and percussionist-vocalist Martinez perform traditional Cuban songs, original compositions and some surprises. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Incitation To The Dance A young man upends an older gay couple’s relationship in the world premiere of writer-director Michael Van Duzer’s dark comedy. Through March 15. Theatre West, 3333 Cahuenga Blvd. https://theatrewest.org/on-stage/incitation-to-the-dance
Roksana Pirouzmand The Iranian-born, L.A.-based multidisciplinary artist’s solo exhibition “everything was once something else” explores the contrasting properties forged by earth and fire through clay and metal works. Through April 11. Oxy Arts, 4757 York Blvd. oxyarts.oxy.edu
SATURDAY Attune 1.0 A free public light- and sound-art experience happens simultaneously across L.A. County locations presented by NXT Art Foundations with community support. 4:30-7:30 p.m. Barnsdall Park, East Hollywood; Sycamore Grove Park, Northeast Los Angeles ; Jessie Brewer Jr. Park, Exposition Park; Jane and Bert Boeckmann Park, Porter Ranch; Hansen Dam, Lake View Terrace; Leimert Park, South Los Angeles; Wende Museum, Culver City; Promenade Square Park, Long Beach; Tongva Park, Santa Monica and Loma Alta Park, Altadena. nowartpublic.com
Desert Dreams and Coastal Currents The exhibition tracks the concurrent emergent of artistic hubs in Southern California and the Southwest, featuring work by artists in areas such as Laguna Beach, and Taos and Santa Fe, N.M. The Autry, 4700 Western Heritage Way, Griffith Park. theautry.org
Wally Hedrick “Sex Politics Religion” is a two-venue retrospective of the Pasadena-born artist, who established himself in the burgeoning post-war San Francisco art scene. Hedrick eschewed “style” in favor of pursuing a vision including welded assemblage junk sculptures, Bauhausian abstraction, black monochromes, gestural figuration, graphic signage, pictographic diagrams and near-photorealism. Through April 4. Parker Gallery, 6700 Melrose Ave.; The Box 805 Traction Ave., downtown L.A. parkergallery.com
Honour The Ruskin’s grand opening on the Kaplan Stage features Joanna Murray-Smith’s drama on the precariousness of marriage, directed by Max Mayer and starring Marcia Cross, Matt Letscher, Ariana Afradi and Jude Mayer. 8 p.m. Thursdays-Saturdays; 2 p.m. Sundays, through March 22. Ruskin Group Theatre, 2800 Airport Ave., Santa Monica.
Artist Takashi Murakami.
(Shin Suzuki)
Takashi Murakami The new solo exhibition “Hark Back to Ukiyo-e: Tracing Superflat to Japonisme’s Genesis” features 24 paintings by the Japanese artist. 4-7 p.m. opening, free and open to the public; exhibition continues through March 14. Perrotin, 5036. W Pico Blvd. perrotin.com
Mythical Creatures: The Stories We Carry Immigrant narratives and pan-Asian mythology infuse this immersive exhibition featuring contemporary artists including Dinh Q. Lê, Dominique Fung, Lily Honglei, Greg Ito, Wendy Park, Momoko Schafer, Kyungmi Shin, Sanjay Vora and Lauren YS. Conceived by L.A.-based Korean American artist and muralist Dave Young Kim. Through Sept. 6. USC Pacific Asia Museum, 46 N. Los Robles Ave. Pasadena. pacificasiamuseum.usc.edu
PASSION + MYSTERY Los Angeles Chamber Orchestra, led by conductor Jaime Martín, celebrate Valentine’s Day weekend with Fauré’s “Pelléas et Mélisande” and Gernot Wolfgang‘s “Desert Wind,” and are joined by pianist Fazıl Say for Beethoven’s “Piano Concerto No. 3.” 7:30 p.m. Saturday. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday, The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org
Red Harlem Four Black actors in 1932 Harlem are recruited by the Communist Party to make a film in the Soviet Union in Kimba Henderson’s drama based on true events. Directed by Bernadette Speakes. Through March 15. Company of Angels, 1350 San Pablo St. companyofangels.org
Retro Romantics: An Academy Film Archive Trailer Show in 35mm Vintage cinematic love stories unspool in their original abridged glory, seductively beckoning you to the movies. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
SUNDAY Black History Month at The Ebell Soprano Gertrude Bradley performs a tribute to Joel Graham, accompanied by pianist Greg Schreiner in an African Americans for LA Opera recital; and Inner City Youth Orchestra of Los Angeles (ICYOLA) salutes the 250th anniversary of the Declaration of Independence in “I, Too, Sing America,” a nod to the Langston Hughes poem. AALAO Recital, 12:30 p.m. Sunday; LA Voices: ICYOLA, 4:30 p.m. Sunday. Ebell of Los Angeles, 743 S. Lucerne Blvd. https://www.ebellofla.org/
Isidore String Quartet The group performs “Brahms: the Admirer,” an exploration of the composer’s work alongside complementary pieces by Bach and Beethoven. 3:30 p.m. Caltech Beckman Auditorium, 332 S. Michigan Ave. Pasadena. colemanchambermusic.org
What Happened to Flamenco Clap your hands as dancer and choreographer Fanny Ara brings the folkloric tradition to life. 7 p.m. Fountain Theatre, 5060 Fountain Ave. fountaintheatre.com
TUESDAY Seth MacFarlane The erstwhile animator, writer, producer, director, actor and comedian picks up the mic, backed by an orchestra, for a program dedicated to the music of Frank Sinatra. 8 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com/events
WEDNESDAY I Love You, You’re Perfect, Now Change Barry Pearl directs the long-running off-Broadway musical comedy revue on modern love, featuring book and lyrics by Joe DiPietro and music by Jimmy Roberts to open ICT’s 41st season. Through March 8. International City Theatre, 330 E. Seaside Way, Long Beach. ictlongbeach.org
Patti LuPone The Broadway star marks the 25th anniversary of her “Matters of the Heart,” which ran on Broadway and London’s West End and toured the globe. 8 p.m. Segerstrom Center for the Arts, Segerstrom Hall, 300 Town Center Drive, Costa Mesa. scfta.org
Preservation Hall Jazz Band Can’t get to New Orleans for Mardi Gras? The Soraya brings it to the Valley via the deep roots of this legendary French Quarter ensemble. 8 p.m. The Saroya, 18111 Nordhoff Street, Northridge. thesoraya.org
Emma Elizabeth Smith as Catherine of Aragon in The North American touring company of “Six.”
(Segerstrom Center for the Arts)
Six The national tour of the Broadway musical by Toby Marlow and Lucy Moss, a modern pop take on the sextet of women who were the wives of Henry VIII. Through March 9. Hollywood Pantages Theatre, 6233 Hollywood Blvd.; March 10-15. Segerstrom Center for the Arts, 300 Town Center Dr., Costa Mesa. sixonbroadway.com
THURSDAY Compagnie Hervé Koubi: Sol Invictus The French-Algerian choreographer’s dance troupe performs “Sol Invictus,” with a score featuring music by Swedish composer Mikael Karlsson, minimalist composer Steve Reich and digital composer Maxime Bodson. 7:30 p.m. Friday and Saturday; 2 p.m. Sunday. February 19 – 21, 2026 The Wallis, 9390 N. Santa Monica Blvd. Beverly Hills. thewallis.org
Culture news and the SoCal scene
The cast of “Brassroots District” performs on Sunday.
(Gabriella Angotti-Jones/For The Times)
Features columnist Todd Martens checked out “Brassroots District: LA ’74,” a piece of immersive theater he describes as “part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.”
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The UCLA Hammer Museum has announced the winner of the $100,000 Mohn Award.
(Eric Staudenmaier)
Artist Ali Eyal, who grew up in Baghdad in the late 1990s and early 2000s during U.S. military operations in Iraq, is the recipient of the $100,000 Mohn Award, which honors artistic excellence, in conjunction with the Hammer Museum’s Made in L.A. 2025. In addition to the award money, the Hammer will produce a publication for Eyal. The Hammer also announced that sculptor Carl Cheng has been given the $25,000 Career Achievement Award; and that painter Greg Breda won the $25,000 Public Recognition Award.
The news out of the Kennedy Center continues to be grim. This week, Trump-appointed center president Richard Grenell sent an email to staffers informing them that significant cuts would be implemented when the center closes for renovations, beginning July 4. “Over the next few months, department heads and I will be evaluating the needs and making the decisions as to what these skeletal teams left in place during the facility closure and construction phase will look like,” Grenell wrote in the email obtained by The Times.
Their frustrating midseason slump was finally in the rear-view mirror, their season finally feeling back on the right track.
Any reservations about USC righting the ship after losing six of seven had largely been forgotten on the heels of a four-game winning streak. Victories over No. 8 Iowa, Rutgers, Northwestern and Illinois, two of which came on the road, had cemented its place on the right side of the NCAA tournament bubble.
But as the Trojans were reminded in a 79-73 win over Indiana at Galen Center, now is no time to get comfortable — even if Thursday’s victory had marked their longest winning streak of the season.
The Hoosiers certainly never let USC settle in, even as freshman Jazzy Davidson poured in another stat-stuffing performance that would have to carry a stagnant Trojan offense for much of the way. It would take an aggressive defensive effort, too, complete with 19 forced turnovers, to put Indiana away.
That it took such a hard-fought effort to escape a team that’s 3-11 in the Big Ten and was without the Big Ten’s leading scorer, Shay Ciezki, was not exactly reassuring, as USC (16-9 overall, 8-6 in the Big Ten) enters the final four games of their regular season slate. Two of those four are against top 10 teams, Ohio State and UCLA.
But where the Trojans might have slipped up earlier in the season, they held tight Thursday.
“We were tough where we needed to be when shots weren’t falling,” coach Lindsay Gottlieb said. “Our confidence to get it done when it’s not always prettiest is something that we’re proud of.”
Outside of a stellar second quarter, Thursday’s win certainly would not be remembered for being aesthetically pleasing. Over the rest of the game, Trojans shot under 32% from the floor. Their issues from three-point range persisted, as they made just three of 19 from behind the arc. Over their last four games, they’ve knocked down just 11 of 68 (16%).
They wouldn’t need them Thursday, not with Davidson looking as dynamic as ever. The freshman sensation followed up a career-high, 27-point performance with 24 points, along with six rebounds, three assists and three steals. She did so while playing all 40 minutes.
“You talk about overdelivering,” Gottlieb said, “To be a freshman and carry the load for us and continue to grow, the numbers are really showing it … she’s just capable of doing almost anything on a basketball court.”
That much has been abundantly clear over the last seven games, with Davidson as she’s averaging 20 points, six assists, five rebounds, two steals and two blocks per night. She credited that outburst with being more comfortable down the final stretch of the season.
The Trojans will likely go as far as their dynamic freshman can take them as March approaches. But of late that’s been a pretty successful strategy.
“She’s unique,” Gottlieb said. “I know there are several good freshmen in the country. We know how good she is. We see it every day, and we think there’s no one better.”
USC didn’t look early on like a team that had found solid ground . The Trojans went six straight minutes in the first without a single field goal, then gave up an 8-0 run to Indiana in the final 1:22 of the quarter.
It was until Davidson turned it on in the second quarter that USC seized control. Fresh off her fifth Big Ten Freshman of the Week honors, Davidson tallied 10 points in the second alone, while the Hoosiers had just 13 total, USC’s defense clamping down after a sloppy start.
With Indiana’s attention on Davidson, Kara Dunn and Kennedy Smith would help the Trojans fire out front, as they combined for 20 points after half. But the Hoosiers tied the score just one possession into the fourth quarter.
An elbow to the face of guard Malia Samuels gave the Trojans free throws and a seven-point lead with just four minutes remaining in the game. Still, a foul from Dunn on a corner three-pointer by Indiana’s Maya Makalusky opened the door for the Hoosiers.
Makalusky, who led all scorers with 29, hit another three to once again cut the lead to a single possession.
But USC held on, with Smith applying the punctuation mark, snagging a driving Indiana lay-in out of mid-air with just a minute remaining. It was the sort of play that reminded what USC might be capable of, with everything working in concert.
It’ll need that to be the case, if it hopes to make noise come March.
“We’re in position to do all the things we set out to do,” Gottlieb said. “We’re as good and set up as any team outside of maybe the top group to get a great seed.”
Mateus Fernandes (West Ham): He’s one of those players that looks like he would infuriate me, both to play with and against. He did all the ratty things really well. He’s got high energy, he’s young, talented and he’s the heartbeat of the team. He gets caught up sometimes in silly moments, trying to buy fouls when he doesn’t really have to. I thought it was his best performance for West Ham this season – a very mature performance.
Nico O’Reilly (Manchester City): I love seeing him play in midfield. He adds the legs and energy into City’s midfield – and obviously he gets his goal there as well. I feel the more he plays in his natural position – with Rodri around him – he’ll be a star, not only for Manchester City but England moving forward as well.
Jacob Ramsey (Newcastle): When Newcastle’s midfield has been torn up because of injury or suspension in the last few weeks, he’s quietly gone about his business. He’s been excellent and made sure he delivers in terms of performances and now goals. I think he’s a real steal for Newcastle.
Cole Palmer (Chelsea): I’m going to give a sympathy vote to Cole Palmer. He was in there last week because he scored a hat-trick against Wolves – but this week: goal, assist, and is a level above everyone else – but what a miss that was. If he scores that goal, Chelsea obviously win the game. He’s a shoo-in. That miss does put a little stain on it, but I thought his overall performance was miles better.
MINNEAPOLIS — The immigration crackdown in Minnesota that led to mass detentions, protests and two deaths is coming to an end, border policy advisor Tom Homan said Thursday.
Democratic Gov. Tim Walz said Tuesday that he expected Operation Metro Surge, which started in December, to end in “days, not weeks and months,” based on his conversations with senior Trump administration officials.
“As a result of our efforts here, Minnesota is now less of a sanctuary state for criminals,” Homan said at a news conference.
“I have proposed and President Trump has concurred, that this surge operation conclude,” he continued.
Federal authorities say the U.S. Immigration and Customs Enforcement sweeps focused on the Minneapolis-St. Paul metro area have led to the arrest of more than 4,000 people. While the Trump administration has called those arrested “dangerous criminal illegal aliens,” many people with no criminal records, including children and U.S. citizens, have also been detained.
“The surge is leaving Minneapolis safer,” Homan said. “I’ll say it again, it’s less of a sanctuary state for criminals.”
Homan announced last week that 700 federal officers would leave Minnesota immediately, but that still left more than 2,000 on Minnesota’s streets. Homan said Thursday that the drawdown began this week and will continue next week. He said he plans to stay in Minnesota to oversee the drawdown.
Minneapolis Mayor Jacob Frey said he had a “positive meeting” with Homan on Monday and discussed the potential for a further drawdown of federal officers.
Homan took over the Minnesota operation in late January after the second fatal shooting by federal immigration agents and amid growing political backlash and questions about how the operation was being run.
“We’re very much in a trust but verify mode,” Walz said, adding that he expected to hear more from the administration “in the next day or so” about the future of what he said has been an “occupation” and a “retribution campaign” against the state.
Walz said he had no reason not to believe Homan’s statement last week that 700 federal officers would leave Minnesota immediately, but the governor added that that still left 2,300 on Minnesota’s streets. Homan at the time cited an “increase in unprecedented collaboration” resulting in the need for fewer federal officers in Minnesota, including help from jails that hold deportable inmates.
Pete Finney, a steel guitarist who toured with Patty Loveless for more than 20 years and recorded with Reba McEntire, the Chicks, Vince Gill, the Judds and more, has died. He was 70.
Confirmation came via a statement earlier this week from Nashville’s Country Music Hall of Fame and Museum, which said Finney died Saturday. No cause of death was provided.
Calling him “a widely admired Nashville musician,” the museum said Finney “exemplified how top instrumentalists can adapt to a remarkable range of styles and settings, whether in a recording studio, a concert stage, or the corner of a small nightclub.”
Finney was born in Maryland in September 1955 and played his first gigs in Washington, D.C., with singer-songwriter Liz Meyer before Meyer moved to the Netherlands in the mid-1980s. He relocated to Austin, Texas, in the late 1970s and then moved to Nashville in the mid-1980s.
Upon his arrival in Tennessee, Finney toured with Foster & Lloyd and later contributed to the solo careers of Radney Foster and Bill Lloyd. His career would take him in diverse directions: He recorded with Beck, Jon Byrd, Shemekia Copeland, Justin Townes Earle, Jon Langford, Jim Lauderdale, Allison Moorer, Ron Sexsmith, Candi Staton and scores of other artists.
“RIP old friend!” wrote Asleep at the Wheel frontman Ray Benson in a comment on a Facebook post announcing Finney’s death. His was one of hundreds of comments, many left by those who had known Finney. “Pete came to a concert in 1970 and saw Asleep at the Wheel he told me that was when he decided to play pedal steel… and play he did with style grace and total command of that instrument! Hard to lose a great friend who was there at the beginning of it all for me and so many in those early Wash DC days.”
Finney was something of a music historian as well, co-curating the Hall of Fame museum’s 2015-2018 exhibition “Dylan, Cash, and the Nashville Cats: A New Music City” and co-writing the exhibit’s accompanying book, which won the 2016 Chet Flippo Award for excellence in country music journalism from the International Country Music Conference.
“The idea for the exhibit came from Finney’s research on the many non-country artists from North America and England who came to Nashville in the 1960s and 1970s to record with the city’s talented and fast-working studio musicians,” the museum said.
Finney hosted programs at the Hall of Fame museum and participated in panel discussions frequently over the years.
The musician married singer Carol Tully on Oct. 15, 2017.
He was touring with Reba McEntire in 1991 when one of the tour’s planes crashed into a mountain near San Diego, claiming the lives of eight band members on their way to a show in Fort Wayne, Ind. Finney was traveling in the second plane to take off from a municipal airport that night; the first was the one that went down. McEntire was not on either plane.
“The planes took off three minutes apart,” a spokeswoman for McEntire told The Times after the March 1991 crash. “The plane that crashed took off first. The pilot of the second plane didn’t see anything. They just knew that they had lost radio contact with the other. They continued flying and were diverted to Nashville.”
Years later, when he was recruited by Mike Nesmith in 2017 to join the revival of the Monkees singer-songwriter’s country-rock group the First National Band, Finney stepped up to replace founding member Red Rhodes, who died in 1995.
“Finney often used Rhodes’ innovative parts from the recordings as his starting point, but frequently added dimensions of his own to prevent the set from simply replicating the original versions,” detailed former Times music writer Randy Lewis in a feature on a 2018 show by the reconstituted group. “Rhodes — and Finney — employ the steel guitar inventively, not just to evoke notes of melancholy often found in country music, but to bring an orchestra’s worth of color, texture and shading to the arrangements.”
The Hall of Fame said Finney “frequently performed in pickup bands in small Nashville clubs, where he might be seen with top-flight players such as Mac Gayden, Jen Gunderman, Jimmy Lester, Chris Scruggs, Kenny Vaughan, and others.”
Singer-songwriter and podcaster Otis Gibbs, who had Finney on his show several times, remembered frequently seeing the steel guitarist out on the Nashville music scene.
“I’d sometimes run into him 4, or 5 nights a week at shows,” Gibbs wrote Tuesday on his website. “If there were 9 people in attendance, Pete would usually be one of them. He’d joke that he liked seeing me at shows because he’d know it must be the place to be.”
Gibbs said he saw Finney just three weeks ago at a Jon Byrd show in East Nashville.
“I snuck up next to him and whispered, ‘I must be at the right show because Pete Finney’s here,’” he wrote. “That was the last time I saw him.”
Finney is survived by his wife. Friends and family are invited to a remembrance gathering Sunday at the Country Music Hall of Fame and Museum’s Ford Theater in Nashville.
Death In Paradise will not air in its usual Friday slot this week owing to a change in scheduling on the BBC as its replacement has now been revealed
Death In Paradise will be off air this week(Image: BBC)
Death In Paradise is off air this week after it was pulled from its usual slot. The BBC show is back for a new series, with DI Mervin Wilson – played by Don Gilet – at the helm.
It usually airs in the Friday 9pm slot each week on BBC One but it has been changed for this week. Death In Paradise follows the story of a British police officer in the Caribbean, working out of island paradise Saint Marie.
The BBC show will not air this Friday as planned as the BBC will instead be broadcasting the football. The FA Cup tie between Hull City and Chelsea will air that evening instead from 7.30pm, with kick off 15 minutes later.
Instead, Death In Paradise will air its latest episode on the following Monday, which follows the story of a pensioner who has been shot dead in his home. The commissioner is also busy trying to get everyone on side after his recent departure.
Meanwhile, Don Gilet previously opened up about his character’s development on the BBC detective drama series.
Speaking about his character, Don – who plays Mervin Wilson – said: “Just by his nature and the way he is when it comes to his work and the way that his mind works, there’s always going to be a bit of kickback with the people he deals with.
“Last year, there was this antagonism between Mervin and the team because they just worked in very different ways, and both had to earn the respect of each other in the way they work.”
He added: “And let’s not forget, he didn’t want to be on the island, so he was going to be particularly reluctant to work with these people because of the personal issues he was dealing with.
“But as time has moved on, he’s realised that he needs these people. They are now gelling, they’re working as a team – now it’s cracking the cases that frustrate him, and they become frustrated as a group. You’ll still see him sometimes working at odds with the team, but they know each other now and can allow for that a little more.”
Of course, in this series, there is also the twist about Mervin’s half-brother Solomon, whom he finally gets to meet this series. However, things don’t get off to a great start.
“It was a great emotional cliffhanger because at any moment in that series Mervin could have just said ‘that’s it, I’ve done my time’, and now he literally can’t go.
“The one thing he was in pursuit of at the start of this series was family, and then to throw that in at the end, that he’s not alone… He’s powerless to resist that and he has to stay now for the next chapter in his family quest, because he thought he had no family. So how can he turn his back on that?
“Well, I think phrases like ‘two peas in a pod’, do not apply… They couldn’t be more opposite. There’s Mervin and then there’s this guy who is on the opposite side of the tracks, potentially the opposite side of the law too…”
A MUCH-LOVED family theme park has reassured Brits that it will still reopen to the public, despite entering liquidation last week.
Brean Theme Park in Somerset claims to be the ‘biggest free-entry theme park’ in the UK.
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Brean Theme Park will reopen after entering liquidation last weekCredit: Brean Theme ParkThe theme park claims to be the ‘largest free-entry theme park in the UK’Credit: Brean Theme Park
However, last week The Gazette – the UK’s official public record – published ‘resolutions for winding up’ for the company, meaning that it must cease trading and in other words, close.
However, in a turn of events, the theme park is now under a new organisational structure and is preparing to open in just weeks.
Peter Mainwaring, general manager, said: “We are working hard behind the scenes and will reopen for the 2026 summer season from Easter.
“Although the group structure has changed, our loyal visitors will still enjoy the same park, the same team, and the same great day out.
“We operate as a fully independent business and lease land from them.
“We look forward to continuing to work together.
“Preparations are underway and we can’t wait to welcome you back very soon.”
Many excited fans also took to social media to express their happiness at the news.
One said: “This is good news. My children were quite upset to hear it may close.
“I will definitely be coming for our annual visits.”
Another added: “Brilliant news, that’s defo now been added to my list to visit ASAP and support.”
A third commented: “Aw what a relief – my kids look forward to going every summer holidays and other times when we can.
“They were gutted to hear the sad news last week but [are] thrilled now.”
It also claims to have the best ghost train attraction in the UKCredit: Brean Theme ParkIn total, the park features over 40 rides and attractionsCredit: Brean Theme Park
Brean Theme Park originally opened back in 1946 as a campsite and today is home to over 40 rides including indoor and outdoor rollercoasters, carousels, crazy boats and dodgems.
It even has a ghost train, which according to the attraction’s website, is the best in the UK.
The park is usually open seasonally between March and October.
And even though entry is free, each ride costs a certain amount of credits which can be bought when you arrive at the attraction.
“Frankenstein” star Jacob Elordi, at 6 feet 5 easy to spot from across the ballroom, leaned down to hug Teyana Taylor, a supporting actress Oscar nominee for “One Battle After Another.” Nearby, her co-star Leonardo DiCaprio caught up with Steven Spielberg, who directed him 24 years ago in “Catch Me If You Can,” while “Sentimental Value” filmmaker Joachim Trier huddled with “One Battle’s” Paul Thomas Anderson, a fellow directing nominee. In the middle of it all, songwriter Diane Warren paused to take a selfie, still evidently enjoying the giddy thrill of being in a room full of fellow hopefuls even after 17 times.
In all, 203 of this year’s 230 Academy Award nominees gathered Tuesday at the Beverly Hilton Hotel for the annual nominees luncheon, a brief moment of campaign-free conviviality amid the churn of awards season. As flashbulbs followed the most famous faces, major stars like Timothée Chalamet, Emma Stone and Kate Hudson rubbed elbows and shared champagne toasts with lesser-known nominees from categories like animation, sound and live-action short before lining up for the annual class photo.
With the Oscars just weeks away on March 15, the long-running gathering — a ritual dating to 1982 and returning this year after being canceled in 2025 because of the Los Angeles County wildfires — offered the nominees a welcome stretch of easygoing mingling, largely free of competition. The reprieve is short-lived: Voting begins on Feb. 26, when the brutal math of awards season will reassert itself, meaning roughly 80% of them will head home on Oscar night empty-handed.
Kate Hudson, a lead actress nominee for “Song Sung Blue,” at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.
(Kayla Bartkowski / Los Angeles Times)
For first-time contenders, the luncheon carried a particular rush. Christalyn Hampton, a co-director of the documentary short “The Devil Is Busy,” which follows a day at an abortion clinic in Atlanta, said she was excited to meet “Sinners” director Ryan Coogler, whose period vampire thriller leads the field with a record 16 nominations.
“We’re two African American directors nominated this year — I think that’s pretty historic,” said Hampton, a former professional dancer whose first directing credit has landed her an Oscar nod. “Flying back and forth from Atlanta has been a bit exhausting, but to be in this moment with all these incredible filmmakers — you can’t complain.”
Jacob Elordi, left, and “Sirāt” film director Oliver Laxe — two extremely tall nominees — at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.
(Kayla Bartkowski / Los Angeles Times)
Still, even inside the awards-season bubble, the turmoil surrounding the movie business, the country and the world beyond it was hard to ignore. As attendees tucked into their chicken, more than a few discussions drifted to whether Netflix or Paramount would prevail in their attempts to acquire Warner Bros. and what either scenario might portend for the future of movies.
In her remarks, academy President Lynette Howell Taylor acknowledged the questions many nominees have been asking themselves amid industry contraction, political volatility and global conflict. “The art you create is vital,” Howell Taylor told the crowd. “I know many of us ask ourselves, ‘Should we be doing something else? Should we be doing something differently? Should we be doing more?’ The answer to that is personal. But what I do know is this: What you are doing is not easy and it is so needed.”
Teyana Taylor, nominated for supporting actress for “One Battle After Another,” at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.
(Kayla Bartkowski / Los Angeles Times)
She praised the resilience of filmmakers who have endured strikes, dangerous political environments and even war zones. “To not make your films, to not tell your stories, is to give in,” she said. “And there is not one of you in this room who has been willing to do that.”
That tension was felt especially sharply by Sara Khaki, co-director (with Mohammadreza Eyni) of the documentary feature nominee “Cutting Through Rocks,” which follows the first Iranian woman elected as a councilwoman in a rural village. The weeks since the nomination, Khaki said, have been both “terrible and wonderful,” as her home country has been rocked by protests against the Iranian government.
Elle Fanning, nominated for “Sentimental Value,” at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.
(Kayla Bartkowski / Los Angeles Times)
“What’s terrible is what we’re experiencing back home — the internet shut down, worrying about our loved ones,” she said. “What’s wonderful is what’s happening here. So it’s a mix of emotions, really.”
Another Iranian nominee was absent altogether. Mehdi Mahmoudian, nominated as a co-writer of director Jafar Panahi’s drama “It Was Just an Accident,” was arrested this month in Iran after signing a statement condemning the government’s deadly crackdown on protesters.
Actor Wagner Moura, nominated for “The Secret Agent,” and former AMPAS President Janet Yang at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.
(Kayla Bartkowski / Los Angeles Times)
At each table, nominees were asked to fill out a card with a simple question: “What movie made you want to be part of this world?” After pondering for a moment, “Nomadland” Oscar winner Chloé Zhao, nominated in the directing category for the second time for the wrenching drama “Hamnet,” wrote down Hirokazu Kore-eda’s 1998 film, “After Life,” a quietly humane meditation on memory and meaning that felt closely aligned with her own filmmaking sensibility. The answers, Howell Taylor explained, would be used for “a special moment” during the Oscar telecast.
As in years past, the luncheon also came with a bit of gentle coaching about what to do — and not to do — should one’s name be called on Oscar night, including moving briskly to the stage, keeping remarks to no more than 45 seconds and not leaning into the microphone.
Directors Steven Spielberg, left, and Paul Thomas Anderson at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.
(Kayla Bartkowski / Los Angeles Times)
Above all, Howell Taylor urged nominees to resist the temptation to thank everyone they’ve ever worked with. “You’ll forget someone and you’ll feel terrible,” she said.
Better, she suggested, to focus on what the moment actually means. “You are the show,” Howell Taylor reminded them. “It’s your speeches. This is an entertainment show millions of people will be watching, so let’s make the most of it.”
