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MILAN — History didn’t begin in Italy, but it made a number of significant advances there. The foundations for representative government, the 365-day Julian calendar, modern sanitation, newspapers, roads and the postal system were established in Rome.

Centuries later, the rest of the world is still doing as the Romans do.

But if Rome is Italy’s past, Milan is its present and future.

It is the country’s financial center, home to the Italian stock exchange. It’s the world’s fashion center, home to luxury brands including Prada, Versace, Armani and Dolce & Gabbana. And it has one of the largest concentrations of millionaires in the world, one for every 12 of the city 1.37 million residents.

“It’s a city that’s becoming more global and global,” said Giorgio Ricci, the chief revenue officer for Inter Milan, the city’s top soccer club. “Milano is now a real ambassador of that Italian culture, from lifestyle to design to food and whatever.”

And now, like Rome in the summer of 1960, it also has the Olympic Games.

The Milan-Cortina Games are the first Olympics officially shared between two host cities and the most logistically complex Winter Games ever, taking place over 8,500 square miles of northern Italy. And though most of the medals will be awarded in the surrounding mountains at Cortina d’Ampezzo, Valtellina and Val di Fiemme, Milan will be the beating heart of the Games, much as it is the beating heart of the country.

The main opening ceremony will take place at San Siro, the 75,000-seat stadium that is home to the city’s two first-division soccer teams, Inter Milan and AC Milan. Figure skating, speedskating and men’s and women’s hockey will also be held at four other venues across the city.

San Siro in Milan will host the opening ceremonies for the 2026 Milan-Cortina Winter Olympics.

And that will happen, organizers say, whether the venues are ready or not — and one of them is not. The 11,800-seat Unipol Dome, which will be known as Milano Rho Ice Hockey Arena during the Olympics, is one of just two competition venues that had to be constructed for the Games. It played host to the first games of the women’s hockey tournament Thursday despite the fact that construction crews were still administering the final touch-ups outside the building as Sweden was beating Germany in the opener.

“Do we have every area of that venue finished? No,” said Christophe Dubi, the International Olympic Committee‘s executive director for the Olympic Games said earlier this week. “Is it absolutely necessary for the Games? No. Everything that is public-facing, whether for media or athletes, will be first-class.”

Organizers certainly hope so because there’s a lot riding on these Games. If Milan can pull off an efficient, modern, sustainable and technologically “smart” event, it will reinforce the city’s status as one of the world’s top-tier global capitals, one with financial roots and a trendy multicultural image.

Fail in any one of those categories and Milan could suffer significant financial and reputational damage.

A singer busks late at night in Piazza del Doumo in Milan ahead of the Winter Olympic Games.

(Robert Gauthier / Los Angeles Times)

The competition is expected to draw 2.5 million people to Milan — many of them first-time visitors — while generating more than $7 billion in economic activity. Much of that spending went to upgrade the city’s and regional rail lines, which are expected to be overwhelmed given the spread-out nature of the Games.

Days before the Olympic torch was lit at San Siro, Milan’s Piazza del Duomo, which fronts the city’s elaborate Gothic cathedral, was packed with Olympic visitors, many wearing sweatshirts and jackets bearing the flags of their homelands. NBC will anchor its 700 hours of linear TV coverage from a temporary studio tower built in the square, with the iconic church as its backdrop.

Around the corner along the Via Orefici, which dates to the Middle Ages, many of the neighborhood’s trendy boutiques have hung neon signs with the Games logo, proclaiming themselves proud sponsors of the Olympics. At night, a singer who calls herself Anna Soprano performs a solo street opera.

However many locals have failed to catch Olympic fever with high ticket prices and fears about traffic, security measures and crowded Metro trains dampening enthusiasm.

An opera singer performs in Milan ahead of the 2026 Winter Olympics.

Buried beneath Milan’s rush to the modern from the Middle Ages — just beyond the Duomo Cathedral, which was begun in 1386, is the massive 15th Century Sforza Castle — lies a more recent history the city would just as soon forget. Milan was Italy’s Munich, the birthplace of Benito Mussolini’s fascist movement.

Yet it later became the center of anti-fascist resistance, with partisans seizing control of the city in the final days of World War II and executing Mussolini, hanging his corpse from the roof of an Esso station in the Piazzale Loreto. Milan marked that day by naming a prominent square in the city’s center April 25 Plaza for the day the uprising that liberated Milan began.

If Milan is modern Europe, some of the competition clusters outside the city, spread from Valtellina on the Swiss border in the north to Cortina d’Ampezzo, 27 miles south of the Austrian border, represent both the rustic and gentrifying Italy.

The scenic Fiemme Valley, site of cross-country skiing, ski jumping, and Nordic combined , is made up primarily of three small villages — Carano, Daiano and Varena — in the Dolomites mountain range. Despite a history of human activity that dates back more than 6,000 years, the area wasn’t officially established as the municipality of Val di Fiemme until the three townships merged in January 2020.

Today it is a major outdoor-sports destination, having played host to the FIS Nordic World Ski championship numerous times; in the summer it is a favored destination of hikers.

Valtellina, a 75-mile-long valley that runs along the Swiss border, will be the site of Alpine skiing, snowboarding, freestyle skiing and the debut sport of ski mountaineering. The region is known as the heart of the Alps and is a premier Alpine wine area, famous for the elegant reds that come from grapes grown on steep, terraced vineyards.

Cortina d’Ampezzo in northern Italy will host multiple events during the 2026 Olympics.

Cortina d’Ampezzo, meanwhile, is a breathtakingly beautiful ski resort and outdoor sports paradise about 35 miles from the Austrian border. Unlike Valtellina and Val di Fiemme, which are rustic and traditional, Cortina is one of Europe’s most expensive ski towns, its streets lined with high-end stores, luxury hotels and Michelin-starred restaurants. For year-round residents, property prices are the highest in the Italian Alps.

It was scheduled to host the 1944 Winter Olympics before World War II intervened, delaying the its arrival until 1956, when 32 nations — the largest to attend a Winter Games at the time — competed in four sports and 24 events. This month it will be the site of the biathlon, Alpine skiing, curling and sliding sports (bobsled, luge and skeleton).

The new $140-million Cortina Sliding Centre, the second Olympic venue whose construction fell well behind schedule, was completed days before the opening ceremony but a cable car intended to carry spectators to the women’s ski events was not expected to be finished in time. That could lead to traffic jams since visitors will have to take their cars more than a mile up the mountain.

MILAN — Alysa Liu wore a hollow smile on the ice. She had achieved a dream, skating at the Beijing Olympics at just 16, but in a mostly empty arena, few were there to see the moment.

Perhaps that was what Liu secretly wanted.

“It’s not that I didn’t want to be seen,” Liu said. “It’s just I had nothing to show.”

The 20-year-old now proudly presents Alysa Liu 2.0.

Four years after shocking the sport by retiring as a teenage phenom, the Oakland native could win two gold medals at the Milan-Cortina Olympics. She is a title contender in her individual event that begins Jan. 17 as the United States tries to end a 20-year Olympic medal drought in women’s singles figure skating, and she will skate Friday in the women’s short program of a team competition the United States is favored to win.

Armed with a new perspective from her two-year retirement, Liu now smiles genuinely on and off the ice, no matter if there’s a medal around her neck or not.

“I have so much I want to express and show, whether that’s through skating or just through my presence,” said Liu, who placed sixth in Beijing. “It’s exciting to think about that being seen.”

When she made her Olympic debut, Liu didn’t feel like her career belonged to her. Her father, Arthur, was a driving force in her skating career. In a sport where coaches and choreographers often call the shots for young athletes, Liu entered the Olympic stage with programs she didn’t like and clothes she didn’t pick. She was behind a mask and couldn’t express herself. She barely knew how to.

Skating had consumed her entire life. She felt “trapped and stuck” in the sport. So she left.

After retiring following the 2022 world championships — where she won a bronze medal — Liu got her driver’s license. She hiked to Mount Everest base camp with friends. She went shopping for not-skating clothes, played Fortnite until 4 a.m. with her siblings and enrolled at UCLA. She loved studying psychology.

“I found what I like and what I didn’t like,” said Liu, who took time off from UCLA to prepare for the Olympics but hopes to return before her friends graduate. “Really got to know myself, because [when] I had skating, I didn’t really know myself. I couldn’t know myself. I only ever did one thing.”

Alysa Liu practices in Milan on Thursday ahead of the Olympic team competition, which starts Friday.

(Robert Gauthier / Los Angeles Times)

After a casual ski trip reminded her of the joys of skating, Liu made the decision to return to the sport that shaped, and nearly stole, her childhood. But she would only do it on her terms.

The choreography, the music and the costumes would all be her choice. She doesn’t compete to win. She skates to show her art, she said.

In the process, she’s winning more than ever.

She won the world championship in 2025, becoming the first U.S. woman to win the world title since 2006. She won the Grand Prix final in Japan in December, the last major international competition before the Milan-Cortina Games to announce herself as a potential Olympic champion.

The day before her last performance at the U.S. championships, the final competition that would decide her Olympic bid, Liu ran to a St. Louis salon to dye her hair to match a new skating dress. Unbothered by the pressure of the moment, she debuted a Lady Gaga free skate that brought fans to their feet and earned her a silver medal.

“When you are an Olympic athlete that has a chance in front of the world every four years, it literally is your life’s work that’s on the line,” NBC analyst and two-time Olympian Johnny Weir said. “And she has found a way to compartmentalize that and put it down. … I just think it’s so wonderfully healthy and brave and strong to be doing what she is, because it takes a lot of bravery to put down the pressure that the sport naturally has.”

Liu is just a natural talent in the sport, 2022 Olympian Mariah Bell said. Bell remembered during the Stars on Ice tour in 2022 when the skaters rolled into a new city, tired, groggy and sore from the long bus ride, Liu, dressed in a baggy hoodie and billowing sweatpants, could go on the ice and throw perfect jumps without warning. Bell stood in awe.

U.S. figure skater Alysa Liu practices on Thursday in Milan.

(Robert Gauthier / Los Angeles Times)

After Liu’s short program at the U.S. championships last month set a national championship record, Bell was blown away for different reasons.

“She’s so sophisticated and mature and emotional,” Bell said. “When she was younger, she was incredible. But when you’re 13, you don’t skate the way that you do like how she did the short program [at the U.S. championships].”

Skating to Laufey’s “Promise,” a haunting piano ballad, Liu glided through a flawless short program that she said nearly moved her to tears. Fans showered her with stuffed animals.

Liu has always commanded attention in the sport. She was the youngest skater to perform a triple axel in international competition at 12, became the youngest U.S. champion at 13 and followed with another national title at 14. She was the first U.S. woman to complete a quad lutz in competition, doing so in the 2019 Junior Grand Prix in Lake Placid, N.Y.

Six years later, back in that same arena for Skate America in 2025, Liu told her coaches she didn’t remember her historic accomplishment.

“It feels like I’m watching or I got someone else’s memories,” said Liu, who had similar, disconnected, but overall positive memories of her Olympic experience in Beijing. “It feels like a totally different person, but we are definitely the same person.”

U.S. figure skater Alysa Liu practices in Milan on Thursday as she prepares for the team competition, which starts Friday.

(Robert Gauthier / Los Angeles Times)

Exchange the delicate, ballerina-like skating dresses with bold, modern asymmetrical designs. Undo the tight, slicked back bun and bring in halo dyed hair, dark eyeliner and the piercing she did herself on the inside of her upper lip. With three horizontal stripes dyed into her hair, each layer represents a year of the new life Liu is finally happy to put on display.

“I want to be seen more because I like what I have going on,” Liu said. “I like what I’m doing.”

If Hilary Knight is the GOAT of women’s ice hockey, then Caroline Harvey is the kid.

That isn’t just a reference to her age, 23, which makes her the seventh-youngest player on the U.S. Olympic team. The term is also used for baby goats. And with Knight, the oldest player on the U.S. team, expected to retire from Olympic competition after the Milan Cortina Games, that makes Harvey the GOAT in waiting.

“Hilary is a great role model,” Harvey said. “She did blaze that trail. It’s been exciting to see what she did, the legacy she left.”

Like the 10 world championship gold medals, most by a hockey player of either gender; the soon-to-be five Olympic appearances, most by any American hockey player; the scoring titles and MVP awards. But the real legacy she’ll leave will have little to do with any of that.

In 2019, while at the height of her career, Knight risked everything when she joined more than 200 other players in boycotting the existing women’s hockey leagues to form the Professional Women’s Hockey Players Assn. Four years later that led to the creation of the well-funded Professional Women’s Hockey League, with eight teams playing in the U.S. and Canada.

Knight said she took inspiration for that campaign from the 1999 Women’s World Cup soccer team of Mia Hamm, Julie Foudy and Brandi Chastain, which not only won the title but soon after began the decades-long fight with the U.S. Soccer Federation that eventually ended with the women getting the same pay and benefits as the men’s team.

“We credit the ‘99ers to sort of helping us with our vision and creating more equitable space,” she said. “We’re far from there but we’re taking great steps in that direction.”

In fact, women’s hockey has never been better, a popularity both Knight and Harvey hope to build on in the Olympic tournament, which begins Thursday with the U.S. facing Czechia.

“Visibility is really important; continuing to get those eyes,” said Knight, a tireless promoter of the game. “We’re going to have some new and unique viewership. With the Olympics in itself [viewers] might accidentally watch hockey and be like ‘I love this sport.’

“Just having more programming elevates the game on the global stage. And that’s really exciting.”

U.S. forward Hilary Knight skates to the bench after scoring against Canada in November 2023.

(Ross D. Franklin / Associated Press)

The game Knight, 36, is championing is really one she built, especially in the U.S. A two-time NCAA champion at Wisconsin, she’ll be going for her fifth Olympic medal — and second gold — in Milan. Yet she insists the experience never gets old.

“Every Olympics feels like my first Olympics,” she said. “Each is so unique. You’re in a different country, a different culture, just so much fun to be able to explore. The Olympics are so special, whether it’s your first or your fifth.”

These Games are likely to feel a little different, though, since they’ll end with her passing the baton to Harvey, who followed Knight to Wisconsin. The two women have more in common than just their alma mater, though.

Both were the youngest players on the team when they made their Olympic debuts, Knight as a high-scoring forward in 2010 and Harvey as a physical, offensive-minded defenseman in 2022. Both have won multiple world championships and both began their careers playing on boys teams. As children, they both told relatives they would someday play in the Olympics — a prediction that was particularly bold for Knight since women’s hockey wasn’t even an Olympic sport then.

When Harvey joined the national team ahead of the 2021 world championships, Knight shared some advice.

“She said something to the effect of ‘it’s the same game, no matter what level you’re at. Trust your instincts, play natural, play free,’” Harvey said. “That just really stuck with me.

U.S. defenseman Caroline Harvey shoots during a Rivalry Series game against Canada in November.

(Jason Miller / Getty Images)

“Hopefully at some point [I] grow into that leadership role,” she continued. “I’ve had some years now and that past Olympics, it was more of a being a sponge. I’m always trying to learn something new every day from the veterans.”

One thing she’s learned recently is how to beat Canada, which could come in handy in Milan since the U.S. will face its northern neighbors in the final game of group play, and likely a second time in the knockout rounds.

Canada has won five of the last six women’s Olympic tournaments, beating the U.S. in four of the those finals, including the most recent one in 2022. But the U.S. swept Canada in the pre-Olympic Rivalry Series, winning the four games by a combined 24-7. Knight and Abbey Murphy led the tournament in scoring with five goals each.

“When the puck drops, your heart is beating out of your chest,” Knight said of playing Canada. “You’re like ‘am I human? This is insane. This is awesome.’”

Still, when Knight finally does hang up her skates for the final time, those won’t necessarily be the memories she holds closest from her Olympic career.

“I get to do cool things with cool people on a daily basis,” she said. “What I’ve been able to accomplish in my career is incredible. And I’ve obviously played with amazing women and I’m so grateful for every opportunity that I’ve had.

“I’m just at a place where I want to embrace these lasting memories and moments with teammates and friends and family, all those people that go into this journey. That’s what I’m looking forward to.”

After that, the GOAT will give way to the kid.

The Grand Canyon is among the most famous natural wonders in the world. A woman who lives at the bottom of it in a remote village with her family has opened up on the reality of life there.

The Grand Canyon is as one of Earth’s most iconic natural wonders, pulling in millions of visitors from across the globe each year. Now, one woman has revealed she actually lives within the canyon itself – a revelation that’s left people both fascinated and amazed.

Situated in north-western Arizona, the Grand Canyon spans an impressive 277 miles and is a vast chasm sculpted by the Colorado River. Its striking layers of ancient red rock enhance its appeal, and it’s been protected as a National Park since 1919.

Tourists flock there in their millions every year to drink in the spectacular views, hiking trails, and even white water rafting adventures. A TikTok user posting under the handle @heyarielnicole recently shared drone footage of the magnificent landmark, accompanied by text which reads: “Today years old when I found out people live in the Grand Canyon.”

In the caption, she added: “I must have skipped school this day because I did not know this lol! Did y’all know people live in the Grand Canyon?”

Her post has since amassed more than 65.5 million views. The comments section erupted with shocked reactions, while others highlighted Shila S Siyuja, a woman who genuinely does call the Grand Canyon home alongside her family.

Shila uses social media to give followers a glimpse into what it’s really like living within one of the world’s most iconic natural landmarks. While she’s blessed with stunning scenery and access to the great outdoors, there are certain challenges that come with the territory.

One of her most popular videos shows Shila and her family undertaking an “eight-mile hike home” after missing their flight back into the canyon.

The family resides in the renowned Supai Village, nestled at the canyon’s base. This isolated settlement can only be reached by an eight-mile hike, helicopter, or mule ride.

Serving as the capital of the Havasupai Tribe, the village is celebrated for its striking turquoise waterfalls and close-knit community. Residents have access to a shop stocking essentials, a post office, a school, and even a café. Shila’s hiking video attracted many comments from captivated TikTok viewers.

One person asked: “So beautiful!! How long did it take?” Another said: “The real American people.”

A third viewer shared: “I got the privilege to visit your home years ago. Thank you.”

Someone else recalled: “Sister and I hiked at night to avoid the heat. Miss this place so much.”

Among Shila’s other widely-viewed videos is footage captured while she and her family embarked on a shopping trip outside the Grand Canyon. In the clip, Shila is shown boarding a helicopter for her journey home. Footage captured from beneath the aircraft reveals their shopping secured in an external sling load, which dangles from the helicopter’s body using a cable and cargo hook.

Shila and her family aren’t the only ones living there, though. More than 2,000 residents also live in the Grand Canyon, based at Grand Canyon Village on the South Rim.

They don’t make musicals like “Sweeney Todd: The Demon Barber of Fleet Street” anymore.

The ambition on display is awe-inspiring to an almost alarming degree. Consider the lyrical and orchestral complexity of Stephen Sondheim’s score, the way Hugh Wheeler’s book (from an adaptation by Christopher Bond) blends horror and comedy as if the two were natural bedmates and a production concept that views the material of a fiendish penny dreadful through a Brechtian lens.

Could the American theater ever again pull off such an outrageously brilliant musical experiment? Harold Prince’s 1979 Broadway premiere, starring Len Cariou and Angela Lansbury, seems like eons ago in terms of creative possibility.

This is the reason revivals, such as the solid one that opened Saturday at La Mirada Theatre for the Performing Arts under the direction of Jason Alexander, are so important. They remind us not only of the richness of our theatrical past but they also challenge our artists and producers to dream bigger in the future.

Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

Alexander, the beloved “Seinfeld” star who made his Broadway debut in Sondheim and George Furth’s “Merrily We Roll Along” in 1981, knows a thing or two about American musicals, having served for a time as the artistic director of L.A.’s bygone Reprise Theatre Company. His direction has grown in sophistication and ease since he staged Sondheim and James Lapine’s “Sunday in the Park With George” for Reprise in 2007.

Alexander’s production of “Sweeney Todd” has breadth and heft, but also intimacy and lightness. The scenic design by Paul Tate dePOO III savors the show’s Grand Guignol flavors while leaving plenty of flexibility for antic comedy.

The barber chair, the locus of Sweeney’s revenge on the heartless cruelty of a Victorian London that wrecked his life, isn’t the elaborate contraption of other productions. His murder victims don’t fall down a chute after their throats are slit during their shave and a haircut. They have to be tilted into a dumpster that is moved into position, but Alexander makes the comic most of these clumsier stage mechanics.

Will Swenson, the accomplished Broadway actor, offers an unusually sympathetic yet never sentimentalized Sweeney. He understands that Sweeney is first and foremost a victim. The lust for vengeance eventually gets the better of him, but Swenson leads us step by step to depravity through sorrow, injustice and humiliation.

Andrew Polec, right, with the company of “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

He’s man-made rather than a natural monster. The same could be said of Lesli Margherita’s Mrs. Lovett, the proprietor of a filthy and failing Fleet Street pie shop, but it’s a shakier case. She’s the one who gets the bright idea of putting all those corpses Sweeney is intent on piling up into culinary use. Meat is in short supply, and the taboo of cannibalism is no deterrent to a woman who has taken to heart the jungle law of 19th-century British society: Eat or be eaten.

Swenson and Margherita are singing marvels, but Sweeney and Mrs. Lovett’s numbers set up Olympian challenges, vocally as well as lyrically. Their comically macabre Act 1 showstopper, “A Little Priest,” in which they gleefully imagine the variety of human pies, needs a little more time in the oven. Margherita, who played Mrs. Wormwood in “Matilda the Musical” on Broadway, is a deft clown. Swenson may be a step slower in this regard, but he plays it perfectly by accentuating the delight Sweeney takes in the merriment of Mrs. Lovett’s perverse rhyming game.

Swenson, who starred in the Broadway premiere of “A Beautiful Noise, the Neil Diamond Musical,” has a lush baritone. But Sweeney’s descent into an even lower range produces a sound that emerges from unimaginable depths. Finding the beauty in that hellish croak — something that Josh Groban was able to do in the last Broadway revival — can prove exceptionally difficult. It’s Swenson’s detailed character work as a singer that impresses most. His handling of “By the Sea,” the Act 2 duet with Margherita, forensically details Sweeney’s growing distaste for the conjugal fantasies of his partner in crime.

Allison Sheppard and Chris Hunter star in “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

The romantic element of Sondheim’s score is best captured in the gorgeous singing of Chris Hunter’s Anthony Hope, whose crooning of “Johanna” provokes an epidemic of goosebumps throughout La Mirada Theatre. Allison Sheppard’s Johanna, Sweeney’s daughter under the lock and key of the wicked Judge Turpin (Norman Large), warbles as melodiously as the caged birds that mirror her plight.

Nicholas Mongiardo-Cooper’s Beadle Bamford, the judge’s henchman, has a malicious ebullience all his own. He’s not as unapologetically hammy as Andrew Polec’s Pirelli, the tonsorial con man who adopts a fake mustache and an even faker Italian accent, but he lends the musical a satiric gaiety.

Meghan Andrews’ Beggar Woman and Austyn Myers’ Tobias, giving voice to the downtrodden Dickensian masses, infuse the production with the charm of their singing. Myers makes the most of one of the musical’s most beloved numbers, “Not While I’m Around,” Tobias’ duet with Mrs. Lovett that both performers bring to poignant, demented life.

Austyn Myers, center, with the company of “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

Alexander’s staging occasionally overdoes the comic exuberance. The ensemble-cum-chorus, burdened with overblown asylum imagery, is sometimes called upon to inject a circus-like atmosphere, complete with acrobatics. Lee Martino’s choreography, like the production as a whole, is at its best when observing decorous constraints.

If some of the more seductive colors of Sondheim’s score get lost in the acoustic shuffle, it may have more to do with the sound system than Darryl Archibald’s music direction. Unfortunately, the shattering beauty of the music is sometimes swallowed in the devilish din.

The stark visual panache of the production, however, is an impressive sight to behold. Jared A. Sayeg’s crepuscular lighting and Kate Bergh’s humanizing costumes lend contrast and texture to the world-building scenic design.

Hats off to this Southern California “Sweeney Todd” and to La Mirada Theatre for undertaking this Herculean feat. Sondheim and Wheeler’s haunted masterpiece doesn’t need perfection to live again.

Controversial director Brett Ratner, whose documentary “Melania,” about the first lady, premiered last week, found himself in the headlines once again over his alleged ties to Jeffrey Epstein.

A photograph, part of the trove of files released Friday in the Department of Justice’s investigation into Epstein, shows Ratner sitting on a couch with his arms wrapped around a woman, whose identity is concealed. She is sitting next to Epstein and a second woman, who is also redacted in the photo and is sitting at the far end of the couch next to the disgraced financier. It is unclear where the photo was taken or when.

The filmmaker is among several prominent individuals from the worlds of entertainment, technology, politics and business — including L.A. Olympics boss Casey Wasserman — who have turned up among the millions of files that the Justice Department has released.

Epstein died by suicide in 2019 in Manhattan Correctional Center while awaiting trial on sex trafficking charges.

Ratner’s name also surfaces in a number of emails contained in the released files in which Epstein discusses his attempts to connect with the director and descriptions in which their social circles overlap.

It is not the first time Ratner turned up in Epstein’s orbit. In December, his photo appeared in an earlier batch of files the department released.

In the undated photograph, Ratner is seen seated, hugging a shirtless Jean-Luc Brunel, a French modeling agent and an Epstein associate.

Brunel died of an apparent suicide in 2022 in a French prison while awaiting trial on charges that he had raped a minor.

Ratner has not been accused of any wrongdoing in connection with Epstein.

A spokesperson for the director did not immediately respond to a request for comment.

During a Monday appearance on “Piers Morgan Uncensored,” Ratner said that the recently released photograph was taken about 20 years ago. He said that the woman he is hugging was his then-fiancée, whom he declined to name, and that she had invited him to an event where the picture was taken.

“I’ve never been in contact with Jeffrey Epstein before that photo and never in contact with him after,” he said on the show.

Among the emails in which Ratner is mentioned, in December 2010, Epstein discusses a dinner he is having at “7:30” in which he says that he has invited Ratner but has not yet heard back.

In December 2010, it was widely reported that Epstein hosted a dinner at his Manhattan townhouse just months after he finished serving a prison sentence and house arrest for soliciting a minor for prostitution. The dinner was attended by a number of boldfaced names including Woody Allen and Andrew Mountbatten-Windsor, formerly Prince Andrew.

A year later, Epstein’s assistant appears to email Ratner saying, “Jeffrey would like to speak with you regarding [redacted] could you please give us a call.” It is unclear whether Ratner followed up.

In another heavily redacted email from 2018, Epstein writes to someone saying: “Hi I’m Jeffrey. brett Ratner thought we should meet.” He follows up with a second email asking whether Ratner had spoken to this person yet.

During the Cannes film festival in 2012, celebrity superpublicist and ubiquitous presence on the awards circuit Peggy Siegal emailed Epstein that she was sitting with Ratner about to watch a Roman Polanski documentary, adding that “Brett says ‘hi’ and he loves you!”

In other gossipy emails Siegal sent to Epstein, she cites Ratner in her listing of which power brokers and celebrities are in attendance at various parties and who is staying on whose yacht in St. Barts (Ratner, she wrote, was staying with his business partner, the Australian billionaire James Packer).

Siegal’s relationship with the convicted pedophile came under renewed scrutiny in 2019 after Epstein was arrested on sex trafficking charges, particularly as she helped facilitate his return to society following his prison sentence.

“Had I known that he had been accused of abusing underage girls, I would not have maintained a friendship with him,” she told the Hollywood Reporter.

Siegal could not be immediately reached for comment.

On Nov. 1, 2017 — the day The Times published its investigation in which six women accused Ratner of sexual misconduct — Epstein emailed lawyer Reid Weingarten: “brett ratner now oy.”

Ratner’s career was derailed nine years ago after The Times published detailed allegations against the director made by multiple women who accused him of harassment, groping and forced oral sex. Actor Olivia Munn claimed that Ratner masturbated in front of her when she delivered a meal to his trailer on the set of the 2004 film “After the Sunset.”

At the time, the director’s attorney Martin Singer rejected the women’s claims, saying that his client “vehemently denies the outrageous derogatory allegations that have been reported about him.”

Ratner’s agents at WME dropped him, as did his publicist, and projects were put on hold. Ratner parted ways with Warner Bros.

“I don’t want to have any possible negative impact to the studio until these personal issues are resolved,” he said in a statement.

In 2020, Ratner became embroiled in another Hollywood sex scandal, involving British actor Charlotte Kirk.

In a sworn court declaration, Kirk said she was victimized by then-Warner Bros. Chief Executive Kevin Tsujihara, Ratner, Packer and Millennium Films CEO Avi Lerner, stating that the men “coerced me into engaging in ‘commercial sex’ for them and their business associates.”

Singer, who represented the men, “categorically and vehemently” denied any wrongdoing on the part of his clients.

“Melania” is the first film Ratner has directed since he was largely exiled from Hollywood. The documentary has received harsh reviews from critics, who have also questioned the $75 million Amazon paid to distribute and market the movie. However, during its opening weekend, it grossed a better-than-expected $7.1 million at the box office.

Writer Neil Gaiman denied sexual misconduct allegations first brought forth against him over a year and a half ago in a statement released Monday.

Gaiman, the bestselling fantasy author behind “The Sandman” comic books, and novels and shows “American Gods” and “Good Omens,” called the allegations, which emerged in the summer of 2024, a “smear campaign” that are “simply and completely untrue.”

“These allegations, especially the really salacious ones, have been spread and amplified by people who seemed a lot more interested in outrage and getting clicks on headlines rather than whether things had actually happened or not,” Gaiman wrote.

Five women first accused the 65-year-old British author of sexual misconduct in the summer of 2024, appearing in the Tortoise Media podcast “Master: The Allegations Against Neil Gaiman.” The women claimed Gaiman had them call him “master” during their alleged sexual encounters.

Eight women then accused the author of assault, abuse and coercion in an article published by New York magazine just over a year ago.

Scarlett Pavlovich, Gaiman’s former nanny, filed a lawsuit against the author and his estranged wife Amanda Palmer, almost exactly a year ago, accusing the couple of human trafficking. She alleged that she was brutally and repeatedly raped and sexually assaulted by Gaiman while working for the couple without pay.

“Gaiman repeatedly physically and emotionally abused Scarlett, raping her vaginally and anally, humiliating her, forcing her into sexual conduct in front of Gaiman’s child, and forcing her to touch and lick feces and urine,” the complaint states. Gaiman called Pavlovich “slave” and ordered her to call him “master,” the complaint states.

The abuse took place while Pavlovich was providing babysitting services for the couple in New Zealand in 2022, according to the suit.

All other allegations against the author stemmed from the 1990s to 2022, when he was living in the United States, Britain and New Zealand.

The author has sold more than 50 million copies of his books worldwide, and many have received film and television adaptations over the years. His work drew a large female readership, typically uncommon for comic-book writers. The allegations clashed with the self-proclaimed feminist writer’s public persona.

Gaiman has spent the last year out of the spotlight, after publishing company Dark Horse Comics cut ties with him shortly after the New York magazine article was published. Gaiman was also dropped from various film and TV adaptations of his work, including the final season of Amazon’s “Good Omens” and the streamer’s new “Anansi Boys” TV series.

He was also left out of press for the final season of Netflix’s “The Sandman” last year and Disney halted development of “The Graveyard Book” months after the initial allegations.

The author last publicly addressed the allegations a day after the New York magazine article was released, and wrote he had stayed quiet “both out of respect for the people who were sharing their stories and out of a desire not to draw even more attention to a lot of misinformation.”

At the time, Gaiman wrote that he “could have and should have done so much better,” admitting that he “was obviously careless with people’s hearts and feelings, and that’s something that I really, deeply regret. It was selfish of me. I was caught up in my own story and I ignored other people’s.”

Gaiman’s most recent statement comes just days after an unidentified Substack user who goes by TechnoPathology posted the latest in a series of articles over the last year defending the fantasy author.

Gaiman claimed he hasn’t been in contact with the anonymous poster but would “like to thank them personally for actually looking at the evidence and reporting what they found, which is not what anyone else had done.”

He said “the actual evidence was dismissed or ignored” by most reporting, including “mountains” of “emails, text messages and video evidence that flatly contradict” the claims.

The author also announced in the statement that he’s been working on a book throughout the “strange, turbulent and occasionally nightmarish year and a half.” The project is his longest since the 450-plus-page “American Gods,” he said.

“It’s a rough time for the world,” Gaiman wrote. “I look at what’s happening on the home front and internationally, and I worry; and I am still convinced there are more good people out there than the other kind.”

I’M A Celeb AITCH had a secret snog with a stunning blonde podcast queen -15 years his senior – weeks before jetting Down Under.

The Brit-Award winning rapper locked lips with manifestation guru Francesca Amber at showbiz bash the Pride of Britain Awards, London in October, just a fortnight before he flew to Australia to take part in the ITV reality show. 

Cheeky Aitch, who was 25 at the time, hit it off at the free bar with author Francesca, 40, and was seen cracking jokes with the manifestation guru in the corner.

An onlooker revealed: “Aitch is a bit younger than Francesca but didn’t lack any confidence, he has bags of character and he was showing off and making her laugh, they were having a right giggle. 

“By the end of the evening they were kissing in front of everyone, it was quite romantic. Aitch has got loads of charisma and can hold his own, he’s no boy when it comes to flirting, so you can see how he won her over. They exchanged numbers before heading off into the night.”

Mum-of-three Francesca is still single, and Aitch’s spokesman declined to comment. 

BITTER MOVE

Mystery as Shona McGarty’s ex WIPES I’m A Celeb star from his social media

RAPPER’S ANTICS

Aitch admits he broke ITV bosses’ strict rule before I’m A Celeb jungle

Following his I’m A Celeb stint, fans were convinced Aitch was falling in love with co-star former EastEnders actress Shona McGarty, 34, after they were seen having heart-to-hearts on camera and play fighting. 

The pair had raised hopes of a jungle love story earlier in the series after rapper Aitch said he had a “soft spot” for the former EastEnders actress. 

But upon exiting camp Mancunian Aitch shut down rumours of a romance. He said: “No, Shona’s just a cool person. I feel like me and Shona are just cut from the same cloth in a way. We just have the same sense of humour.

Asked if there is any chance of a romance, Aitch responded: “No, not at all. That’s just a good friend of mine.”

He has previously linked to Chicken Shop Date online host Amelia Dimoldenberg, 32, and model Rose Lola Thompson. 

Previously he has said: “I love dating a girl who is understanding and who can have a laugh with. I like it when I feel like my girlfriend is my best mate and understands me.”

Just before the rapper flew into the jungle it was revealed that he had parted ways with psychology student Lois Cottam.

A source at the time said: “Aitch and Lois still have a lot of love for each other but they decided they are better off as friends.

“They enjoyed the time they spent together. Things ended amicably between them.”

Aitch and Lois, are understood to have dated for at least a year.

We revealed that the pair were dating in May 2025, reporting that he had whisked her off for a trip to New York.

They also holidayed on the Greek island of Santorini in the summer but kept their relationship under wraps, with Aitch, real name Harrison Armstrong, not sharing pictures of them together on social media.

Lindsey Vonn sat out a World Cup super-G race Saturday after crashing and injuring her left knee a day earlier but remains on track for the Milan Cortina Olympics, her coach told the Associated Press.

“No she is not racing today but preparing for Cortina as usual,” Chris Knight, Vonn’s personal head coach, said in a text message to the AP.

Vonn then posted on Instagram, “Unfortunately, I won’t be able to race today,” adding, “Thank you for all of the love and support I have received. Means the world to me.

“Doing my best right now….,” Vonn concluded with praying hands and fingers-crossed emojis.

Vonn crashed in a downhill in Crans-Montana, Switzerland, on Friday and ended up in the safety nets. After skiing down to the bottom of the course, she was airlifted away for medical attention.

It still wasn’t clear what her injury was.

“I crashed today in the downhill race in Switzerland and injured my left knee. I am discussing the situation with my doctors and team and will continue to undergo further exams,” Vonn wrote on Instagram on Friday.

Vonn, a 41-year-old American, is expected to be one of the biggest stars of the Winter Games, which open next Friday. Her first race comes two days later in the women’s downhill.

Saturday’s super-G was slated to be her final race before the Games.

Summer Robert, 28, claims she was asked to leave Disneyland because staff deemed her outfit “inappropriate”. She says she was unable to cover up her boobs properly

People may think that it’s great to have big boobs, but a woman has shared just how challenging it can be to live with larger breasts. Summer Robert, 28, has previously shared that she can’t control how big her boobs grow due to a rare condition.

She currently has R-cup breasts, but they could grow even bigger, as she suffers from something called Macromastia. This is the medical term used to describe having abnormally large breasts. The health problem can actually cause many issues such as chronic back, neck and shoulder pain and headaches, and she recently explained how people can misunderstand things about how she looks.

Summer, from Glasgow, recently visited Disneyland, in California, where she alleges she was approached by a disgruntled staff member who demanded she “leave the park” as a guest had complained about her. She said the experience was “humiliating”, and it’s not the first time someone has been told they look inappropriate at a theme park.

In an open conversation, Summer, who has over 200,000 Instagram followers, explained: “I was absolutely heartbroken. You go to the happiest place on earth, expecting a wonderful time, but instead I was treated horribly. I have a medical condition I can’t control and, because I can’t find clothes that fully cover my 30R chest, I was kicked from the park.

“Being followed into a shop by staff like I was a criminal simply for existing in my own body is a level of humiliation I wouldn’t wish on anyone.”

Summer said she had visited Disney before and worn a similar outfit, but she’s never previously had any problems. She has been to Orlando and Paris with “no complaints” about her choice of clothing.

During her trip, she was wearing a skirt and a long-sleeved top, something she thought was more than acceptable for the occasion. However, according to her, some members of staff had other ideas.

Summer said: “A male employee approached me and said ‘This is just to let you know someone has complained about what you’re wearing’. I asked him what was wrong with my outfit, and he shrugged, and gave me a look that basically said ‘nothing’.

“I told him there was nothing inappropriate about what I was wearing. I was dressed the same as most people there, the only difference being that I have larger breasts. He laughed and said ‘Trust me, I’m trying not to look — you’re good’.

“As I started to walk away, an older female employee came up to me and began shouting. She said ‘I’m a mother, an aunt and a daughter and I can tell you’re dressed ridiculously. You need to go to your car and get a sweatshirt to cover them up’.

“I told her I didn’t have a sweatshirt, it was 30° heat, and asked why I would. She then told me I needed to buy one from the Disney store or leave.”

At this point, Summer claimed she was “yelling”, which made the male employee “extremely uncomfortable”. Summer said he kept glancing at her as if to apologise for her behaviour.

Summer told them they were about to leave anyway, which seemed to please the female member of staff. However, it’s claimed she then followed Summer and her friends.

“My friend and I went into a store outside of the park, thinking she had stopped following us,” she added. “While we were browsing, she approached us again and said ‘Unless you’re in here buying something to cover them up, you need to leave NOW.’

“I had remained calm the entire time, because I didn’t want to draw attention to myself, and was honestly embarrassed, but at that point I spoke up. I told her ‘We’ve left the park. I’m not buying something to cover up.

“There is absolutely nothing wrong with my outfit, there are people walking around in sports bras and leggings. I am fully covered. The only difference is that I have large breasts, which I cannot help’.

“She changed her story and claimed the issue was now my skirt, a skirt that had shorts underneath. This was despite her repeatedly saying I needed to ‘cover those up’, clearly referring to my chest. A back-and-forth followed. People were staring, and several parents were visibly shaking their heads at her in disapproval.”

Summer stated the entire experience left her feeling “disgusting”, and led to her crying all the way home. They spent around four hours in the park before the events unfolded, and also received a free fast pass ticket for a ride from a worker prior to this.

She added that she now won’t return to California Disney, as the incident left her feeling so “embarrassed”. Summer continued: “It’s sad, because we were having such a good time until it happened, and now I just have a sour taste in my mouth.”

Disney has been asked to comment.

As is always the case, the Grammys this year will be dominated by pop, rap, country and rock. But the best races often lie in the less mainstream genres. Take best jazz vocal album, where Samara Joy, Dee Dee Bridgewater and Bill Charlap, Michael Mayo, Terri Lyne Carrington and Christie Dashiell and Nicole Zuraitis are competing for the honor.

The highly impressive group reflects the current state of jazz, where both young guns and veterans are combining to bring the music to a new swell of fans. To talk about the present state of jazz, The Times brought together 26-year-old Joy and 75-year-old Bridgewater. What followed is an incredible conversation on politics, race, equality and mutual fandom.

You both have had Grammy success. But is it still just as thrilling to be nominated?

Dee Dee Bridgewater: I can speak on that because I haven’t been nominated in years. And yeah, it’s a thrill when you’re nominated and you haven’t been and you’ve done something that your peers think is Grammy worthy. I don’t know about Samara, but for me, I don’t do any of my recorded projects with the intention of getting a Grammy nomination, which seems to be the goal of a lot of younger artists. So that me doing something that I just was trying to chronicle and because of this work that Bill and I have been doing off and on for the last few years, it’s like the icing on the cake. It’s wonderful.

Samara Joy: Agreed, when I say I’m just grateful to be here, like in this space, being able to talk about this in this way, I mean it. It wasn’t the intention behind making the music that I love to make with the people I love to make it with. And when kids come up to me and they say, “Because of you, now my goal is to be a Grammy winner.” I’m like, “You’ve already strayed way off course. We need to come back.” And realize that the accolades and the awards and the acknowledgment is beautiful because it’s coming from your peers and we’re celebrating each other. It’s amazing, it’s exciting, it’s wonderful. I’m grateful for it. But at the same time, the other 364 days of the year, we’re working and we’re touring and we’re performing because we love it. And it’s with the intention of seeing what else we can learn and express and finding new ways to do that. I’m grateful to be in the conversation, but also I’m using it even more as an opportunity to thank the people who support us and who listen to the music and who come to the concerts to say that that’s what I love. So, the fact that people have connected with it enough to acknowledge it on such a high level is amazing, but the love of it never goes away.

Bridgewater: Yes, I agree with that, Samara. When I do my work, because I like to call myself an artist who flies under the radar, I’m basically out there trying to bring joy to people. With the music that I do, I try to change up the projects depending on what is going on in the world or depending on what I’m thinking about and feeling about society and just trying to make a connection with people and be a conduit for the people and speak through the songs, things that I think will bring them joy or get them to think about some things that they are not wanting to say out loud. So, that’s what I’m doing right now. Then with my music, what I’m trying to do is bring more attention to women in jazz. For the last few years, aside from my occasional concerts with Bill [Charlap], I have been working with women. I have created a band. I call it We Exist! We are doing socially conscious music, some protest songs, and that is what I’m taking around the world. Generally, people come up to me and say, “Thank you so much for saying these things for us. We need to hear this.” My concern at my older age, now that I’m in my golden years, is the state of society and the world and this political crisis that we are in. So, I’m trying to speak about this in a way that people can hear it without getting on some kind of political bandstand and speaking in that way. I think that the world is in danger politically and I think our democracy is in danger. That’s my concern and that’s what I’m trying to do through my music. Also, I want people to see more women in the jazz space, and I think as an elder it’s almost an obligation of mine to lead that front and present this and present this image. I get many women that come up and say, “Thank you so much for doing this for women.” So, that’s where my head is right now.

Dee Dee Bridgewater

(Hernan Rodriguez)

How exciting is it to see that, of the jazz vocal nominees, four of the five are women?

Bridgewater: Yeah, and isn’t that wonderful? But I can say this, for vocal jazz, it usually is women. This has been the place where we have been allowed to shine as vocalists. It’s been for many, many years, the only place where we’re allowed to shine. So, when you get female instrumentalists besides Terri Lyne [Carrington] because Terri Lyne broke through in a period of when there were not a lot of jazz drummers, so that she worked with Herbie [Hancock] and she worked with Wayne [Shorter]. They gave her a platform that most women are not granted. Of course, also, one has to be extremely talented. And Terri Lyne can stand beside any man and hold her own and outdo many men. That’s not the point. The point is that she had that opportunity. They gave her that opportunity and then she’s been able to pay it forward. But to see instrumentalists like Lakecia Benjamin who has really come to the forefront as an alto saxophonist and to see her get Grammy nominations, that’s something that, for me, is huge.

Samara, talk about what you’re seeing in the scene today in terms of gender disparity and overall vibe.

Joy: I’ve had the opportunity to play with some amazing ones. I went to the Vanguard a few weeks ago and sat in with [Christian] McBride and Savannah Harris was on drums. I played with Alexandra Ridout, who is an incredible trumpet player as well. Although I understand the disparity in the current time and throughout history, I also understand that I might be living through a privileged time where I just kind of see women around me everywhere. So, I don’t understand what it’s like to be without it on the scene. I can read about the fact that maybe at a time saxophone was taking precedence over jazz vocals or with each era, there’s a new focus. But I guess on the scene now I’m proud to be able to see all of these wonderful women composers and instrumentalists stepping to the forefront.

Both of you have made music that is very uplifting as well. In these difficult times, music is something that can lift the spirits and bring people together. For each of you talk about making music that uplifts because there are so many great jazz standards that have the point of lifting up the world.

Bridgewater: I’m here in town at Birdland with Bill Charlap and we are doing songs from the American Songbook primarily and Duke Ellington. It has nothing to do with anything that’s going on today, politically speaking. Last night was our first show and the audience just loved it. So, there is that side that one can take. And I’ve been very apolitical. It’s just since the two Trump administrations and the Gaza war that happened and some other things that I’ve seen going on outside of the United States that have really incensed me that I felt the need to speak out in the way that I am, you know. But it is wonderful to go to a show and have people come to see a show and be able to completely lose themselves and be outside of what is going on for that span of time that they are with the artists. For the other side, when I do these socially conscious songs, people come and say, “Oh my God, thank you. I needed to hear that. I needed to hear someone.” Because my point at the end of my show is I say, “We the people have the power, we can’t forget that. We are the people that can motivate the change and protect our democracy because we see democracy being chipped away around the world.” I grew up in an era where there was a distinct difference between Black and white and I was not able to be served when I would go to sit at a lunch counter as a little Black girl. So, I’ve experienced both sides. My awareness is different than Samara’s and I feel the alarms. The alarm bells are just ringing for me. But when I come back and I do a show with Bill, sometimes it’s difficult for me to get into these sweet, innocent songs because they don’t have the gravitas that I’m experiencing doing a Nina Simone song like “Mississippi Goddam.” For me, artistically speaking, it’s been interesting to find a balance. Samara, you do these beautiful songs with that stunning voice of yours. Your take is totally different. And you’ve grown up in another era.

Joy: This is the first time in my life that I have not only been aware of what’s happening in the world but also feel compelled. Like, I have a responsibility to do something about it because I’ve never been so aware of what is happening around me as I am right now. I don’t know if that’s a good thing or bad thing but I just feel like, ”OK, I’m an adult and this is the world that I live in and I have a responsibility as one of the people living in this world to not only do something about it right now but do something for the next generation of people who are going to have to live in the world that results in what we do right now.” It’s scary. I don’t know how people do it, especially because it’s not as difficult right now. It’s not as difficult for me to say something that might have been for an Abbey Lincoln or Nina Simone or whoever. I’m also living in a sort of luxury in that way that I don’t have to speak out and be the only one who is doing so and then be proven right later. In that way, I’m like, “I have to because of all these women who have gone before me, who made that difference and who stood and didn’t get appreciated or thanked for it in the moment, have made it so that the world that I live in now, as crazy as it is, I’m able to have a platform in the first place and be able to lead some sort of charge — or at least spread some sort of message so that the world that we’re building for the ones who come later. It’s not just about me right now, it’s all interconnected.” It feels a little heavy, a little scary. I’m still trying to figure out where my voice fits.

Bridgewater: You know what, honey, I get that. When I was your age, I honestly was not at all concerned about politics and what was going on. I was concerned about my Blackness because I’ve experienced our people being named four different times. When I was a little girl, I was colored, then I was Negro, and when they said Black, I was incensed because your hair is black. Our skin is brown. But I understand where you’re coming from because you are coming up in a different time. And you are just beginning to navigate all of the politics, so you’re going to probably go through a similar kind of thing that I went through when I was young, and I concentrated on just writing my music and things that spoke to me. You’re fine where you are and you’re going to learn to navigate all of this in time and what I would hope for you is that you don’t feel a weight. We’re all going to feel this heaviness because of the situation that we’re in but as an artist, I want you to feel free to discover and do the things that you feel in your spirit and not feel led to do something because it’s what’s going on around you. You’ve got to continue to stay true to yourself, which you’ve been doing, which is wonderful. I’m at a different stage in my life. I’m in the last quarter of my life. I’m 75 and I’ve been through all of this stuff. I feel like I’m at a place where if I want to say something instead of not like I’ve done in the past, I’m going to speak my mind. I want to say this to Samara and I’ve said this to her before. But I am so proud of you and what you are doing. And you have a voice that the gods have blessed you with, Samara. At my age to be in the same space with you for the Grammys, I am so tickled. I love you so dearly. I truly do, and you know that. The times that we’ve been on stage together, it’s been wonderful for me. I want you to know that there are people who are your elders who, besides loving you like we do, we depend on you, Samara. You have been able to enter the space and bring jazz to the world in a way that we were not.

Joy: I love you too. I’m sitting here thinking about one of the first times I got the chance to see you perform at Blue Note. I was there with my professor at the time. I was so nervous, but I’m so honored to know you. I’m so honored to have loved you from afar and now get the chance to love you up close and honor you and appreciate you and shower you just as you have showered me.

If you were going to do one song together at the Grammys, what would you want to do?

Joy: “I Wish I Knew How it Would Feel to be Free,” [Nina Simone].

Bridgewater: That’s in my repertoire. I do that. That would be a great one, Samara. I’m on board. We would tear it up.

The U.S. Department of Education has given San José State 10 days to comply with a list of demands after finding that the university violated Title IX concerning a transgender volleyball player in 2024.

A federal investigation was launched into San José State a year ago after controversy over a transgender player marred the 2024 volleyball season. Four Mountain West Conference teams — Boise State, Wyoming, Utah State and Nevada-Reno — each chose to forfeit or cancel two conference matches to San José State. Boise State also forfeited its conference tournament semifinal match to the Spartans.

The transgender player, Blaire Fleming, was on the San José State roster for three seasons after transferring from Coastal Carolina, although opponents protested the player’s participation only in 2024.

In a news release Wednesday, the Education Department warned that San José State risks “imminent enforcement action” if it doesn’t voluntarily resolve the violations by taking the following actions, not all of which pertain solely to sports:

1) Issue a public statement that SJSU will adopt biology-based definitions of the words “male” and “female” and acknowledge that the sex of a human — male or female — is unchangeable.

2) Specify that SJSU will follow Title IX by separating sports and intimate facilities based on biological sex.

3) State that SJSU will not delegate its obligation to comply with Title IX to any external association or entity and will not contract with any entity that discriminates on the basis of sex.

4) Restore to female athletes all individual athletic records and titles misappropriated by male athletes competing in women’s categories, and issue a personalized letter of apology on behalf of SJSU to each female athlete for allowing her participation in athletics to be marred by sex discrimination.

5) Send a personalized apology to every woman who played in SJSU’s women’s indoor volleyball from 2022 to 2024, beach volleyball in 2023, and to any woman on a team that forfeited rather than compete against SJSU while a male student was on the roster — expressing sincere regret for placing female athletes in that position.

“SJSU caused significant harm to female athletes by allowing a male to compete on the women’s volleyball team — creating unfairness in competition, compromising safety, and denying women equal opportunities in athletics, including scholarships and playing time,” Kimberly Richey, Education Department assistant secretary for civil rights, said.

“Even worse, when female athletes spoke out, SJSU retaliated — ignoring sex-discrimination claims while subjecting one female SJSU athlete to a Title IX complaint for allegedly ‘misgendering’ the male athlete competing on a women’s team. This is unacceptable.”

San José State responded with a statement acknowledging that the Education Department had informed the university of its investigation and findings.

“The University is in the process of reviewing the Department’s findings and proposed resolution agreement,” the statement said. “We remain committed to providing a safe, respectful, and inclusive educational environment for all students while complying with applicable laws and regulations.”

In a New York Times profile, Fleming said she learned about transgender identity when she was in eighth grade. “It was a lightbulb moment,” she said. “I felt this huge relief and a weight off my shoulders. It made so much sense.”

With the support of her mother and stepfather, Fleming worked with a therapist and a doctor and started to socially and medically transition, according to the Times. When she joined the high school girls’ volleyball team, her coaches and teammates knew she was transgender and accepted her.

Fleming’s first two years at San José State were uneventful, but in 2024 co-captain Brooke Slusser joined lawsuits against the NCAA, the Mountain West Conference and representatives of San José State after alleging she shared hotel rooms and locker rooms with Fleming without being told she is transgender.

The Education Department also determined that Fleming and a Colorado State player conspired to spike Slusser in the face, although a Mountain West investigation found “insufficient evidence to corroborate the allegations of misconduct.” Slusser was not spiked in the face during the match.

President Trump signed an executive order a year ago designed to ban transgender athletes from competing on girls’ and women’s sports teams. The order stated that educational institutions and athletic associations may not ignore “fundamental biological truths between the two sexes.” The NCAA responded by banning transgender athletes.

The order, titled “Keeping Men Out of Women’s Sports,” gives federal agencies, including the Justice and Education departments, wide latitude to ensure entities that receive federal funding abide by Title IX in alignment with the Trump administration’s view, which interprets a person’s sex as the gender they were assigned at birth.

San José State has been in the federal government’s crosshairs ever since. If the university does not comply voluntarily to the actions listed by the government, it could face a Justice Department lawsuit and risk losing federal funding.

“We will not relent until SJSU is held to account for these abuses and commits to upholding Title IX to protect future athletes from the same indignities,” Richey said.

San José State was found in violation of Title IX in an unrelated case in 2021 and paid $1.6 million to more than a dozen female athletes after the Department of Justice found that the university failed to properly handle the students’ allegations of sexual abuse by a former athletic trainer.

The federal investigation found that San José State did not take adequate action in response to the athletes’ reports and retaliated against two employees who raised repeated concerns about Scott Shaw, the former director of sports medicine. Shaw was sentenced to 24 months in prison for unlawfully touching female student-athletes under the guise of providing medical treatment.

The current findings against San José State came two weeks after federal investigators announced that the California Community College Athletic Assn. and four other state colleges and school districts are the targets of a probe over whether their transgender participation policies violate Title IX.

The investigation targets a California Community College Athletic Assn. rule that allows transgender and nonbinary students to participate on women’s sports teams if the students have completed “at least one calendar year of testosterone suppression.”

Also, the Education Department’s Office of Civil Rights has launched 18 Title IX investigations into school districts across the United States on the heels of the Supreme Court hearing oral arguments on efforts to protect women’s and girls’ sports.

LONDON — The crime was in London, the suspect was Russian and the witness who saw the beating on a video call was in the United States and happened to be the youngest son of President Trump.

Barron Trump called police in the British capital and his intervention more than a year ago led Wednesday to the assault conviction of Matvei Rumiantsev, who admitted he was jealous of his girlfriend’s friendship with Trump.

Trump said he placed a late night FaceTime call to the victim, a woman he met on social media, and was startled when it was answered by a bare-chested man.

“This view lasted maybe one second and I was racing with adrenaline,” Trump told police. “The camera was then flipped to the victim getting hit while crying, stating something in Russian.”

The call was hung up after a few seconds and Trump then phoned London police in a recording in which Trump desperately pleaded for help as the dispatcher insisted he answer basic questions about the victim.

“How do you know her?” the operator asked after a back-and-forth dialog.

“I don’t think these details matter, she’s getting beat up,” Trump said.

“Can you stop being rude and actually answer my questions?” the dispatcher said. “If you want to help the person, you’ll answer my questions clearly and precisely, thank you. So how do you know her?”

Police went to the address on Jan. 18 and arrested Rumiantsev, 22, a receptionist who lived in London.

He was acquitted in Snaresbrook Crown Court of rape and choking the woman on the night Trump called police, and an additional rape and assault alleged in November 2024.

Rumiantsev testified that he was jealous of Trump but that he also felt badly for him because he thought that his girlfriend was leading him on.

Defense lawyer Sasha Wass said that Trump didn’t know the woman had a boyfriend and questioned how much he could have seen in five or seven seconds of video.

Wass said that the woman exploited her ties to Trump to make her boyfriend envious in a “relationship full of dramas.”

Trump, 19, the only child of Donald and Melania Trump, didn’t testify in the case.

Justice Bennathan advised jurors before they began deliberating to treat Barron Trump’s accounts — on the recording of his call to police and his follow-up email to investigators — with caution because he hadn’t been subjected to cross-examination.

“If he had done so, no doubt, he could have been asked about things such as whether he ever got a good view of what happened, whether he actually saw (the woman) being assaulted, or jumped to this conclusion on the basis of her screams,” Bennathan said. “He might also have been asked whether his perception was biased because he was close friends with (her).”

Rumiantsev was also convicted of perverting the course of justice, because he sent the woman a letter from jail asking her to retract her allegations. He’s scheduled to be sentenced on March 27.

Melley writes for the Associated Press.