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  • D’Angelo’s Career-Spanning Playlist: Hits and Hidden Gems

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    With his unmistakable voice, deep-rooted musicianship and devotion to craft over commerce, he helped define the sound of modern R&B.

    This playlist, a mix of his celebrated hits and lesser-known gems, serves as a career-spanning reflection from the smooth grooves of “Brown Sugar” to the urgency of his “Black Messiah” album.


    1994: “U Will Know,” Black Men United (“Jason’s Lyric” soundtrack)

    Before superstardom, D’Angelo united a generation of R&B voices for this empowering ballad from the “Jason’s Lyric” soundtrack.

    The song that started it all. With its warm groove and smoky vocals, “Brown Sugar” introduced D’Angelo as the face of neo-soul, bridging hip-hop rhythms with Marvin Gaye sensuality and Donny Hathaway depth.

    A smooth, confident follow-up that cemented D’Angelo’s sound: lush, live and unbothered by trends. “Lady” became one of his biggest radio hits and a hallmark of 1990s R&B sophistication.

    His reimagining of the Smokey Robinson classic delivered pure soul nostalgia, proving early on that D’Angelo could honor tradition while making it unmistakably his own.


    1995: “Me and Those Dreamin’ Eyes of Mine”

    A fan favorite that captured the youthful, romantic side of D’Angelo’s songwriting.


    1996: “I Found My Smile Again”

    This joyful anthem showcased D’Angelo’s optimism and musical looseness.


    1998: “Nothing Even Matters,” featuring Lauryn Hill and D’Angelo

    A duet for the ages. Paired with Lauryn Hill’s velvet tone, D’Angelo helped craft one of the most enduring love songs of the era.


    1998: “Devil’s Pie”

    The track revealed his darker, more cynical reflections on fame, greed and the industry’s moral trade-offs. A gritty gem of hip-hop soul.


    1999: “Everyday,” featuring Angie Stone and D’Angelo

    Their real-life chemistry translated perfectly in song. Written for Stone’s debut album “Black Diamond,” the track glows with church-born soul and unfiltered sincerity.


    2000: “Untitled (How Does It Feel)”

    The song — and video — that became legend. With its minimalist instrumentation and raw vocal power, “Untitled” made vulnerability sound and look revolutionary.

    An understated masterpiece. Over soft horns and rhythm, D’Angelo channels faith and forgiveness, reaffirming his spiritual side amid the “Voodoo” era’s intensity.


    2006: “Imagine,” featuring Snoop Dogg, D’Angelo and Dr. Dre

    A rare, star-powered collaboration that reinterprets Lennon’s anthem through a West Coast lens, proving D’Angelo’s voice still carries spiritual weight in any setting.


    2006: “So Far to Go,” featuring J Dilla, Common and D’Angelo

    Soul meets spoken word. Over J Dilla’s hypnotic beat, D’Angelo and Common merge love and reflection.


    2008: “Believe,” featuring Q-Tip and D’Angelo

    Two creative minds in conversation. “Believe” blends D’Angelo’s smoky chords with Q-Tip’s reflective lyricism.


    2014: “Really Love,” featuring D’Angelo and The Vanguard

    Lush strings, Spanish guitar and slow-burn sensuality. “Really Love” became the centerpiece of “Black Messiah.” It’s romantic yet restless, earning him a Grammy and a late-career triumph.


    2014: “Back to the Future,” Part I and II featuring D’Angelo and The Vanguard

    D’Angelo wrestles with time, temptation and truth. A meditative track that feels like he’s talking to both his past and future self.


    2014: “Prayer,” featuring D’Angelo and The Vanguard

    A spiritual plea wrapped in funk and distortion. “Prayer” feels both haunted and redemptive. It was a confessional moment in his most mysterious era.


    2014: “Another Life,” featuring D’Angelo and The Vanguard

    A tender closer to “Black Messiah,” the song feels like a love letter from a man who’s lived, lost, and learned. Intimate, dreamy and devastatingly beautiful.


    2024: “I Want You Forever,” featuring D’Angelo, Jay-Z and Jeymes Samuel (“The Book of Clarence” soundtrack)

    A cinematic finale to a storied career. Blending gospel grandeur with modern swagger, it’s D’Angelo’s voice — warm, weary and wise — that anchors the message of devotion and destiny.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • Jamie Foxx, Maxwell, Jill Scott, Flea, Doja Cat and More React to the Death of D’Angelo

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    “I remember hearing your music for the first time… I said to myself damn whoever this is they are anointed… Then when I finally got a chance to see you… Like everyone when they saw the most incredible music video of our time… I was blown away… I thought to myself I have to see this person in concert… I had my chance to see you at the house of blues… You came out and got right down to business… Your voice was silky and flawless… I was graciously envious of your style and your swag…

    That’s why today real tears run down my face … to hear the news that God has taken one of his special creations home… I know God doesn’t make mistakes… But this one hurts like hell… rest up my friend… you will be missed forever… But your music and your impression will be felt for generations to come…. REST IN POWER AND BEAUTIFUL MUSIC….. You are one of one….” — on Instagram.

    “because u were , we are all because.” — the Grammy-Award winning R&B singer said on Instagram.

    “I told you a long time ago — You ain’t gon understand everything & everything ain’t meant 4 U, nor I, to understand. I never met D’Angelo but I love him, respect him, admire his gift. This loss HURTS!! Love to my family that are family to him. I’m so sorry. R.I.P. GENIUS.” — on X.

    “One of my all time favorites whose records I went to again and again. Noone did anything funkier over the last 30 years. I never knew him but humbled myself before his music. What a rare and beautiful voice and an inimitable approach to songwriting. What a musician!!! He changed the course of popular music. Fly free with the angels D’angelo, we will listen to you forever and always be moved. I drop to my knees and pray.” — the co-founder and bassist of the Red Hot Chili Peppers said on Instagram.

    “Danggit! Say it ain’t so, but we just lost a friend, a creator & legend, D’Angelo! Prayer’s going out to his family & friends! We all lolve u lil-brother. R.I.P…” — the bassist, singer, and songwriter known for his work with James Brown and as a member of the Parliament-Funkadelic collective, on X.

    “Rest in peace D’angelo. My thoughts, love and prayers go out to his family and friends. A true voice of soul and inspiration to many brilliant artists of our generation and generations to come.” — the singer, rapper and pop performer, on X.

    “Omg! This is so sad! I knew he was fighting for some time too. But man, this is so sad. At great artist-Gone too soon. My sympathies to his loved ones and family. #RIP D’Angelo” — the actor, on X.

    “Such a sad loss to the passing of D’angelo. We have so many great times. Gonna miss you so much. Sleep Peacefully D’. Love You KING.” — the legendary DJ and hip-hop producer, on X.

    “I can’t think of a musician other than Prince that I revere more. He is one of the great players and bandleaders. I was always inspired by the fact that he also struggled. And we all knew that. We don’t get artists like this often. He really touched my life, and I was sure one day I’d get to see him play. I can’t believe he died so young. I’m very sad. I love that he grew into something new from his past life. — the acclaimed indie musician said on Instagram.

    “I am sitting in this airport, in tears. The greatest soul musician, of a generation. Is gone. Michael Archer, I love you, man…. Rest in Power to The Great. D’Angelo…. I am broken…..” — the record producer, on Instagram.

    “We lost a GIANT today. The last time I shed tears for an artist when they transitioned was Prince… I shed some today. Rest In Eternal Power, Michael D’Angelo Archer.” — the R&B songwriter, on Instagram.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • Alec and Stephen Baldwin Escape Injury After Their Vehicle Hits a Tree in New York

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    EAST HAMPTON, N.Y. (AP) — Alec Baldwin and his younger brother Stephen escaped injury when their vehicle struck a tree in New York.

    In a video posted to Instagram late Monday, Alec Baldwin said he was driving his wife’s Range Rover in East Hampton on Monday when he was cut off by a garbage truck “the size of a whale.” The 67-year-old actor and his 59-year-old brother and fellow actor were in the vehicle on their way back from attending the Hamptons International Film Festival, where Alec Baldwin serves as co-chair of the Executive Committee.

    Alec Baldwin said that neither he nor his brother were injured, but the vehicle they were in had extensive damage. The elder Baldwin also thanked East Hampton police for their response to and handling of the crash. No other injuries were reported in the accident.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • Toby Talbot, Leading Patron of Art House Film, Dies at 96, Report Says

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    NEW YORK (AP) — Toby Talbot, a great patron of art house cinema who with her husband, Dan, helped introduce movie lovers to celebrated works from Jean-Luc Godard,Pedro Almodóvar and hundreds of other international filmmakers and to American favorites old and new, has died at age 96.

    Talbot died Sept. 15 at her home in Manhattan, The New York Times reported Monday. The cause was complications from Guillain-Barré syndrome, an autoimmune disease.

    The Talbots, through their distribution company, New Yorker Films, and such prominent Manhattan theaters as The New Yorker and Lincoln Plaza Cinemas, were a prolific force behind the transformation of movies in the 1960s and ’70s from popular entertainment to an art form regarded with the seriousness of literature or painting. Martin Scorsese, Pauline Kael, Wim Wenders and Susan Sontag were among their many friends and customers, turning up for the latest Godard release, a documentary about Sen. Joseph McCarthy or a double feature of Cary Grant movies.

    “The New Yorker was a very special place. It was a place of communion, where the customers, the owners, the programmers, and the filmmakers seemed to be part of the same family,” Scorsese wrote in the foreword to Toby Talbot’s memoir, “The New Yorker Theater,” which came out in 2009. “Dan and Toby were right there on the front lines, showing films … distributing films, sticking their neck out on pictures by Godard and Bertolucci and Fassbinder and Straub and Huillet and Oshima and Sembene.”

    The New Yorker theater had a special role in movie history, as the setting for a classic scene from Woody Allen’s “Annie Hall”: While Allen and Diane Keaton wait on line in the lobby, they overhear a fellow moviegoer’s pedantic thoughts on the Canadian philosopher-media theorist Marshall McLuhan, who turns up in a cameo to rebuke the man.

    For foreign language directors or for such contemporary American filmmakers as Allen or Jim Jarmusch who depended on the art house market, support from the Talbots was essential. The feature releases they championed were a template for cinephiles: Satyajit Ray’s “Pather Panchali” and Jarmusch’s “Stranger Than Paradise,” Yasujiro Ozu’s “Late Spring” and Werner Herzog’s “Aguirre, the Wrath of God.” The Talbots also helped inspire a reevaluation of Hollywood’s past, with retrospectives of Preston Sturges, Humphrey Bogart and Buster Keaton among others.


    The Talbots’ art house dreams started in a car

    Toby Talbot was born Toby Tolpen, a native New Yorker who met her future husband in 1949, went to the movies with him on dates and married him the following year. (They had three children). In the 1950s, Dan Talbot worked as an editor at Gold Medal Books among other jobs and Toby Talbot was an editor and translator.

    Their art house years began spontaneously, on a road trip. The Talbots had been thinking about opening a book store in New Hampshire, but while driving north to look for possible locations they found themselves talking about the movies they loved. Soon after, Toby Talbot’s sister and brother-in-law mentioned that their accountant wanted to buy a theater on Manhattan’s Upper West Side. The Talbots convinced him to let them run it, on the condition that after a year they would have turned a profit.

    The New Yorker Theater opened in March 1960, starting with Laurence Olivier’s “Henry V” and the French release “The Red Balloon.” The theater was a hit with critics and the general public, who loved not just the blend of foreign and American movies, but the New Yorker’s decorative touches, whether the mural designed by Jules Feiffer or the wall of black and white photos of Greta Garbo, Gloria Swanson and other stars. One summer night, Swanson herself emerged from a white limousine and headed inside for a showing of her most famous movie, “Sunset Boulevard,” while pausing first to look at the gallery of pictures.

    “She lit up on finding herself in that stellar company and promptly checked her aging self on the mirrored wall, still angling for the best profile,” Talbot wrote in her memoir.

    From The New Yorker, the Talbots expanded into bookselling, film distribution and additional venues. They opened a short-lived New Yorker bookstore and theaters on Manhattan’s Upper East Side and Upper West Side. In 1964, the Talbots were so impressed by a New York Film Festival screening of “Before the Revolution,” Bernard Bertolucci’s debut feature, they launched New Yorker Films so they could release it themselves.

    Over the next 40 years, they acquired hundreds of films, from Senegalese director Ousmane Sembene’s “Black Girl” to Federico Fellini’s “City of Women.” Some releases enjoyed commercial success, such as the Wallace Shawn-Andre Gregory collaboration “My Dinner With Andre” and the Japanese comedy “Tampopo.” Others set off broader discussions, notably Claude Lanzmann’s epic Holocaust documentary, “Shoah,” which the Talbots premiered in the U.S. in 1985.

    As the Talbots aged, the competition increased and the appeal of foreign films declined; their business holdings also contracted. The New Yorker theater closed in 1973 and they shut down New Yorker Films in 2009 (it was reopened later under new ownership). More recently, they ran just one theater, the six-screen Lincoln Plaza Cinemas. Dan Talbot died in 2017, just days after the building’s landlords declined to renew the lease for Lincoln Plaza.

    “A movie house is not just a structure of brick and stone,” Toby Talbot wrote in her memoir. “It is a chamber where images captured in a much smaller one (the camera) survive on a screen. Movie scenes and images haunt my mental landscape with the fore of real life and dreams. Unbeckoned they surface.”

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • New York Times, AP, Newsmax Among News Outlets Who Say They Won’t Sign New Pentagon Rules

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    News organizations including The New York Times, The Associated Press and the conservative Newsmax television network said Monday they will not sign a Defense Department document about its new press rules, making it likely the Trump administration will evict their reporters from the Pentagon.

    Those outlets say the policy threatens to punish them for routine news gathering protected by the First Amendment. The Washington Post and The Atlantic on Monday also publicly joined the group that says it will not be signing.

    Defense Secretary Pete Hegseth reacted by posting the Times’ statement on X and adding a hand-waving emoji. His team has said that reporters who don’t acknowledge the policy in writing by Tuesday must turn in badges admitting them to the Pentagon and clear out their workspaces the next day.

    The new rules bar journalist access to large swaths of the Pentagon without an escort and say Hegseth can revoke press access to reporters who ask anyone in the Defense Department for information — classified or otherwise — that he has not approved for release.

    Newsmax, whose on-air journalists are generally supportive of President Donald Trump’s administration, said that “we believe the requirements are unnecessary and onerous and hope that the Pentagon will review the matter further.”

    Chief Pentagon spokesman Sean Parnell said the rules establish “common sense media procedures.”

    “The policy does not ask for them to agree, just to acknowledge that they understand what our policy is,” Parnell said. “This has caused reporters to have a full blown meltdown, crying victim online. We stand by our policy because it’s what’s best for our troops and the national security of this country.”

    Hegseth also reposted a question from a follower who asked, “Is this because they can’t roam the Pentagon freely? Do they believe they deserve unrestricted access to a highly classified military installation under the First Amendment?”

    Hegseth answered, “yes.” Reporters say neither of those assertions is true.

    Pentagon reporters say signing the statement amounts to admitting that reporting any information that hasn’t been government-approved is harming national security. “That’s simply not true,” said David Schulz, director of Yale University’s Media Freedom & Information Access Clinic.

    Journalists have said they’ve long worn badges and don’t access classified areas, nor do they report information that risks putting any Americans in harm’s way.

    “The Pentagon certainly has the right to make its own policies, within the constraints of the law,” the Pentagon Press Association said in a statement on Monday. “There is no need or justification, however, for it to require reporters to affirm their understanding of vague, likely unconstitutional policies as a precondition to reporting from Pentagon facilities.”

    Noting that taxpayers pay nearly $1 trillion annually to the U.S. military, Times Washington bureau chief Richard Stevenson said “the public has a right to know how the government and military are operating.”

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • Nobel Laureate Philippe Aghion Says Creative Upbringing Shaped His Vision of Innovation and Freedom

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    PARIS (AP) — France’s Nobel economics laureate Philippe Aghion reflected Monday on the creative roots that shaped his award-winning ideas about innovation and growth.

    Aghion paid homage to his family lineage, particularly his mother, Gaby Aghion, who founded the fashion house Chloé, after he was awarded the Nobel memorial prize in economics on Monday. The 69-year-old economics professor’s mother was credited with pioneering Parisian ready-to-wear as a freer, more feminine alternative to haute couture.

    ““I grew up with innovators. I mean, she (my mother) invented luxury ready-to-wear,” Aghion said in an exclusive interview with The Associated Press from his apartment in Paris’ Latin Quarter. He shared this year’s prize with Joel Mokyr of Northwestern University and Peter Howitt of Brown University for research that redefined how technological change drives prosperity.

    Nearby, a table piled with books on art and liberty reflected the world that continues to inspire his pursuit of economic freedom.

    “Before, there was all haute couture but luxury ready-to-wear didn’t exist,” Aghion said. “So in fact, with Chloé, she invented that. She had a vision of how women should be free and she should not change clothes four times a day. She had a vision of free, of emancipated women.”

    Aghion recalled a childhood surrounded by artists — including designer Karl Lagerfeld, who “used to do my homework in German.”

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • ‘Tron: Ares’ Tops Box Office but Falls Short of Expectations With $33.5 Million Debut

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    LOS ANGELES (AP) — “Tron: Ares” powered up the box office grid in the top spot this weekend, but Disney’s third entry in the sci-fi franchise fell short of expectations.

    Despite some favorable reviews — including a three-out-of-four-star one from The Associated Press — the new “Tron” film starring Jared Leto, Greta Lee and Jeff Bridges earned $33.5 million, according to Comscore estimates on Sunday. The big-budget project, reported to cost around $150 million, arrived 15 years after “Tron: Legacy” opened to $44 million before grossing more than $400 million globally.

    The latest chapter follows a battle between two powerful technology firms, Emcom and Dillinger, who face off against the same artificial intelligence barrier. Both can generate physical creations using laser-based 3D printers — but each creation lasts only 29 minutes before collapsing into ash.

    “Tron: Ares” was packed with action and nostalgia, but it wasn’t enough to draw big numbers across more than 4,000 theaters.

    “It’s been tough for that franchise to gain traction for it to become a big mega franchise,” said Paul Dergarabedian, the senior media analyst for Comscore. He noted that the original “Tron” movie in 1982 initially struggled at the box office, but it ultimately grew a cult following.

    Dergarabedian said the international numbers could play a key role toward the film’s profitability.

    “It still topped the box office,” he said. “It picked a solid release date. All eyes are on a big Disney film that is a huge brand, known and has been around for decades.”

    It wasn’t the only new release that struggled to connect.

    “Roofman,” which starred Channing Tatum and Kirsten Dunst in the blue-collar dramedy about a construction worker trying to rebuild his life, opened in second place with a modest $8 million debut.

    Paul Thomas Anderson’s “One Battle After Another” came in third with $6.6 million. “ Gabby’s Dollhouse: The Movie” held steady in fourth place with $3.3 million. The Netflix and DreamWorks family release — based on the popular preschool series — continues to perform well with younger audiences in its third weekend.

    In fifth, “Soul on Fire” debuted with $3 million. The faith-based drama tells the true story of burn survivor and motivational speaker John O’Leary, featuring performances from Joel Courtney, William H. Macy and John Corbett.

    After a couple big weekends last month, the box office has taken a hit in October — a month that Dergarabedian calls a bridge month between summer and holiday movie seasons. He said this month is perfect for films like “The Smashing Machine” and “After the Hunt,” which releases Oct. 17, to shine in their own way.

    “If you’re a movie fan, particularly in the indie, art house, award season types of film, this is a great month,” he said. “Moviegoers should embrace the eclectic offerings out there on the big screen.”


    Top 10 movies by domestic box office

    With final domestic figures being released Monday, this list factors in the estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore:

    1. “Tron: Ares” $33.5 million

    2. “Roofman,” $8 million.

    3. “One Battle After Another,” $6.6 million.

    4. “Gabby’s Dollhouse: The Movie,” $3.3 million.

    5. “Soul on Fire,” $3 million.

    6. “The Conjuring: Last Rites,” $2.9 million.

    7. “Demon Slayer: Kimetsu no Yaiba – Infinity Castle,” $2.2 million.

    8. “The Smashing Machine,” $1.7 million.

    9. “The Strangers: Chapter 2,” $1.5 million.

    10. “Good Boy,” $1.3 million.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • From ‘Annie Hall’ to ‘Something’s Gotta Give,’ 6 Great Diane Keaton Films and Where to Watch Them

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    Diane Keaton never really played the part of glamorous movie star. She was in iconic films and she dated some of the biggest stars of her generation, and yet she somehow remained other and defiantly herself despite so many years working in the Hollywood system. Eccentric and approachable, with a sort of effervescent charm, it’s no surprise that she played muse to so many, from Woody Allen to Nancy Meyers.

    People often describe her as self-deprecating, as if it was a choice and not a product of deep-seated insecurity. Keaton was someone who thought herself ugly, who battled eating disorders and who never seemed to give herself enough credit for her successes. But she was also able to channel that into her performances spanning five decades unlike none other.

    There are so many Keaton films worth noting, including her full run with Allen. There are the Instagram favorites like “The First Wives Club” (available to rent), nostalgic classics like “Father of the Bride” (streaming on Hulu) and dramatic turns in “Marvin’s Room” (streaming on Kanopy) and “Shoot the Moon” (available to rent).

    Here are six essential roles to get you started.


    “The Godfather” (1972)

    Kay Adams, the future Mrs. Corleone, could have been a wallpaper role. But Keaton, in her breakout role, held the screen next to her flashier counterparts. She was the wife who had something going on behind her eyes, who could hold the screen in the chilling final shot of the first film. Social media doesn’t often produce anything worthwhile but in 2023 Francis Ford Coppola and Keaton had an exchange on an Instagram story “ask me anything” session. She wondered why he’d picked her.

    “I chose you, because although you were to play the more straight/vanilla wife, there was something more about you, deeper, funnier, and very interesting. (I was right),” Coppola wrote.

    WHERE TO WATCH: Available to rent on various platforms including Prime Video.

    “La-dee-da, la-dee-da” where to even begin with “Annie Hall?” It is the quintessential Keaton role, a love-letter to her quirks, eccentricities, insecurities and charm all wrapped up in this fictional tie-wearing WASP from Chippewa Falls.

    Allen encouraged her to wear what she wanted to wear, and so she assembled her iconic outfit — khaki pants, vest, tie — from “cool-looking women on the streets of New York.” The hat was lifted from actor Aurore Clement.

    “No one had any serious expectations. We were just having a good time moving through New York’s landmark locations,” she wrote in her memoir. “As always, Woody concerned himself with worries about the script. Was it too much like an episode of ‘The Mary Tyler Moore Show’? I told him he was nuts. Relax.”

    WHERE TO WATCH: Streaming on Fubo TV.


    “Looking for Mr. Goodbar” (1977)

    Keaton’s OTHER great film from 1977 drifted into cult classic status as it wasn’t released on home video or DVD and has only recently been made available on digital platforms. The part of Theresa Dunn makes Annie Hall look like a nun. With her Catholic upbringing and “good girl” job teaching deaf children by day, at night Theresa cruises bars looking for men to hook up with — the more dangerous (like Richard Gere’s character) the better.

    WHERE TO WATCH: Available to rent on various platforms.

    Warren Beatty directed, produced, co-wrote and starred in this historical epic about the journalists documenting the Bolshevik Revolution alongside Keaton, playing journalist and activist Louise Bryant. They were dating by the time they started making the film and their relationship curdled during production.

    “Everyone knew I didn’t take well to Warren’s direction,” she wrote in her memoir. “It was impossible to work with a perfectionist who shot 40 takes per setup. Sometimes it felt like I was being stun-gunned. Even now I can’t say my performance is my own. It was more like a reaction to Warren — that’s what it was: a response to the effect of Warren Beatty.”

    WHERE TO WATCH: Streaming on Kanopy.

    In this comedy from Charles Shyer and Nancy Meyers, Keaton plays a Manhattan yuppie who unexpectedly inherits a 14-month-old and begins to reassess her life, eventually moving to Vermont where she meets a veterinarian played by peak handsome Sam Shepard. An ahead-of-its-time commentary on the have-it-all discourse of the next 30 years, Roger Ebert wrote at the time that “’Baby Boom’ makes no effort to show us real life. It is a fantasy about mothers and babies and sweetness and love, with just enough wicked comedy to give it an edge.”

    WHERE TO WATCH: Available to rent on various platforms.


    “Something’s Gotta Give” (2003)

    Oh Erica Barry and her fabulous Hamptons home and ivory turtleneck sweaters. This was purely the brainchild of Meyers, the writer-director who had the glorious idea to make a 50-something woman the object of desire in a mainstream romantic comedy. Keaton plays this brilliant playwright who catches the eye of both an older playboy (Jack Nicholson) with a proclivity for much younger women and a young, handsome doctor (Keanu Reeves). Keaton has called it her favorite movie, in part because she got to kiss Nicholson (who she had acted alongside before, in “Reds”) “because it was so unexpected at age 57.”

    WHERE TO WATCH: Available to rent on various platforms.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • Steve Martin and Bette Midler Are Among Stars Paying Tribute to Diane Keaton

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    Oscar winning actor Diane Keaton, who died at 79, was known for her performances and style that helped shaped some of the most indelible films of all time, including “The Godfather,” “Annie Hall,” “Father of the Bride” and “Something’s Gotta Give.”

    She was beloved by fans and fellow actors, many of whom paid tribute Saturday after news of Keaton’s death broke. They included co-stars such as Bette Midler, Mandy Moore and Steve Martin, who shared an excerpt of an interview with Keaton and Martin Short that he said “sums up our delightful relationship with Diane.”

    Here is a roundup of some notable reaction to Keaton’s death and legacy:

    “She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star. What you saw was who she was … oh, la, lala!” — On Instagram. Middler co-starred with Keaton in “The First Wives Club.”


    Kimberly Williams-Paisley

    “Diane, working with you will always be one of the highlights of my life. You are one of a kind, and it was thrilling to be in your orbit for a time. Thank you for your kindness, your generosity, your talent, and above all, your laughter.” — On Instagram. Williams-Paisley played Keaton’s daughter in the “Father of the Bride” films.

    “Loved!” — On the social platform X. Martin, who co-starred with Keaton in “Father of the Bride,” also posted on Instagram an interview exchange in which Short asked Keaton who was sexier, him or Martin. Keaton’s response: “I mean, you’re both idiots.”

    “When I was a kid, Diane Keaton was my absolute idol. I loved her acting. I loved her vibe. I loved her everything.” — On Instagram. Nixon also recalled working with Keaton on the film “Five Flights Up” as a “dream come true.”

    “They say don’t meet your heros but I got to work with one of mine and even call her ‘mom’ for a few months. An honor of a lifetime. What an incandescent human Di is and was.” — On Instagram. Moore starred opposite Keaton in the 2007 film “Because I Said So.”

    “Thank you, Diane, for reminding us that authenticity never goes out of fashion.” — On Instagram.

    “One of the greatest film actors ever. An icon of style, humor and comedy. Brilliant. What a person.” — On X.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • Reports: Diane Keaton, Oscar-Winning Star of ‘Annie Hall’ and ‘The Godfather,’ Dies at 79

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    LOS ANGELES (AP) — Diane Keaton, the Oscar-winning star of ‘Annie Hall,’ ‘The Godfather’ films and ‘Father of the Bride,’ whose quirky, vibrant manner and depth made her one of the most singular actors of a generation, has died. She was 79.

    People Magazine reported Saturday that she died in California with loved ones, citing a family spokesperson. No other details were immediately available, and representatives for Keaton did not immediately respond to inquiries from The Associated Press.

    The unexpected news was met with shock around the world. Keaton was the kind of actor who helped make films iconic and timeless, from her “La-dee-da, la-dee-da” phrasing as Annie Hall, bedecked in that necktie, bowler hat, vest and khakis, to her heartbreaking turn as Kay Adams, the woman unfortunate enough to join the Corleone family.

    Her star-making performances in the 1970s, many of which were in Woody Allen films, were not a flash in the pan either, and she would continue to charm new generations for decades thanks in part to a longstanding collaboration with filmmaker Nancy Meyers.

    She played a businesswoman who unexpectedly inherits an infant in “Baby Boom,” the mother of the bride in the beloved remake of “Father of the Bride,” a newly single woman in “First Wives Club,” and a divorced playwright who gets involved with Jack Nicholson’s music executive in “Something’s Gotta Give.”

    Keaton won her first Oscar for “Annie Hall” and would go on to be nominated three more times, for “Reds,” “Marvin’s Room” and “Something’s Gotta Give.”

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  • Two Jurors Claim They Were Bullied Into Convicting Harvey Weinstein and Regret It, His Lawyers Say

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    NEW YORK (AP) — Two jurors who voted in June to convict Harvey Weinstein of sexual assault said they regret the decision and only did so because others on the panel bullied them, the former movie mogul’s lawyers said in a newly public court filing.

    Weinstein’s lawyers are seeking to overturn his conviction for first-degree criminal sex act, arguing in papers unsealed Thursday that the guilty verdict was marred by “threats, intimidation, and extraneous bias,” and that the judge failed to properly deal with it at the time.

    In sworn affidavits included with the filing, two jurors said they felt overwhelmed and intimidated by jurors who wanted to convict Weinstein on the charge, which accused him of forcing oral sex on TV and film production assistant and producer Miriam Haley in 2006.

    One juror said she was screamed at in the jury room and told, “we have to get rid of you.” The other juror said anyone who doubted Weinstein’s guilt was grilled by other jurors and that if he could have voted by secret ballot, “I would have returned a not guilty verdict on all three charges.”

    “I regret the verdict,” that juror said. “Without the intimidation from other jurors, I believe that the jury would have hung on the Miriam Haley charge.”

    Weinstein, 73, was acquitted on a second criminal sex act charge involving a different woman, Polish psychotherapist and former model Kaja Sokola. The judge declared a mistrial on the final charge, alleging Weinstein raped former actor Jessica Mann, after the jury foreperson declined to deliberate further.

    It was the second time the Oscar-winning producer was tried on some of the charges. His 2020 conviction, a watershed moment for the # MeToo movement, was overturned last year. Now his defense team, led by attorney Arthur Aidala, is fighting to eliminate his retrial conviction and head off another retrial on the undecided count.

    Judge Curtis Farber gave Manhattan prosecutors until Nov. 10 to conduct its own investigation and file a written response before he rules on Dec. 22. That means a decision and a possible retrial or sentencing won’t come until after Manhattan District Attorney Alvin Bragg is up for reelection on Nov. 4.


    Jurors said they feared for their safety

    In the affidavits, which blacked out juror names and identifying numbers, the two jurors said they feared for their safety and the foreperson’s safety. They said that when the foreperson asked for civility, another juror got in his face, pointed a finger and told him: “You don’t know me. I’ll catch you outside.”

    One of the jurors said deliberations were poisoned by a belief among some jurors that a member of the panel had been paid off by Weinstein or his lawyers. That claim, which has not been supported by any evidence, shifted the jury of seven women and five men “from an even 6-6 spit to a sudden unanimous verdict,” the juror said.

    Some of what was said in the affidavits echoed acrimony that spilled into public view during deliberations. As jurors weighed charges for five days, one juror asked to be excused because he felt another was being treated unfairly.

    After the jury returned a verdict on two of the three charges, Farber asked the foreperson whether he was willing to deliberate further. The man said no, triggering a mistrial on the rape count.

    After the trial, two jurors disputed the foreperson’s account. One said no one mistreated him. The other said deliberations were contentious, but respectful.


    Jurors spoke with the judge

    When jurors came forward with concerns, Farber was strict about respecting the sanctity of deliberations and cautioned them not to discuss the content or tenor of jury room discussions, transcripts show. In their affidavits, the two jurors said they didn’t feel the judge was willing to listen to their concerns.

    When jurors were asked if they agreed with the guilty verdict, one of the jurors noted in her affidavit that she paused “to try and indicate my discomfort in the verdict.” Afterward, when Farber spoke with jurors, she said she told him “the deliberations were unprofessional.”

    Weinstein denies all the charges. The first-degree criminal sex act conviction carries the potential for up to 25 years in prison, while the unresolved third-degree rape charge is punishable by up to four years — less than he already has served.

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  • The Nobel Prize in Literature Will Be Announced on Thursday

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    The literature prize has been awarded by the Nobel committee of the Swedish Academy 117 times to a total of 121 winners. Last year’s prize was won by South Korean author Han Kang for her body of work that the committee said “confronts historical traumas and exposes the fragility of human life.”

    The literature prize is the fourth to be announced this week, following the 2025 Nobels in medicine, physics and chemistry.

    The winner of the Nobel Peace Prize will be announced on Friday. U.S. President Donald Trump is considered a long shot despite recently telling United Nations delegates “everyone says that I should get the Nobel Peace Prize.”

    The final Nobel, the Nobel Memorial Prize in Economic Sciences, is to be announced on Monday.

    Nobel Prize award ceremonies are held on Dec. 10, the anniversary of Alfred Nobel’s death in 1896. Nobel was a wealthy Swedish industrialist and the inventor of dynamite who founded the prizes.

    Each prize carries an award of 11 million Swedish kronor (nearly $1.2 million), and the winners also receive an 18-carat gold medal and a diploma.

    Corder reported from The Hague, Netherlands.

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  • Kirkus Prize Winners Include a Novel on Identity, a History of Iran and an Ode to Belly Buttons

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    NEW YORK (AP) — A novel about identity and a missing youth, a history of the overthrow of the Shah of Iran and a picture book celebrating the underappreciated belly button are this year’s winners of the Kirkus Prize, which includes a $50,000 cash award for each of the three categories.

    Lucas Schaefer’s “The Slip,” which follows a man’s search for a nephew who disappeared years earlier, won for fiction, while the award for nonfiction was given to Scott Anderson’s “King of Kings: The Iranian Revolution: A Story of Hubris, Delusion and Catastrophic Miscalculation.” The winner for young readers’ literature was Thao Lam’s “Everybelly,” a poolside view of belly buttons and the stories they tell.

    Established in 2014, the prizes are overseen by the trade publication Kirkus Reviews.

    “This year’s Kirkus Prize winners bring us vital messages for our time — messages about the joys of community, the power of self-transformation, and the mutability of historical events — all conveyed through exhilarating prose and pictures,” Kirkus Editor-in-Chief Tom Beer said in a statement Wednesday.

    Finalists included Angela Flournoy’s novel “The Wilderness”; Nicholas Boggs’ biography of James Baldwin, “Baldwin: A Love Story”; and Arundhati Roy’s memoir, “Mother Mary Comes to Me.”

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  • Dolly Parton Responds to Concerns About Her Health: ‘I’m Not Dying’

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    NEW YORK (AP) — Dolly Parton “ain’t dead yet,” the country superstar said on social media Wednesday following public speculation about her health.

    “There are just a lot of rumors flying around. But I figured if you heard it from me, you’d know that I was okay,” the 79-year-old singer said in a new two-minute video posted on Instagram. “I’m not ready to die yet. I don’t think God is through with me. And I ain’t done working.”

    Her post, which appeared on numerous of Parton’s social media accounts and her website, was captioned, “I ain’t dead yet.”

    She was scheduled to perform six shows at The Colosseum at Caesars Palace for “Dolly: Live in Las Vegas” between Dec. 4 and Dec. 13, overlapping with the National Finals Rodeo. Her dates have been moved to next year — Sept. 2026.

    She did not provide specific details at the time, writing, “As many of you know, I have been dealing with some health challenges, and my doctors tell me that I must have a few procedures. As I joked with them, it must be time for my 100,000-mile check-up, although it’s not the usual trip to see my plastic surgeon!”

    In the new video clip shared Wednesday, Parton is seen sitting on a set speaking directly to camera, telling her audience that she’s about to record a few commercials for the Grand Ole Opry, which is celebrating its 100th anniversary this year.

    “Everyone thinks that I am sicker than I am. Do I look sick to you? I’m working hard here! Anyway, I wanted to put everybody’s mind at ease, those of you who seem to be real concerned, which I appreciate,” she continued. “And I appreciate your prayers because I’m a person of faith. I can always use the prayers for anything and everything.”

    On Tuesday, a Facebook posted shared by her sister Freida Parton escalated concerns around Parton’s health when she wrote that she had been “up all night praying for my sister, Dolly.” Hours later, Freida Parton followed up with another post.

    “I want to clear something up. I didn’t mean to scare anyone or make it sound so serious when asking for prayers for Dolly,” she wrote. “She’s been a little under the weather, and I simply asked for prayers because I believe so strongly in the power of prayer.”

    “I want you to know that I’m OK. I’ve got some problems as I’ve mentioned. Back when my husband Carl was very sick, that was for a long time, and then when he passed, I didn’t take care of myself. So I let a lot of things go that I should’ve been taking care of,” she said. “So anyway, when I got around to it, the doctor said ‘We need to take care of this. We need to take care of that.’ Nothing major but I did have to cancel some things so I could be closer to home, closer to Vanderbilt, where I’m kind of having a few treatments here and there.”

    And in true Parton fashion, she ended with a joke. “But I wanted you to know that I’m not dying. Did you see that AI picture of Reba (McEntire) and me, oh Lordy! I mean, they had Reba at my death bed, and we both look like we need to be buried,” she laughed.

    “If I was really dying, I don’t think Reba would be the one at my death bed. She might come visit me earlier.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

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  • British Author Jilly Cooper, Known for Novels ‘Rivals’ and ‘Riders’, Has Died at 88

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    LONDON (AP) — British author Jilly Cooper, known for her many bestselling novels including “Rivals” and “Riders,” has died at age 88, her agent said Monday.

    A statement from her family said that the author’s “unexpected death has come as a complete shock.”

    “The privilege of my career has been working with a woman who has defined culture, writing and conversation since she was first published over fifty years ago,” her agent, Felicity Blunt, said in a statement.

    “Jilly will undoubtedly be best remembered for her chart-topping series The Rutshire Chronicles and its havoc-making and handsome show-jumping hero Rupert Campbell-Black.”

    Cooper’s many fans included former British Prime Minister Rishi Sunak, who said the books offered “escapism.”

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  • Chloe Says It With Printed Flowers in Paris Show

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    PARIS (AP) — Chemena Kamali said it with flower prints. A good old-style collection that set a few themes on the table and spent the rest of the Paris Fashion Week Sunday show refining them — proof that focus can still feel new.

    Kamali, now in her third stint at Chloé, knows the house from the inside. German-born like Karl Lagerfeld, she worked here under both Phoebe Philo and Clare Waight Keller before returning as creative director last year.

    Chloé was founded in 1952 by Gaby Aghion and is widely credited with inventing Parisian ready-to-wear — a freer, more feminine alternative to couture. Kamali’s vision taps that core: the romantic lightness and movement Aghion set in motion; Lagerfeld’s ’70s capes and lace; the 2000s “Chloé girl” ease; flashes of Stella McCartney’s wit. The project remains clothes by women, for women — “intuitive” dressing that evolves like life itself.


    Prints, pastels and fabulous dropped hems

    The prints weren’t just pretty; they set the tempo. Then the silhouette widened: a trapeze line in pearlized yellow, coats and skirts layered, knotted, and lightly gleaming — surface alive, structure calm. Color and the clean flash of leg kept the message Chloé: feminine without fuss.

    One pastel look crystallized the mood — draped, ruched, pleated — its ’80s maxi-shoulders and dropped waist drawing a long, confident line.

    The dropped hem returned in a gray coatdress with quiet authority. A tan coat-skirt, waist cinched, hovered between coat and dress and didn’t need to choose. Frills and belts threaded through like a house refrain.

    The references were tuned rather than shouted: Lagerfeld’s ’70s fluidity, the 2000s “Chloé girl,” a measured dose of ’80s structure to ground the float. It read as memory put to work.

    A caution remains. When shoulders harden and outerwear gains weight, Chloé’s natural freshness can dim. Here, that heft mostly served the line, though a couple of exits pressed the limit.

    Still, the sum was clear and persuasive: romance with discipline, past speaking to present, ideas carried through instead of piled on. Chloé, steadying its rhythm — and selling the feeling as much as the clothes.

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  • Oktoberfest Ends Sunday With the Traditional Bavarian Salute

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    MUNICH (AP) — The 190th Oktoberfest came to a close Sunday, wrapping up the world’s largest folk festival with the traditional Bavarian marksmen’s gun salute in Munich.

    Schwarzenegger, dressed in a traditional Bavarian-style leather jacket, a buttoned-down shirt and jeans, was accompanied by his partner, Heather Milligan, and his son, Christopher.

    The fairgrounds were closed for hours Wednesday as police searched the area due to a bomb threat linked to an explosion across town.

    During the initial investigation, a letter written by the suspect and found near the crime scene contained a “non-specific” threat of explosives related to Oktoberfest, Bavaria police previously said.

    Wednesday’s images showed police in fluorescent vests patrolling nearly barren pavements near roller coasters and other rides and attractions. Revelers returned to the fairgrounds Wednesday evening after it was deemed safe.

    Decades ago, Oktoberfest was the target of a deadly neo-Nazi attack. A bombing on Sept. 26, 1980, claimed 12 lives, including three children, plus the attacker, student Gundolf Koehler, a supporter of a banned far-right group. More than 200 people were wounded.

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  • Journalists Work in Dire Conditions to Tell Gaza’s Story, Knowing That Could Make Them Targets

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    BEIRUT (AP) — Minutes after journalists gathered outside a Gaza hospital to survey the damage of an Israeli strike, Ibrahim Qannan pointed his camera up at the battered building as the others climbed its external stairs. Then Qannan watched in horror — while broadcasting live — as a second strike killed the friends and colleagues he knew so well.

    “We live side by side with death,” Qannan, a correspondent for the Cairo-based Al-Ghad TV said in an interview.

    “I still cannot believe that five of our colleagues were struck in front of me on camera and I try to hold up and look strong to carry the message. May no one feel such feelings. They are painful feelings.”

    Like the vast majority of Gaza’s population, most of its journalists have seen their homes destroyed or damaged during the war and have been repeatedly displaced after evacuation orders by Israel’s military. Many have mourned the deaths of family members.

    But journalists and advocates say the trials go well beyond. Every workday, they say, is shadowed by an awareness that covering the news in Gaza makes them singularly visible in the conflict, putting them at extraordinary risk.

    For journalists in Gaza, “it’s about dying or living, escaping violence or not. It’s something we cannot compare (to other wartime journalism) at any level,” said Mohamed Salama, a former reporter in Egypt who is now an academic, researching the life of news workers in the Strip.


    Israel calls strikes ‘a tragic mishap’ but also levels accusations

    After the August strikes, Israeli Prime Minister Benjamin Netanyahu insisted that the military was not deliberately targeting journalists and called the killings a “tragic mishap.” After a preliminary review, the military said the attack had targeted what it believed to be a Hamas surveillance camera and that six of the people killed were militants, but offered no evidence.

    Late last month, the AP and Reuters — which lost a cameraman and a freelancer in the attack on the hospital — demanded that Israel provide a full account of what happened and “take every step to protect those who continue to cover this conflict.” The news organizations issued their statement on the one-month anniversary of the strikes.

    Israeli officials have previously accused some journalists in Gaza of being current or former militants. They include Anas al-Sharif, a well-known correspondent for Al Jazeera who was killed in an early August strike on a media tent outside another Gaza hospital. Four other journalists were also killed in the attack.

    The Israeli military, citing documents it purportedly found in Gaza, as well as other intelligence, had long claimed that al-Sharif was a member of Hamas. He was killed after what press advocates said was an Israeli “smear campaign” stepped up when al-Sharif cried on air over starvation in the territory.

    There is a long, sometimes tragic history of journalists risking personal safety to cover conflicts. But the risks, trials and toll of doing so have never been higher than they are in Gaza right now, experts say.

    Since the war was ignited by the Hamas attack on Israel nearly two years ago, 195 Palestinian media workers have been killed by Israeli forces in Gaza, according to the Committee to Protect Journalists.

    The toll recently prompted Brown University’s Costs of War project to label Gaza a “news graveyard.” Journalist deaths in Gaza have now surpassed the combined number killed during the U.S. Civil War, World Wars I and II, the Vietnam and Korean wars, the war in Yugoslavia that ended in 2001 and the Afghanistan War, the project said in a report issued earlier this year.

    In a separate survey of Gaza news workers last year by Arab Reporters for Investigative Journalism, nine in 10 said their homes had been destroyed in the war. About one in five said they had been injured and about the same number had lost family members. That was before Israel resumed fighting in March after a brief ceasefire.

    One Gaza journalist, Nour Swirki, told the AP in an interview that since her home was destroyed early in the war she has been displaced seven times. Swirki and her husband, who is also a journalist, arranged for their son and daughter to exit Gaza in 2024 and stay with family in Egypt while the couple continued to work.

    “I preferred their safety to my motherhood,” said Swirki, who works for the Saudi-based Asharq News and was a friend of Dagga’s.

    “Death is there (in Gaza) every moment, every second and everywhere,” Swirki said. She is reminded of that reality whenever she skims through photos and videos stored on her phone and is met by the faces and voices of the many colleagues and friends who have been killed in the war.

    “We get afraid and terrified and we work under the harshest conditions,” she said, “but we still stand up and work.”


    Journalists are pressured by violence, hunger

    Qannan, who saw his colleagues killed in the August strike, said Israel’s refusal to let foreign reporters enter Gaza puts tremendous pressure on local journalists, many of whom see their work as a duty to their fellow Palestinians.

    He recounted working without a break since the war’s start, grabbing sleep between live broadcasts. His family has been displaced seven times. Now he and other journalists struggle to find food. In a recent social media post, he and fellow journalists gathered to cook a kilogram (2.2 pounds) of pasta that had cost them the equivalent of $60.

    Yet when he goes on camera, Qannan said he makes an effort to appear strong in hopes of reassuring viewers. In fact, he and others journalists are exhausted and scared, he said.

    Qannan says his fears have increased since he aired video of his colleagues being killed in the hospital attack, because it could draw the attention of the Israeli military. “The situation is terrifying more than the human brain can imagine,” he said. “The fear that we are living and fear of being targeted are worse than is being described.”

    Another Gaza journalist, Mohammed Subeh, said the Israeli strike that killed the Al Jazeera reporter earlier in August left him with shrapnel lodged in his back and an injury to his foot. But hospitals are so overwhelmed with critical cases that he’s been unable to get treatment.

    “A journalist in Gaza lives between covering the war on the ground, following the news and at the same time trying to take care of his safety and the safety of his family,” said Subeh, who reports for Al-Ekhbariya, a Saudi Arabian news channel.

    Salama, who together with colleagues interviewed more than 20 Gaza journalists for their academic research, said that unlike foreign correspondents covering a war, Palestinian reporters have experienced decades of conflict firsthand. That experience makes them uniquely capable of telling Gaza’s story, he said — but they can never step away from it.

    “You don’t have the luxury to break your soul away from what is happening on the ground,” said Salama, now a doctoral student at the University of Maryland.

    Subeh, who works for the Saudi news channel, said he’d thought repeatedly of quitting and trying to flee. But, despite the extreme difficulties and dangers, he can’t bring himself to do it.

    “I feel that my presence here is important and that the voice of Gaza should be sent to the world from its own residents,” he said. “Journalism is not only a job for me, but a mission.”

    Mroue reported from Beirut and Geller from New York.

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  • Judge Remains Undecided on Treatment Plan for Man Charged With Stalking Jennifer Aniston

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    LOS ANGELES (AP) — A judge remained undecided Friday on the treatment and placement plan for a man charged with stalking Jennifer Aniston and ramming his car into the front gate of her home.

    Jimmy Wayne Carwyle, a 48-year-old from Mississippi, has pleaded not guilty to felony stalking and vandalism. But in May, Judge Maria Cavalluzzi found him not competent to stand trial after evaluations from two experts. At Friday’s hearing in a Los Angeles court dedicated to mental health cases, she heard arguments on Carwyle’s treatment and placement.

    Aniston’s lawyer, Blair Berk, spoke on her behalf for the first time, detailing two years of Carwyle’s harassment and stalking, including various failed attempts to make physical contact with the actor.

    Cavalluzzi said she leaned toward sending Carwyle to a mental health treatment alternative to imprisonment. She requested another hearing, scheduled for later this month, to hear from a mental health professional before making a final decision.

    Prosecutors and Aniston’s attorney will have a chance to weigh in, Cavalluzzi said.

    The judge acknowledged Aniston’s “very real” fear, but she said she can’t ignore the opinions of mental health professionals who have evaluated Carwyle and deemed him not a danger to society. The alternative treatment option offers community-based housing, treatment and support services as opposed to incarceration.


    Harassment started 2 years ago, prosecutors say

    Prosecutors alleged Carwyle had been harassing the “Friends” star with a flood of voicemail, email and social media messages for two years before driving his Chrysler PT Cruiser through the gate of her home in the wealthy Bel Air neighborhood of Los Angeles on May 5, “only feet away from where she was,” Berk said.

    Carwyle had a stated and “persistent delusion” to impregnate Aniston with three children, Berk said, and “there is simply no way to prevent him from carrying out his delusion if he walks out.”

    The prosecution expressed concern that if Carwyle were offered the treatment in Los Angeles, nothing would stop him “from traveling those few miles to Ms. Aniston,” Berk said.

    Berk and William Donovan, the deputy district attorney, argued Carwyle was a present danger to Aniston and those around her. Berk said he attempted to enter her property twice, but was turned away.

    Carwyle’s lawyer, Robert Krauss, said his client qualifies for alternative treatment, arguing that he hasn’t been convicted of violent crimes. Granting him alternative treatment, “is not like giving him a break or showing him leniency,” Krauss said. “Its just one thing and one thing only — and that is absolute, pure faithfulness of the law.”

    Krauss also referenced a report from the probation department, which recommended Carwyle be granted probation and 90 days in jail if convicted, much less than the over three years maximum sentence for his two charges. Carwyle has been in jail since May and, if convicted, could be let out with time served.


    Suspect says he won’t walk away from treatment

    Carwyle was present at the hearing and addressed questions from Cavalluzzi, saying he “wasn’t right in the head,” when asked about the text messages he sent Aniston. He said he has been taking medication, which is keeping him focused, and admitted his wrongdoing.

    When Cavalluzzi asked how she can be sure he won’t walk away from the treatment program — a stated concern from the prosecution — Carwyle responded, “You have my word.”

    Berk said Carwyle “traveled thousands of miles over a year ago “after sending thousands of messages” that reflected “his delusions and intentions to not just make contact with Ms. Aniston, but to commit criminal wrongs against her, sexual violence against her.” She added that Carwyle stressed in his messaging that he “would be unabated by doctors or others or FBI intervening.”

    Donovan argued that a state hospital is a “much safer, much more effective place for him to go,” and will offer the treatment Carwyle needs to address his delusions. The prosecution also argued there’s no evidence that Carwyle’s delusions toward Aniston have stopped, even with medication.

    Carwyle has been under involuntary medication for the past few months. Krauss said that Carwyle’s actions toward Aniston were “just the product of psychosis from someone who is unmedicated.” The government must keep its “promise of treatment rather than punishment and of rehabilitation rather than incarceration,” he said.

    The hearing was postponed several times in recent months as Carwyle at first objected to the incompetence finding and asked for an opinion, and both sides sought more time to examine the case.

    Carwyle remains jailed, but he is under a judge’s order not to contact or get near Aniston.

    Authorities said Aniston was home at the time of the gate crash, but he did not come into contact with her. A security guard stopped him in her driveway until police arrived. No one was injured.

    Carwyle also faces an aggravating circumstance of the threat of great bodily harm.

    Aniston became one of the biggest stars in television in her 10 years on NBC’s “Friends.” She won an Emmy Award for best lead actress in a comedy for the role, and she has been nominated for nine more. She currently stars in “The Morning Show” on Apple TV+.

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  • Morgan Wallen Denied Throwing Chair off Bar Roof to Police in 2024, Footage Shows

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    Roughly two weeks after his April 2024 arrest, Wallen commented on social media: “I’m not proud of my behavior, and I accept responsibility” and said he “made amends” with Nashville law enforcement and others. Then in December, he pleaded guilty to two counts.

    The Metro Nashville Police Department released the footage of Wallen’s arrest, captured by several officers’ body and cruiser cameras, in response to a public records request from the AP. A previously released arrest affidavit did not get into the details of what Wallen told officers.


    A broken chair by Chief’s

    A police car camera shows two officers, who were standing outside, react to something apparently falling from above on a late Sunday night. And one officer’s body camera video begins with a shot of a broken chair in the road near his parked police cruiser, close to Chief’s on Broadway, in the city’s entertainment district.

    Then, as Wallen and his bodyguard team come down to the main entrance on Broadway, one of the men with Wallen is shouting, “He didn’t see anything. You don’t have witnesses, you are accusing!”

    “He didn’t throw nothing, he didn’t throw nothing,” the bodyguard continues, and accuses two bar workers of “being aggressive.”

    When an officer asks Wallen what happened, the musician replies, “I don’t know.”

    He later tells another officer, “We’ve not tried to cause no problems, man. I don’t know what they are — I don’t know why.”

    That officer said police were figuring out what happened after a chair came flying off the roof and landed by his patrol car. Wallen replied, “As you should.”

    At one point, Wallen is on his cellphone, then points it at the officer and says, “Eric Church is on the phone.” Church, another country star, co-owns Chief’s. During the call, Wallen had used an expletive to describe the officers he said were “trying to take me to jail outside of your (expletive) bar.”

    Church, who can’t be heard on the police recording, recommended to the officer that Wallen wait in a private space instead of standing on the public sidewalk, said a representative for Church.

    The officer responds: “It’s not really something we can do. Law enforcement have to enforce the laws. Figure out what happened. We’ve got a supervisor coming to the scene. Gotta treat it like we would with anybody else.”

    Representatives for Wallen did not respond to requests for comment.

    Back in the bar, police were in an office watching security footage from the roof, body camera footage shows. The security video was not clear from the officers’ body cameras and a police spokesperson said there was no security camera footage from the bar in the case files.

    The officers return outside and a sergeant, who says he watched security video of Wallen throwing a chair off the roof, handcuffs him.

    Another officer talks to two witnesses. One, referring to the chair, says she saw Wallen “lift it up and throw it off” and laugh.

    Throughout the hour-and-a-half ordeal, Wallen makes apologetic comments to officers without explicitly admitting to anything, including: “I truly didn’t mean no harm,” “Sorry to cause problems, I didn’t mean to,” and “God damn it, I am sorry man.”

    “He didn’t admit to it, but we got him on camera doing it,” one sergeant says after Wallen was cuffed, also noting police had witness statements.

    Some fans took notice as Wallen stood surrounded by police in Nashville’s busy tourist hub. One yells, “We love you Morgan!” Once Wallen is in the back of the police car, he says to the officer, “Get us out of here,” noting that people were videotaping him.

    Born and raised in Sneedville, Tennessee, the two-time Grammy nominee is one of the biggest names in contemporary popular music, loved for his earworm hooks and distinctive combination of bro country, dirt-rock and certain hallmarks of hip-hop. 2023’s “One Thing at a Time” broke Garth Brooks’ record for longest running No. 1 country album, and this year’s “I’m The Problem” spent 12 weeks at No. 1.

    Wallen’s career has been marked by several other controversies, including a 2020 arrest on public intoxication and disorderly conduct charges after being kicked out of Kid Rock’s bar in downtown Nashville. In 2021, after a video surfaced of him using a racial slur, he was disqualified or limited from several award shows and received no Grammy nominations for his massively popular “Dangerous: The Double Album.”


    A Thomas Rhett sing-along

    Wallen was talkative in the cruiser, the footage shows, saying, “I ain’t done nothing wrong,” and pressing the officer for his favorite country musicians.

    “I can tell you my top three right now,” the officer replies. “You’re honestly one of them.” One of Wallen’s songs with Thomas Rhett comes on from the officer’s playlist.

    “This is me and Thomas Rhett! Turn it up. That’s me and TR! That’s me right there,” Wallen says, before singing a couple of the words from the song.

    “TR is one of the best dudes in the world. He would definitely not be getting arrested,” Wallen adds.

    Wallen pleaded guilty in December 2024 to two misdemeanor counts of reckless endangerment. He was sentenced to spend seven days in a DUI education center and be under supervised probation for two years.

    When the judge asked how he would plead, he said, “Conditionally guilty.” His attorney has said the charges will be eligible for dismissal and expungement after he completes probation.

    Wallen’s own Nashville honky tonk, not far from Chief’s, opened less than two months after his arrest.

    Associated Press Music Writer Maria Sherman contributed to this story from New York.

    Copyright 2025 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.

    Photos You Should See – Sept. 2025

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