Elections

He was once a staunch ally of the company’s biggest owner, Shari Redstone, but the relationship soured in recent months.Paramount is preparing to announce the departure of its chief executive, Bob Bakish, as soon as next week, according to three people with knowledge of the matter, a sudden development even as the company is exploring a merger.The impending move is a result of Mr. Bakish’s worsening relationship with Shari Redstone, the company’s controlling shareholder, the people said, asking not to be identified discussing a delicate matter. Ms. Redstone grew frustrated with what she saw as his inability to get important deals across the finish line, including a sale of the Showtime and BET cable channels, the people said.Two people familiar with the matter said several of Paramount’s senior executives had expressed reservations about the direction of the company to a representative of the board of directors in recent weeks, further eroding Mr. Bakish’s standing with Ms. Redstone.The company is in talks to merge with Skydance, a media company controlled by David Ellison, the tech scion and Hollywood producer. It is also negotiating a lucrative deal to keep channels like Nickelodeon and MTV on the Charter cable system.National Amusements, Paramount’s owner, is contemplating various options to replace Mr. Bakish, 60, who has led Paramount and its predecessor company, Viacom, since 2016 and has worked at the company since 1997. In one possibility, Paramount would be run by an “office of the C.E.O.” led by division chiefs like Brian Robbins, the head of the Paramount movie studio; George Cheeks, the top executive of CBS; and Chris McCarthy, president of Paramount’s entertainment and youth brands. The company could also choose to put an acting chief executive in place.Paramount declined to comment. The Wall Street Journal earlier reported that Paramount’s board was considering replacing Mr. Bakish.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Harvey Weinstein faced similar sex crimes charges in New York and California, but the arguments used to overturn one case may not help in the other.The decision by New York’s top court on Thursday to overturn the conviction of Harvey Weinstein on sex crime charges raised many thorny legal questions. Perhaps chief among them: Will it bolster his chances of a successful appeal in a similar case in California?Mr. Weinstein’s lawyer in California, Jennifer Bonjean, plans to file that appeal next month, and has said she believes the New York decision helps her chances of winning. In both cases, prosecutors offered witnesses who said they had been assaulted by Mr. Weinstein, the disgraced Hollywood producer, even though their accounts were not tied to criminal charges.Prosecutors in sexual assault cases sometimes use such witnesses to establish a pattern of behavior, but it can be a risky move because defendants are typically supposed to be judged only on the crimes with which they have been charged. The tactic was at the heart of the 4-to-3 decision on Thursday by New York’s Court of Appeals, which concluded that the judge who presided over Mr. Weinstein’s case in 2020 had deprived him of a fair trial by allowing those witnesses to testify.Mr. Weinstein is expected to appear in State Supreme Court in Manhattan on Wednesday for a procedural hearing that is the first step for prosecutors to restart the criminal case to try him again.New York and California law differ on the crucial issue of witnesses. The office of the Los Angeles district attorney, George Gascón, said that California’s law, unlike New York’s, allows evidence, at a judge’s discretion, that shows a defendant’s “propensity” to commit sexual assault.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Col. Matthew McCall toured the part of the prison at Guantánamo Bay where, in 2007, federal agents obtained now-disputed confessions from terrorism suspects.In a first, a military judge at Guantánamo Bay on Friday crossed into the security zone containing the wartime prison and inspected a former C.I.A. “black site” facility at the center of a dispute over the taint of torture in the Sept. 11, 2001, case.It was a noteworthy moment in the arc of the two-decade history of the Guantánamo trials. No war court judge had before made the five-mile trip to look at the detention operations, where the military maintains the only known, still-intact remnant of the network of overseas prisons that the C.I.A. operated from 2002 to 2009.But Col. Matthew N. McCall, the judge, is edging toward a decision on whether the accused mastermind of the attacks, Khalid Shaikh Mohammed, and three co-defendants voluntarily confessed to conspiring in the attacks in their fourth year of detention, under questioning by F.B.I. agents at Guantánamo prison.And the prison site he visited, called Camp Echo, has played a central but covert role in the case. From 2003 to 2004, the C.I.A. kept five prized prisoners there, near the prison facilities but out of reach of the International Red Cross. It was part of its secret overseas network that hid about 120 “high-value detainees” in such far-flung sites as Afghanistan, Thailand and Poland.In April 2004, the agency closed the black site at Guantánamo and moved those five prisoners to other secret sites, on the advice of the Justice Department, to avoid a looming U.S. Supreme Court decision later that year that granted detainees at U.S.-controlled Guantánamo Bay access to lawyers.After President George W. Bush ordered Mr. Mohammed and 13 other C.I.A. prisoners be moved to Guantánamo in September 2006 to face trial, federal agents used the same portion of Camp Echo to obtain ostensibly lawful confessions by what the prosecutors called “clean teams.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The encampments present a new wrinkle in a year already knotted by war abroad and domestic discord.The pro-Palestinian student encampments protesting the war in Gaza swept across the country this week, and with them, dramatic imagery of arrests and crackdowns from New York to Texas to Southern California.Soon, the comparison to another protest-filled election year inevitably arose. Is 2024 going to morph into something that feels like 1968?That year, protests at Columbia University exploded amid a nationwide movement against the Vietnam War, one that involved violent clashes as police moved in on protesters at the Democratic National Convention in Chicago that summer. Democrats, who had been deeply divided over the war, ultimately lost the election to President Nixon.There are many differences between then and now, and it is much too soon to know whether the campus protests happening now will come to feel like what happened that seismic year. But the bubbling up of protest activity across college campuses half a year before a presidential election has made 2024 — a year already knotted by war overseas and deep domestic political division — that much more complicated. It’s another question mark in a political season already full of them.Here are three questions about the politics of this moment — questions that my colleagues and I will continue to explore in the coming weeks and months.Do the protests represent a broad disaffection that will hurt Democrats?The students demonstrating on college campuses across the nation are a physical embodiment of the way that the Democratic base has been divided by the war in Gaza. They have drawn renewed attention to the disappointment many young and progressive voters feel about the Biden administration’s support of Israel in a conflict that has killed tens of thousands of Palestinians. (While largely peaceful, the protests have also been criticized for some demonstrators’ use of antisemitic language.)We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

The senators voted for a resolution that accused the administration of breaching the due-process rights of students and professors.Columbia University’s senate voted on Friday to approve a resolution that called for an investigation into the school’s leadership, accusing the administration of violating established protocols, undermining academic freedom, jeopardizing free inquiry and breaching the due process rights of both students and professors.The university’s president, Nemat Shafik, has been under attack for her decision last week to summon the New York Police Department to campus, resulting in the arrest of more than 100 student protesters, and for her earlier congressional testimony, in which professors accused her of capitulating to the demands of congressional Republicans over free speech and the disciplining of students and professors.The resolution, adopted by a vote of 62-14, with three abstentions, fell short of a proposal earlier in the week to censure Dr. Shafik, which many senators worried could be perceived as yielding to Republican lawmakers who had called for her resignation over her handling of antisemitism claims.The senate resolution was based partly on a damaging report by the senate executive committee, which accused Dr. Shafik’s administration of engaging in “many actions and decisions that have harmed” the institution — including the hiring of an “aggressive” private investigation firm.The report, which was discussed in Friday’s meeting, said that investigators harassed students and used “intrusive investigation methods,” which included “investigators’ attempt to enter student rooms and dormitories without students’ consent.”Investigators, the report said, demanded “to see students’ phones and text messages with threats of suspension for noncompliance.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

This past week has been jam-packed with openings. Our reviewers think these new shows are worth knowing about even if you’re not planning to see them.critic’s pickA ‘heartbreaker for anyone human.’Rachel McAdams as a mother struggling with her own moral agony in Manhattan Theater Club’s production of “Mary Jane” at the Samuel J. Friedman Theater in Manhattan.Richard Termine for The New York Times‘Mary Jane’Rachel McAdams makes her Broadway debut in Amy Herzog’s play about an impossibly upbeat mother caring for a gravely ill child and navigating the byzantine health care system.From our review:[Herzog] is not interested in locking down meaning. Like all great plays, “Mary Jane” catches light from different directions at different times, revealing different ideas. On the other side of the worst of Covid, “Mary Jane” feels less like a parent’s cry for more life than an inquest into the meaning of death.Through June 16 at the Samuel J. Friedman Theater. Read the full review.Critic’s PickA family drama that ‘feels like it’s a healing.’Jessica Lange, center, is the titular mother in “Mother Play,” at the Helen Hayes Theater in Manhattan, with Celia Keenan-Bolger, left, and Jim Parsons playing her children.Sara Krulwich/The New York Times‘Mother Play’Paula Vogel’s tragicomedy is a showcase for Jessica Lange, who plays a ferocious matriarch to a sister and brother played by Celia Keenan-Bolger and Jim Parsons.From our review:Nearly parodic in her feminine grace, [Lange’s Phyllis] is also as hard as buffed, polished nails. Phyllis is in some ways a monster, but Vogel doesn’t traffic in monsters. As a writer, she understands that people do terrible things for unterrible reasons — out of love, out of fear, out of loneliness.Through June 16 at the Helen Hayes Theater. Read the full review.critic’s pickA show that all the critics love.From left, Sarah Pidgeon, Juliana Canfield and Tom Pecinka as members of an increasingly fractured 1970s band in David Adjmi’s “Stereophonic” at the Golden Theater in Manhattan.Sara Krulwich/The New York Times‘Stereophonic’David Adjmi’s rock drama, with songs by a real rocker (Will Butler), follows a 1970s band (not unlike Fleetwood Mac) on the cusp of fame through the prolonged, drug-fueled process of making a new album.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

Moon Studios’ newest project, the action role-playing game No Rest for the Wicked, was inspired by Dark Souls, Diablo and “Game of Thrones.”To develop the action role-playing game No Rest for the Wicked, Moon Studios looked far beyond the company’s well-regarded 2015 debut, Ori and the Blind Forest, and its 2020 sequel, Ori and the Will of the Wisps.At first glance, No Rest for the Wicked has combat reminiscent of the Dark Souls franchise’s slow, consequential action and big boss fights, with a dark fantasy setting drenched in the politics and intrigue “Game of Thrones” made popular.But Gennadiy Korol, one of the studio’s founders, is quick to identify several other influences: the fighting games and Monster Hunter series that led to the game’s combo system. The animation of Hayao Miyazaki’s “Princess Mononoke” that steered it away from motion capture. The subtleties of Animal Crossing’s camera that inspired its curved horizon.And with much fondness for the popular Diablo and Baldur’s Gate franchises, along with the often overlooked Nox, Moon Studios hopes to innovate on the genre by wearing its inspiration on its sleeves.“We’re trying to take all these inspirations we have from growing up with these games, from playing recent releases,” Korol said. “We take what we really like and we put it together into this unique mix.”Even its release strategy was guided by previous games. Buoyed by the success stories of Hades and Baldur’s Gate 3, which helped change the perception of early access, Moon Studios released a preliminary version of No Rest for the Wicked on the PC this month. The studio intends to incorporate player feedback as it iterates on the game’s core features, which include crafting mechanics, resource gathering, unique loot and customizable equipment in addition to its quests.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

‘Broken Horses’Producers/Reporters Joe Drape and Melissa HoppertSupervising Producer Liz HodesWatch our new documentary on FX and Hulu starting Friday, April 26, at 10 p.m. Eastern.When horse racing fans arrive at Churchill Downs in Louisville, Ky., next week for the 150th running of the Kentucky Derby, some might be watching with unease. On the same track last year, seven horses died before the showpiece event even started. In the days after, five more died.Two other events in the sport’s Triple Crown series — the Preakness Stakes in May and the Belmont Stakes in June — and the signature meet at the historic Saratoga Race Course were also marred by deaths, horrifying spectators and intensifying pressure on racing officials to, finally, reckon with the problem.“Horses dying in clusters is not a new phenomenon,” Joe Drape, a New York Times reporter, says in the new documentary “Broken Horses.” “It’s just now people are paying attention and want to know why.”Drape and Melissa Hoppert, who have covered the horse racing industry for decades, were part of a team that investigated the fateful period last year that threw the sport into crisis and left fans wondering why so many horses, supposedly in peak physical condition, were breaking down so frequently. Horses racing at Churchill Downs in 2023.Left Right Productions/The New York Times/Hulu Originals/FX NetworksWith confidential documents, recordings and exclusive interviews, “Broken Horses” provides a vivid tour of the business and political forces that control the Sport of Kings and resist measures to implement changes that could decrease horse deaths. It is a story of reckless breeding and doping, of compromised veterinarians and trainers, and of fans who are drawn to the sport’s beauty and pageantry but increasingly wonder how long one of America’s oldest sports can continue to have its social license renewed.“A racehorse is the only animal that can take a thousand people for a ride at once,” Hoppert says in the film, quoting a saying among the sport’s devotees. In 2023, a troubling number of those rides ended calamitously. “Broken Horses” attempts to show viewers the underbelly of the sport, so they can begin to understand why.Producer Luke KoremCo-Producer Leah VarjacquesProducers/Reporters Liz Day and Rachel AbramsStory Producer Alexander BaertlDirector of Photography Jarred AltermanVideo Editors Patrick Berry and Charlotte Stobbs“The New York Times Presents” is a series of documentaries representing the unparalleled journalism and insight of The New York Times, bringing viewers close to the essential stories of our time. More