Elections

New Mexico’s attorney general has accused Meta of not protecting children from sexual predators on its platforms. He now wants to know how it polices subscribers to accounts featuring children.The New Mexico attorney general, who last year sued Meta alleging that it did not protect children from sexual predators and had made false claims about its platforms’ safety, announced Monday that his office would examine how the company’s paid-subscription services attract predators.Attorney General Raúl Torrez said he had formally requested documentation from the social media company about subscriptions on Facebook and Instagram, which are frequently available on children’s accounts run by parents.Instagram does not allow users under 13, but accounts that focus entirely on children are permitted as long as they are managed by an adult. The New York Times published an investigation on Thursday into girl influencers on the platform, reporting that the so-called mom-run accounts charge followers up to $19.99 a month for additional photos as well as chat sessions and other extras.The Times found that adult men subscribe to the accounts, including some who actively participate in forums where people discuss the girls in sexual terms.“This deeply disturbing pattern of conduct puts children at risk — and persists despite a wave of lawsuits and congressional investigations,” Mr. Torrez said in a statement.Mr. Torrez filed a complaint in December that accused Meta of enabling harmful activity between adults and minors on Facebook and Instagram and failing to detect and remove such activity when it was reported. The allegations were based, in part, on findings from accounts Mr. Torrez’s office created, including one for a fictitious 14-year-old girl that received an offer of $180,000 to appear in a pornographic video.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

If Fiasco Theater has mixed results in its production of this Shakespearean tragicomedy, it celebrates actors supporting and delighting in one another’s work.“Pericles” is a bit of a mess. Spanning decades and traversing the ancient Mediterranean like some deeply misbegotten Carnival Cruise, this Shakespeare play mingles comedy, tragedy and Christian allegory. There are two assassination plots, two shipwrecks, a brothel, a riddle, a tournament and some very convenient pirates. Deliberately anachronistic, it was described by Ben Jonson, a rival playwright, as a “mouldy tale” and “stale.”So, who better to face down this confusion than a company called Fiasco? A devised theater ensemble founded by half a dozen Brown MFA graduates, Fiasco has a soft spot for Shakespeare’s less loved works. The company broke out in 2011 with a production of “Cymbeline” and later staged “The Two Gentlemen of Verona.” (Fiasco’s 2017 production of a crowd-pleaser like “Twelfth Night”? An outlier.)Rather than relying on the published text of “Pericles,” Fiasco has set much of the poetry to music — sometimes supplying original words — and interpolated passages from a prose version by George Wilkins, a pamphleteer and publican. (Wilkins is often cited as the play’s co-author, mostly because scholars disbelieve that Shakespeare could have written anything as patchy as the first two acts.)Ben Steinfeld, a company member and the director, stages this revised text at Classic Stage Company using Fiasco’s poor-theater playbook — a mostly bare stage furnished with charisma, invention, spirit and song. “A miracle may come your way,” an early number promises.Through the hectic first half, this approach falters. Pericles (Paco Tolson at first, then Tatiana Wechsler, Noah Brody and finally Devin E. Haqq) goes to so many places in such a short time that characters and climes blur, especially without the help of scenery to differentiate each country. As Steinfeld’s narrator admits, “Now this is just an empty space/It’s hard to give a sense of place.” (No set designer is credited, though Ashley Rose Horton designed the vaguely Grecian costumes and Mextly Couzin the golden lighting.)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 videos released by the Houston police left open the question of who shot a 7-year-old boy as his mother, armed with an assault-style rifle, exchanged fire with off-duty officers.Just before opening fire with an assault-style rifle in the lobby of a Houston megachurch this month, Genesse Ivonne Moreno walked around the side of her sport utility vehicle and opened a rear passenger door for her 7-year-old son, who got out of the vehicle and followed her into the church.Moments later, as deafening gunfire erupted in the church, the boy stood in an alcove with his hands pressed to his ears, according to surveillance and body-camera videos released on Monday by the Houston Police Department. At one point, the boy appeared to reach up for Ms. Moreno, as if asking to be picked up.Security camera footage shows the shooter entering Lakewood Church with her 7-year-old son.Houston Police DepartmentLater, he could be seen lying motionless on the carpeted hallway floor after being shot in the head.The videos provided a clearer picture of the Feb. 11 shooting in Lakewood Church, one of the nation’s largest megachurches, led by the televangelist Joel Osteen. But they did not provide a complete account of what took place.And they did not show the boy being struck, leaving open the question of who shot him. He remained hospitalized in critical condition with a gunshot wound to the head, officials said.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 decision to call off the Can-Am Crown International Sled Dog Race for the first time since its inception three decades ago was a matter of safety, organizers said.Jonathan Hayes woke up at 5 a.m. in rural Maine to feed his 20-some dogs Monday morning, and his heart sank when he learned that the sled race they had been training for since the fall was canceled.The Can-Am Crown International Sled Dog Race, the longest sled-dog race in the Eastern United States, will be canceled because of a lack of snow for the first time since the race’s inception more than three decades ago, event organizers said.The news came as a blow to the mushers who spent long hours training to prepare for the event, which was to be held from March 1 to March 5 in Fort Kent, Maine, which borders Canada.Mr. Hayes, a high school biology teacher, had spent hours training with his dogs after his family went to bed. “I’ve been pushing myself training and conditioning for the last six months for something that just got canceled,” Mr. Hayes said. “It’s hard.”The decision to cancel was a matter of safety, said Dennis Cyr, president of Can-Am. Since there isn’t as much snow this year, there will be an abundance of vegetation, brush, rocks and gravel exposed on the trails.“It wouldn’t be safe to run the dogs, or the volunteers to be out at the remote checkpoints,” Mr. Cyr said. “We don’t want to expose our mushers to that or ruin our reputation by having a sloppy race this year.”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

Rodney Jones Jr. filed a federal lawsuit on Monday that says the hip-hop mogul made unwanted sexual contact while they worked on an album. A lawyer for Mr. Combs denied the allegations.Sean Combs was sued on Monday by a music producer who accused the hip-hop mogul of making unwanted sexual contact and of forcing him to hire prostitutes and participate in sex acts with them.The latest misconduct allegation against Mr. Combs was filed in Federal District Court in Manhattan by Rodney Jones Jr., also known as Lil Rod. In 2022 and 2023, Mr. Jones says in his suit, he worked on what became “The Love Album: Off the Grid,” the latest album by Mr. Combs, the hip-hop and R&B impresario who has variously been known as Puff Daddy and P. Diddy. Mr. Jones says he served as a producer on nine of the album’s tracks and lived with Mr. Combs for months at a time.While working on “The Love Album,” Mr. Jones says in his complaint that Mr. Combs grabbed his genitals without consent, and that he also tried to “groom” Mr. Jones into having sex with another man, telling him it was “a normal practice in the music industry.”In a statement, Shawn Holley, a lawyer for Mr. Combs, said: “Lil Rod is nothing more than a liar who filed a $30 million lawsuit shamelessly looking for an undeserved payday. His reckless name-dropping about events that are pure fiction and simply did not happen is nothing more than a transparent attempt to garner headlines. We have overwhelming, indisputable proof that his claims are complete lies.”When the suit was filed, the court’s system originally said that Mr. Jones’s demand was for $30 billion. His lawyer, Tyrone A. Blackburn, said that was an error, and that it would be corrected to reflect a demand of $30 million. Ms. Holley’s statement originally reflected a response to $30 billion.According to Mr. Jones’s complaint, at a listening party in July 2023 at Mr. Combs’s home in California, he was forced to drink shots of tequila laced with drugs, though the legal papers do not specify who offered him the shots or how he was forced. In the suit, Mr. Jones says that after he had the drink, he passed out and awoke “at 4 a.m. the following morning naked with a sex worker sleeping next to him.”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

Investigators say that an early morning argument on a D train last week ended with the fatal shooting of William Alvarez, 45.The police on Monday said footage from a surveillance camera in a subway car helped lead to the arrests of three people in connection with the fatal shooting of a 45-year-old man last week.Justin Herde, 24, Alfredo Trinidad, 42, and Betty Cotto, 38, were in custody in connection with the killing of William Alvarez, 45, of the Bronx, according to the New York Police Department.Mr. Alvarez was riding a southbound D train around 5 a.m. on Friday morning when the three suspects boarded at the Fordham Road station and got into an argument with him, the police said. Mr. Alvarez was shot in the chest, Michael M. Kemper, the Police Department’s chief of transit, said at a Monday news conference. Chief Kemper added that Mr. Alvarez’s attackers fled the train at the 182nd-183rd Streets station.About 1,000 of the system’s roughly 6,500 cars are equipped with cameras, part of a broader effort begun in 2022 by the Metropolitan Transportation Authority, which plans to install cameras in the rest of the cars by the end of this year.Killings on the subway are rare, but attract intense public attention. This year there have been two other fatal incidents in the system. Earlier this month, a 35-year-old man was killed and five other people were wounded in a shooting at the Mount Eden Avenue station in the Bronx during the evening rush hour. And in January, a 45-year-old father of three was shot on a No. 3 train in Brooklyn after intervening in an argument.Transit leaders are under intense pressure to bring ridership back to prepandemic levels, and making the system feel safe is critical to that mission. Ridership rose by about 3 percent in January, hovering on average at about 3 million daily passengers. In 2019, daily ridership was about 5 million.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

A sleekly designed production, starring Cynthia Nixon and Taylor Trensch, aims to skewer the art world but falls flat.The problem with writing a play about absence: How to fill the void? When a performance artist known as Miriam (Cynthia Nixon) vanishes in “The Seven Year Disappear,” a two-hander by Jordan Seavey that opened Monday at the Signature Center, we know only that she is a narcissist who steals the air from any room she enters.“The Whitney is mine,” she exclaims in the opening scene, after her adult son and manager, Naphtali (Taylor Trensch), informs her that the museum has made some sort of offer to Marina Abramovic. After seven years off the map, when Miriam returns, she has the gall to ask Naphtali whether he will help turn his abandonment into her next piece.Scenes following Miriam’s reappearance, which occurs on the heels of the 2016 election, are intercut with a reverse chronology of Naphtali’s search for her, which is really a quest to find himself — in a change of careers, a series of sexual liaisons and a lot of hard drugs.“The Seven Year Disappear” has the ostensible trappings of an art-world satire, and this New Group production, directed by Scott Elliott, appears sleekly designed to deliver one. But satire calls for a more distinct point of view, discernible targets, and a greater measure of specificity and insight. The staging here, with an emphasis on style and high-tech mediation, appears keen to make up for their lack.The production includes a mix of live and recorded footage displayed on flat screens suspended above the set.Sara Krulwich/The New York TimesA mix of live and recorded footage of the actors is displayed on flat-screen TVs suspended above the slick, black set (by Derek McLane); at times, their faces appear in close-up stills (projections by John Narun) that could be digital ads for Jil Sander. Onstage, the actors are dressed in black-canvas coveralls and combat boots (costumes are by Qween Jean), and intermittently speak into standing mics (sound is by Rob Milburn and Michael Bodeen). The cumulative effect is one of performance-art cosplay, which could be funny if it didn’t seem so earnest.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

A documentary screening about the city’s first Black fire commissioner was scrapped after his family objected to the film’s exclusion of a Black firefighter group.When the Fire Department sought to commemorate Black History Month this year, a worthy honoree seemed obvious: Robert O. Lowery, New York City’s first Black fire commissioner, who was appointed nearly six decades ago by Mayor John V. Lindsay.A documentary on Mr. Lowery’s life was to premiere Tuesday as the focal point of the department’s celebration of Black History Month, which ends this week. But the event was abruptly canceled after Mr. Lowery’s family protested the film’s failure to more fully include the Vulcan Society, the influential Black firefighters’ association.“My father would not have been fire commissioner without the Vulcan Society,” said Gertrude Erwin, Mr. Lowery’s daughter.The cancellation of the screening of “The First: Fire Commissioner Robert O. Lowery’s Story,” represents an awkward turn of events for an agency that is still struggling to overcome decades of racism and homogeneity in its ranks. All but one of its 23 staff chiefs are white men, while about 10 percent of firefighters are Black in a city whose population is about 23 percent Black.The department first approached Mr. Lowery’s daughters about making the documentary roughly two decades after his death, at a ceremony last year renaming its auditorium in his memory. The family was receptive, provided the department met certain conditions.“We made very clear from the outset that the Vulcan Society was a core element in telling my uncle’s story and that it was an expectation that the Vulcan Society would have some role in the film,” said Chris Lowery, the fire commissioner’s nephew. 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