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      ‘And Just Like That …’ Season 3, Episode 2 Recap: Textual Relations

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      Carrie’s long-distance “situationship” with Aidan becomes frustrating in ways she didn’t anticipate.Season 3, Episode 2: ‘The Rat Race’Here in the real world, it’s a common refrain from single people that dating apps are as tired as the tiramisu Seema’s date orders for her without asking. Everyone is sick of the swiping, the ghosting and the serial situationships. The virtual-first connections that seem essential to dating in 2025 have never played a major role in the “Sex and the City” franchise, mostly because the majority of this decades-spanning story has predated all that.But Carrie’s former neighbor Lisette (Katerina Tannenbaum) shows up at the beginning of Episode 2 to reflect that cultural shift, lamenting to Carrie that, as a single woman of today, she is mostly in a relationship with her phone. Turns out, throwing it across a room may be a more effective way of it helping you meet someone.Some of the characters, though, regardless of age, are no better than Lisette when it comes to phone addiction.Starting with our star, Carrie is in something of a love-hate relationship with texting Aidan. Now that Aidan has cracked the communication door ajar, Carrie feels slightly more empowered to reach out to her “boyfriend.” (I insist on putting that in quotes because while Carrie may use that word to refer to Aidan, at this point, I simply refuse.)First, Carrie drafts a long, meandering voice text to Aidan about a newly-discovered rat infestation in her garden, but she deletes it before sending. Considering Aidan’s request for no contact (or at least very limited contact), she determines it is best to leave him alone.But without any such regard for the rules he set himself, Aidan lights his no-contact contract on fire with a surprise appearance at Carrie’s Gramercy townhouse, to her delight.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

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      Trump’s New Travel Ban Is Rife With Contradictions

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      The Trump administration appears to have relied on a variety of considerations as it put together its latest restrictions.President Trump said on Thursday that his new travel ban against a dozen mostly African and Middle Eastern countries “can’t come soon enough.” He argued the ban would help prevent terrorist attacks and keep out those who overstay their visas.But even by that logic, Mr. Trump’s ban is rife with contradictions.“There’s no consistent set of criteria that would lead you to these 19 countries,” said Doug Rand, a former immigration official in the Biden administration, referring to the 12 countries and seven others that face restrictions but not a full ban. “You have a bunch of countries that seem to be politically motivated and then a bunch of random countries with a fig leaf of data to support their conclusion.”The order, which goes into effect on Monday, bans travel to the United States by citizens of Afghanistan, Myanmar, Chad, the Republic of Congo, Equatorial Guinea, Eritrea, Haiti, Iran, Libya, Somalia, Sudan and Yemen. And it limits travel from Burundi, Cuba, Laos, Sierra Leone, Togo, Turkmenistan and Venezuela. It includes some exemptions, including people with existing visas.Mr. Trump argued that the timing of the ban was spurred by a recent attack in Colorado on a group honoring hostages being held in Gaza in which an Egyptian man has been arrested and charged.But Egypt — which is both a military partner and a critical mediator in negotiations between Israel and Hamas — was not on the travel ban list. Also omitted were nations that national security officials have long treated as pariahs, including Syria, where Mr. Trump has recently sought to improve relations.Mr. Rand and other immigration experts noted that nations home to a higher number of people who overstay visas were left off the list.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

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      The Creativity Challenge: Try Something New With One of These Hobbies

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      <!–> [–><!–> –><!–> [–><!–>One of the traits most closely associated with creativity is being open to new experiences. Some people don’t naturally lean that way, but as with all aspects of creativity, openness can be developed. In a sense, you’ve been practicing all week: Maybe you tried intentional daydreaming on your drive to work, or […] More

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      Video Shows Fiery Fatal Crash After Police Chase

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      Francisco Guzman Parra, 31, died after crashing a stolen Honda in Upper Manhattan. Two officers chasing him drove away after the car caught fire, according to video surveillance footage.Video surveillance footage obtained from the Metropolitan Transportation Authority shows the incident in Upper Manhattan in April.Jeremy G. Feigenbaum via MTAIt was still dark when the driver of a stolen Honda CRV sped down a ramp off the Henry Hudson Parkway and careened out of control into a building in Upper Manhattan.Flames immediately erupted from the rear of the vehicle, according to video surveillance footage released by a lawyer for the driver’s family on Thursday. About 10 seconds later, at 4:40 a.m. on April 2, the police car that had been chasing the S.U.V. drove down the same ramp. The flames had diminished but still appeared to be flickering when the cruiser, its siren lights off, reached the bottom of the ramp.The officer driving the cruiser slowed down, but instead of turning toward the Honda he turned left on Dyckman Street in the Inwood neighborhood of Manhattan and left the wreckage behind. The driver, Francisco A. Guzman Parra, 31, died from blunt impact injuries to the head and torso and “thermal injuries,” according to the medical examiner’s office.The video, which the family obtained from the Metropolitan Transportation Authority, gave the first visual account of a crash that is now being investigated by the Manhattan district attorney’s office and led to the suspension of the two officers in the cruiser. Mr. Guzman Parra’s family said the video confirmed what they had feared for months: that the police left him to die.“They could have helped get him out,” said Carmen Colon, his stepmother, who, along with Mr. Guzman Parra’s sisters, spoke with reporters after watching the video at their lawyer’s office in Lower Manhattan.“I think that when we see that video we’re seeing a crime being committed,” she said.About 16 minutes after the crash, firefighters and officers from the 34th Precinct, which covers Inwood, received a 9-1-1 call about a car on fire. When they arrived, they found the Honda fully engulfed in flames.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

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      Supreme Court Blocks Mexico’s Suit Against U.S. Gunmakers

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      The case focused on whether the Mexican government could legally sue U.S. manufacturers over claims that they shared blame for violence by drug cartels.The Supreme Court on Thursday ruled that the Mexican government cannot sue U.S. gun manufacturers to hold them responsible for violence committed by drug cartels.In a unanimous decision by Justice Elena Kagan, the court held that a lawsuit by the Mexican government was barred by U.S. legislation that insulates gun makers from liability. Mexico, she wrote, had not plausibly argued that American gun manufacturers had aided and abetted in unlawful gun sales to Mexican drug traffickers.Mexico had argued that the gun industry’s production and sale of arms in the United States had helped fuel and supply drug cartels, harming the Mexican government. Mexican government lawyers also claimed the companies were aware that some of their guns were illegally trafficked, and that the country should therefore be allowed to sue.During an oral argument in early March, a majority of the justices appeared skeptical that Mexico could prove a direct link between gunmakers and cartel violence. Several justices appeared persuaded that a 2005 law shielding gun makers and distributors from most domestic lawsuits over injuries caused by firearms could also apply to the case brought by the Mexican government.The case began in 2021, when Mexico filed a lawsuit against a number of American gun makers and one distributor, arguing that they shared blame for drug cartel violence. The country asked them for $10 billion in damages.In the lawsuit filed in federal court in Massachusetts, the Mexican government alleged that the gun industry’s actions had burdened the nation’s police, military and judicial system. Mexico also argued that the U.S. gun industry had been negligent in marketing, distributing and selling high-capacity guns.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

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      Lorna Simpson: Painting as a Weapon of Freedom

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      In a small but haunting survey at the Met, a celebrated conceptual artist shifts gears, with meteoric results.Some of our most interesting artists have one thing in common. They do outstanding work early on, then, rather than coasting by recycling that success, they complicate it, even change gears.The artist Lorna Simpson is one these restless souls, and she has the technical and imaginative chops to make major changes work, as is evident in a corner-turning retrospective of paintings, “Source Notes,” now at the Metropolitan Museum of Art.In the late 1980s and 1990s, Simpson gained a strong reputation as a standout among a new generation of conceptual photographers and artists who — following “Pictures Generation” progenitors like Cindy Sherman a decade earlier — used photographic techniques somewhat the way painters used paint. Through a traditionally point-and-shoot, ostensibly reality-capturing medium, they created entirely fictional images.Simpson began as a straight-up picture-taker. A native New Yorker — born in Brooklyn in 1960, and raised in Queens — she studied photography at the School of Visual Arts and initially identified her work with the genre of “street photography.” Graduate school at the University of California, San Diego, where Conceptualism was the reigning mode, added a new dimension to that early impulse. So was the perception that her career opportunities in the field were limited: “Being a Black woman photographer was like being nobody,” as she has put it. So she saw no reason not to experiment both with her medium and with the subjects that interested her, namely the politics of gender and race.To that end she developed a studio-based style that combined staged images, notably shots of unnamed Black women posing in plain white shifts against a neutral backdrop, their faces turned away from the camera or out of its range, with results that evoke voyeuristic 19th-century ethnological documents, mug shots, and performance art stills. Most of these images have incorporated short texts that hint at explanatory narratives, some violent, without actually providing anything explicit.Detail of “5 Properties,” 2018. Ebony and Jet magazines, poly sleeves, bronze, plaster, glass.Dana Golan for The New York TimesCreating on aura of mystery has been her generative M.O., one she has applied to film and installation work as well as to still photography. What has changed in the past decade is her primary medium. Around 2014, she began, for the first time since her pre-art-school years, to focus on painting, and the Met exhibition is a tight but monumental survey of this new work.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

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      Billy Joel Documentary ‘And So It Goes’ Traces His Early Days

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      The first half of the HBO documentary premiered at the Tribeca Festival on Wednesday night. Joel, who is fighting a brain disorder, sent a message via its directors.The Tribeca Festival’s opening-night premiere of the upcoming HBO documentary “Billy Joel: And So It Goes” was marked, in part, by the absence of Billy Joel himself. Late last month, the musician announced that he was canceling all of his upcoming concerts because of a brain disorder called normal pressure hydrocephalus, which has led to problems with his hearing, vision and balance.After Robert De Niro called Joel “the poet laureate of New York” and helped introduce the film with a dramatic reading of some of his lyrics (“He works at Mr. Cacciatore’s down on Sullivan Street,” he intoned), one of the film’s co-directors, Susan Lacy, told the Beacon Theater audience that Joel sent his greetings — with typical wry humor: “In fact, he said, ‘Getting old sucks, but it’s still preferable to getting cremated.’” The audience roared with laughter. On a note of encouragement, Lacy said Joel “will be back.”The crowd broke out into applause throughout the screening, which included just the first part of the two-part film. It still ran nearly two and a half hours as it covered Joel’s childhood and rise to fame through his infamous 1982 motorcycle accident. (To put that in perspective: It doesn’t get to the writing of “Uptown Girl.” No Christie Brinkley yet.)There are pictures and footage of early Joel performances and stories about the surprisingly robust Long Island rock scene of the 1960s. But “Part One” is largely an intimate portrait of Joel’s relationship with his first wife, Elizabeth Weber, who would eventually become his manager, and it elevates her to a starring role in his life. It also features a host of stories about the making of some of his best-known songs, and tidbits about his Long Island obstinance. Here’s some of what we learned.As Joel’s relationship with Weber first foundered, he attempted suicide twice.Joel and Weber’s relationship began in dramatic fashion: She was married to Jon Small, Joel’s early bandmate, and had a son with him. Joel and Small first played together in a group named the Hassles, then broke off to start a Led Zeppelin-inspired metal outfit called Attila. (An album cover shoot featuring a longhaired Joel standing amid sides of raw beef, wearing fur, is something to behold.) Eventually, Joel fell in love with Weber, but when a guilt-ridden Joel shared his feelings with Small, he got punched in the nose and Weber left.Despondent, Joel overdosed on pills and was in a coma for days. His sister, Judy Molinari, who had provided the pills to help him sleep, recounts her guilt onscreen. “I felt that I killed him,” she says. Joel drank a bottle of furniture polish in another attempt on his life. After moving back into his mother’s house, he checked into an observation ward where his own struggles were put into perspective. From there he started to channel his feelings into music, and the songs that he wrote as a result of the experience would become his first solo album, “Cold Spring Harbor.” After about a year, Weber re-entered his life.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

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      Four States Ask F.D.A. to Lift Special Restrictions on Abortion Pill

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      The states consider it a move to force the F.D.A. to review and acknowledge extensive research showing the pill’s safety.In a strategy aimed at countering efforts to further restrict the abortion pill mifepristone, attorneys general of four states that support abortion rights on Thursday asked the Food and Drug Administration to do the opposite and lift the most stringent remaining restrictions on the pill.The petition filed by Massachusetts, New York, California and New Jersey might seem surprising given the opposition to abortion expressed by Trump administration officials. But the attorneys general consider it a move that would require the F.D.A. to acknowledge extensive scientific research that has consistently found mifepristone safe and effective, said an official with the Massachusetts attorney general’s office who worked on the filing and asked not to be named in order to share background information. It would also prevent the F.D.A. from changing mifepristone regulations while the petition is pending.The petition notes that at a May senate hearing, Robert F. Kennedy Jr., the health and human services secretary, responded to questions by Senator Josh Hawley, Republican of Missouri, who opposes abortion, by saying he had ordered the F.D.A. to do a “complete review” of mifepristone.“We want to make sure that when F.D.A. is making these decisions that they have all the data in front of them, all of the really powerful data that show that mifepristone is safe” the Massachusetts official said.The F.D.A. is required to respond within 180 days by granting or denying the request, or saying it needs more time. In its responses, the agency must document its position, which could be useful in lawsuits, including one that the four states could file if their petition is denied.Mifepristone, which blocks a hormone necessary for pregnancy development, was approved for abortion in America in 2000. The F.D.A. imposed an additional regulatory framework called Risk Evaluation and Mitigation Strategy, or REMS, on mifepristone. That framework has been used for only about 300 drugs, currently covering only about 60 medications.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