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    Trump Asks Congress to Claw Back $9 Billion for Foreign Aid, NPR and PBS

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    The request seeks to codify spending cuts advanced by Elon Musk’s Department of Government Efficiency.The White House formally asked Congress on Tuesday to claw back more than $9 billion in federal funds that lawmakers had already approved for foreign aid and public broadcasting, seeking to codify spending cuts put forward by Elon Musk’s Department of Government Efficiency. In a package compiled by the Office of Management and Budget, officials outlined 22 programs targeted by President Trump in executive orders and by DOGE. The bulk of the rollbacks — $8.3 billion — are aimed at foreign aid spending. The rest — $1.1 billion — would rescind funding for the Corporation for Public Broadcasting, which funds NPR and PBS. The proposal comes as the White House has aggressively challenged Congress’s power of the purse and made clear it is willing to steer around the legislative branch to unilaterally control federal spending.In this case, though, the administration is going through normal channels and asking Congress to go along with its efforts to redirect federal money. Lawmakers can approve such a measure by a simple majority vote in both chambers. Republican lawmakers have argued that it is important for Congress to codify spending cuts that were already enacted by the Trump administration by executive order. “This rescissions package reflects many of DOGE’s findings and is one of the many legislative tools Republicans are using to restore fiscal sanity,” Speaker Mike Johnson said on Tuesday. “Congress will continue working closely with the White House to codify these recommendations, and the House will bring the package to the floor as quickly as possible.”The last time the Trump administration asked lawmakers to pull back federal funds they had already approved, during Mr. Trump’s first term, the effort failed after two Republican senators joined Democrats to defeat what had been a largely symbolic effort.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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      Two Miss Austens, Asterix & Obelix and Robot Chambermaids

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      New international series include a drama about Jane Austen and her sister, a Netflix reboot of a French institution and a whimsical sci-fi anime.In this roundup of recent series from other shores, we go tripping through time and space: from Roman Empire high jinks to Regency England melodrama, and from contemporary British mystery to a postapocalyptic Japanese hotel.‘Apocalypse Hotel’This whimsical, oddball science-fiction anime has not ranked highly in surveys of this spring’s season of Japanese animated series, perhaps because it doesn’t fit precisely into a standard category. (It also has the disadvantage of being a rare original series, with no ties to an already popular manga or light-novel franchise.) In a Tokyo slowly being reclaimed by nature, on an Earth abandoned by humans because of an environmental catastrophe, an intrepid band of robots keep the lights on at a luxury hotel, prepping every day for nonexistent guests. The staff members’ intelligence may be artificial, but their commitment to service is touchingly genuine.When guests do appear — sometimes decades or even centuries apart — they are not humans but wandering aliens whose habits and needs test the robots’ resourcefulness. A family of shape-shifting interstellar tanuki (raccoon dogs) decorate their rooms with towers of dung; a superpowered kangaroo with boxing gloves for paws is intent on destroying the planet’s civilization, not realizing the job is already done. As the travelers and the staff adjust to one another, the robots enact their own version of exquisite Japanese tact and hospitality, with results that are both melancholy and raucously comic. (Streaming at Crunchyroll.)‘Asterix & Obelix: The Big Fight’The tremendous success of the Asterix comics and their offshoots across more than 60 years — hundreds of millions of books sold, a panoply of movies, a popular theme park outside Paris — has never translated particularly well to the United States. The heroes of the stories, a village of 1st-century-B.C. Gauls with egregiously punny names, may hold out against Roman occupation because of the magic strength potion brewed by their druid priest. But their true power, in literary terms, is a projection of insular French wit and wordplay and rough-and-ready Gallic sang-froid. For Americans, the humor can seem both beneath our standards and over our heads.“Asterix & Obelix: The Big Fight” is based on the long-running Asterix comics.2025 Les éditions Albert René/Goscinny-Uderzo/NetflixNow that Netflix is involved, however, it is a sure bet that the intention is to cross over into as many markets as possible, not least the United States. This five-episode adaptation of an early (1966) Asterix book accomplishes that goal with sufficient style, primarily through its brightly colorful 3-D animation. The images are vivid and pleasing, and they hold your interest even when the action kicks in and the storytelling loses some of its French particularity, sliding into a Pixar-derived international-blockbuster groove. (Streaming at Netflix.)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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      ‘Sesame Street’ Signs New Streaming Deals With Netflix and PBS

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      The deal is a much-needed shot in the arm for Sesame Workshop, the nonprofit that produces “Sesame Street” and has been struggling financially.After many difficult months, “Sesame Street” has a moment to celebrate.“Sesame Street,” the 56-year-old institution of children’s television, has signed a new distribution deal with Netflix, as well as a separate deal with PBS, the show announced on Monday.That means new episodes of “Sesame Street” will now be available to the more than 300 million subscribers of Netflix, giving it significantly more reach than in the past. New episodes will also be available on PBS the day they are released on Netflix, the first time in roughly a decade that the public broadcaster will have access to brand-new “Sesame Street” content. The new agreements will go into effect later this year.The deal is a much-needed shot in the arm for Sesame Workshop, the nonprofit that produces “Sesame Street” and has been in the throes of a financial crisis. Sesame Workshop laid off about 20 percent of its staff this year after several grants dried up, and, more significantly, it confronted a significant loss in revenue with the expiration of its current distribution deal, a lucrative contract with HBO.Since 2015, HBO has paid Sesame Workshop $30 million to $35 million a year for new episodes of “Sesame Street,” The New York Times reported. But Warner Bros. Discovery, HBO’s parent company, is letting that deal expire as it turns away from children’s content and faces financial challenges of its own.It was not immediately clear how much Netflix paid to distribute the show. But Sesame Workshop executives have warned employees for months that any new distribution agreements would bring in significantly less revenue than the old HBO deal.In a note to staff, Sherrie Westin, the chief executive of Sesame Workshop, said that it was “certainly worth celebrating” that the show will be available in many more households going forward.But, she added, “we will also have to find additional new ways to sustain our work, as the economics of these agreements are vastly different than those of the past, given the drastic market and media landscape shifts in recent years.” More

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      A Musk Lawsuit in Wisconsin Is the Backdrop to the State’s Supreme Court Race

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      A legal battle over Tesla sales in Wisconsin is the quiet backdrop to a big State Supreme Court race.I was driving from Eau Claire, Wis., to Minneapolis last week when I saw the sign.A Tesla sign.Soon after I crossed the St. Croix River, which divides Wisconsin and Minnesota, a brick-and-steel tower visible from Interstate 94 advertised the Tesla store and service center in Lake Elmo, Minn.The dealership’s proximity to the state line is probably no accident: Wisconsin law prohibits vehicle manufacturers from selling cars directly to customers there, the way Tesla usually does. Instead, companies need to work through local franchisees — think Hank’s Ford or Jimmy’s Subaru, that sort of thing.This means that, in Wisconsin, you can’t actually stroll into a dealership and leave with a Tesla. You can look at one — the company has showrooms in Madison and Milwaukee — but if you want one, you’ll generally have to buy it online and pick it up somewhere like Lake Elmo or Northern Illinois, or have it delivered.Tesla sued Wisconsin over this law in January. Now, Tesla’s owner, Elon Musk, is spending big money on the state’s Supreme Court race.The lawsuit has become a major focus for Democrats, who are accusing Musk of trying to buy a justice and swing the very court that might at some point consider his lawsuit. My colleagues Reid Epstein, who writes about national politics, and Neal Boudette, who covers the auto industry, teamed up to explore the relationship between the lawsuit and Musk’s $20 million investment — so far — in the judicial election, which will be held on April 1.The politics of Tesla’s fight with Wisconsin are, like so much involving Musk, kind of topsy-turvy. It pits car dealers, who tend to be Republican, against Musk supporters, who these days also tend to be Republican.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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      ‘Guilt’ Review: When the Lights Go Out in Edinburgh

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      The final season of Scotland’s most notable TV drama, on PBS’s “Masterpiece,” is a suitably twisty and sardonic send-off for the battling McCall brothers.Contains spoilers for Seasons 1 and 2 of “Guilt.”“Guilt,” a pioneering series in Scottish television — it was the first drama commissioned by the newly formed BBC Scotland channel in 2019 — has built an audience well beyond its borders. A melancholy tale of family dysfunction presented as a complicated crime thriller, it combines British regionalism with peak TV-style poker-faced comedy in a way that has made it a critical darling around the world.Created and written by Neil Forsyth, “Guilt” has arrived in dense, lively four-episode bursts; the third and final season has its American premiere on PBS’s “Masterpiece” beginning Sunday. Each installment has been organized around a psycho-philosophical theme: first guilt, then revenge in Season 2, and now, as Forsyth described it in a BBC interview, redemption.But the pleasure of the show does not come from diagraming its moral lessons (unless that’s your thing), or from unwinding Forsyth’s sometimes maddeningly convoluted plots, which entangle sons and daughters of Edinburgh’s rough-and-tumble Leith district with the city’s gangsters, cops and politicians.What makes “Guilt” worthwhile is Forsyth’s knack for creating characters who work their way into our affections, less by their actions than by their unconscious, soul-deep responses to life in the grim confines of Leith and the promise of something better in Edinburgh’s more comfortable precincts.At the center of the web are Max and Jake McCall (Mark Bonnar and the marvelous Jamie Sives), brothers with very little use for each other who become bound in a seemingly endless cycle of lies, danger and recrimination. It begins in the opening minutes of Season 1 when Jake, with Max in the car’s passenger seat, accidentally runs into an old man, killing him. Jake, a gentle soul with an encyclopedic knowledge of pop music (he could have wandered in from a Nick Hornby novel), wants to call the police; Max, a rapacious lawyer with a near-sociopathic lack of empathy, says no.This is the original sin for which the brothers are still paying. Covering up their hit-and-run homicide embroils them with the Lynches, a married pair of quietly vicious gangsters whom Max and Jake are both on the run from, and scheming to take down, across the show’s three seasons. While the brothers work together for survival, they are also at each other’s throats, taking turns ruefully betraying each other, leading to imprisonment, exile and worse.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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      Andrea Riseborough Has a Hidden Agenda

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      Currently in two series, “The Regime” and “Alice & Jack,” this versatile actress has played dozens of characters. What connects them? Not even she knows.“I really do wish sometimes that I could do all of this a different way,” Andrea Riseborough said. “But I suppose I just do it the way that I do it. And there are consequences.”She paused then, pressing her lips into a thin smile. “That all sounds a bit dramatic,” she added.This was on an afternoon in early March, and Riseborough, 42, a metamorphic actress with a worrying sense of commitment, was seated at a West Village cafe, a basket of vinegar-doused French fries in front of her. She is often unrecognizable from one project to the next, a combination of makeup, hairstyle (what Meryl Streep is to accents, Riseborough is to coiffure) and marrow-deep transformation. Here, offscreen, she wore a Mickey Mouse sweatshirt under a busy leather jacket. Her hair, still growing out from the dismal pixie cut she got for the HBO series “The Regime,” was pulled back with an elastic.In person, she is a particular mix of gravity and nonchalance. She knows that she has a reputation for seriousness, which she rejects. “It would be pretty strange to apologize for being serious when you’re giggling so much,” she said. But I rarely heard her laugh. She considered each question carefully and her responses were often philosophical rather than personal. “People,” she might say in place of “I.” Or “most people.” Or “everyone.” Her face, at rest and free of makeup, isn’t especially restful. There is a watchfulness to her, a sense of thoughts tumbling behind those eyes.In her two decades in the business, goaded by a tireless work ethic that sometimes saw her completing as many as five projects per year, she has amassed credits across stage, film and television. It can be hard to find a through-line among those enterprises, mainstream and independent, comedy and tragedy and horror.In ”The Regime,” Riseborough, left, plays palace master for a despot, played by Kate Winslet.Miya Mizuno/HBOIn 2022, for example, she starred in the sex-addled queer musical “Please Baby Please,” produced by her production company; the cockeyed interwar drama “Amsterdam”; the boisterous children’s film “Matilda: the Musical”; the bleak Scandinavian thriller “What Remains”; and the wrenching Texas-set indie, “To Leslie,” for which Riseborough received her first Academy Award nomination. (That nomination was complicated by perceived campaigning irregularities, though the Academy ultimately concluded that no guidelines had been violated.) Try to connect those dots.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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      Members of a Championship H.B.C.U. Basketball Team Fight for Recognition

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      Surviving members of the all-Black Tennessee A&I basketball team have fought for recognition since they won three back-to-back national championships at the height of the Jim Crow era.In 1957, the men’s basketball program at Tennessee Agricultural & Industrial State University in Nashville had all of the makings of a great team: a coach dedicated to the fundamentals of the game and a fast-breaking offense that applied relentless full-court pressure.“We felt that if we stayed focused, there was nobody else who could beat us,” said Dick Barnett, a shooting guard for the team.That was true, three times over. The Tennessee A&I Tigers would become the first team from a historically Black college or university to win any national championship, and the first college team to win three back-to-back championships.The Tennessee A&I Tigers in 1957. Dick Barnett, wearing No. 35, is at center in the second row.Live Star EntertainmentBut the team, caught in the headwinds of the Jim Crow South, has struggled for recognition ever since.Barnett, now 87, who went on to play for the two New York Knicks championship teams in the 1970s, has spent the last decade working to correct that. He has spent years campaigning for the Tigers to be inducted into the Naismith Memorial Basketball Hall of Fame and is teaching a new generation of basketball players at Tennessee State University, as the school is now known, about the barrier-breaking team.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