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      N.F.L. Sunday Ticket Verdict Is Thrown Out by Judge

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      The decision, five weeks after a jury awarded $4.7 billion in damages in an antitrust case, is a reprieve for the league.The $4.7 billion verdict against the National Football League for colluding to raise prices for its Sunday Ticket television package was overturned late Thursday by a federal judge, who disqualified expert testimony used by the jury to determine damages.The judge, Philip Gutierrez of U.S. District Court in Los Angeles, ruled a day after lawyers for the N.F.L. had asked him to exclude testimony from key witnesses for plaintiffs representing thousands of customers who bought Sunday Ticket, a season-long package that showed all out-of-town games and was sold by DirecTV.The jury’s verdict five weeks ago in favor of those plaintiffs threatened to upend the league’s strategy of selling exclusive television packages to broadcasters.In his 16-page decision, Judge Gutierrez said the plaintiffs’ two economic witnesses had used flawed methodology in their attempts to show that the league overcharged Sunday Ticket customers. The jury’s calculations of damages were thrown out because they were based on the witnesses’ testimony, which included comparisons to how college games are broadcast and unsubstantiated speculation on how the N.F.L. might sell games individually, the judge said.“The court finds that the jury’s damages awards were not based on the ‘evidence and reasonable inferences’ but instead were more akin to ‘guesswork or speculation,’” he wrote.Judge Gutierrez also said the jury had not followed his instructions for calculating damages, which in antitrust cases like this one are tripled and would have led to a $14.1 billion verdict against the league.“We are grateful for today’s ruling in the Sunday Ticket class action lawsuit,” the league said in a statement. “We believe that the N.F.L.’s media distribution model provides our fans with an array of options to follow the game they love, including local broadcasts of every single game on free over-the-air television.”Calls and text messages to Bill Carmody, a lawyer representing the plaintiffs, were not immediately returned.Before the judge’s decision, the N.F.L. said it was prepared to appeal the jury’s verdict. The plaintiffs can potentially appeal the decision to the U.S. Court of Appeals for the Ninth Circuit.The monthlong trial featured testimony from the N.F.L.’s commissioner, Roger Goodell; Jerry Jones, the owner of the Dallas Cowboys; and Sean McManus, who recently retired as the chairman of CBS Sports.Last season, the N.F.L. ended its relationship with DirecTV and sold the rights to the Sunday Ticket package to YouTube for as much as $2.5 billion annually. More

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      Arrest Warrant Issued for ‘Power Rangers’ Actor Hector David Rivera

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      Mr. Rivera, whose stage name is Hector David Jr., was charged with battery in Idaho after a video showed him pushing an older man who used a walker, the police said.An arrest warrant was issued on Wednesday for an actor who appeared for years as the Green Ranger in “Power Rangers” films and television shows, after a video showed him pushing a man in his 60s who used a walker, the police in Idaho said.The actor, Hector David Rivera, 35, was charged with misdemeanor battery in Idaho after video surfaced on Friday showing him in a dispute with the older man, said Carmen Boeger, a spokeswoman for the Nampa Police Department. Nampa is a city west of Boise with over 100,000 people.The video, captured on Friday on a bystander’s dashboard camera, begins with a dispute over a parking spot between a man wearing a New England Patriots jersey and another who is using a walker. It ends with the first man shoving the other one to the ground before climbing into a black truck. He later drove away, the department said.The 14-second video has no audio and does not show the full interaction. But the truck appears to be parked in a space for people with disabilities, and Ms. Boeger said that the dispute began over a parking spot.Video released by the Nampa Police Department in Nampa, Idaho, showed Hector David Rivera, an actor in the “Power Rangers” franchise, pushing an older man to the ground in a parking lot.Nampa Police DepartmentThe Nampa police identified Mr. Rivera by posting the video on the department’s social media pages and asking the public for assistance, Ms. Boeger said. An arrest warrant was issued on Wednesday, and the victim’s name was not released.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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      A Storm Foretold review – a terrifying glimpse into Trump’s time in the White House

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      The most immediately convincing words out of the subject’s mouth in A Storm Foretold are when he is threatening the director. “Obviously,” says Roger Stone to Danish film-maker Christoffer Guldbrandsen at the end of an anti-Trump rant, “if you use any of that I’ll murder you.”As Guldbrandsen notes earlier in the film, their relationship is complicated.The 90-minute documentary follows Donald Trump’s longtime ally – friend, possibly, if either man is capable of friendship – and political adviser for three years from 2019 to 2022. Except, that is, for a short hiatus when Stone switches allegiance to another crew and cuts Guldbrandsen off, the stress of which surely contributes to the Dane’s ensuing heart attack. It’s a busy time for Stone. He splits his time between using diatribes on Infowars to inflame his boss’s base with a hatred for liberals – who, naturally, are in love with “rapist” Bill Clinton and his supposed accessory to the crimes, Hillary – and managing a manchild president who throws tantrums if he feels he is being managed at all. Stone describes, for instance, how, if he wants Trump to say something in particular, he tells him that he needs to use a line in a speech that he used brilliantly before. “Doesn’t matter if he never said it.” It’s one of several terrifying glimpses into the internal mechanics of Trump’s time in office and the scope of its – and his – inadequacies. Such is the destabilising force of these revelations that you start to feel almost grateful that there was someone recognisably politician-like in the mix. Stone is just as arrogant, vain, bullying and thuggish. But he has a genuine analytical intelligence running alongside the same populist touch, instinctive animal cunning and talent for geeing up a crowd that Trump has. You feel glad someone somewhere knows what they are doing, even if everything they are doing is awful and bent on destroying democracy. Like I say – it’s a very destabilising documentary.We watch as Trump’s election campaign is investigated for interference by Russia and Stone goes on trial for allegedly covering up Trump’s various improprieties. He is convicted but his sentence is commuted by Trump, though Stone had been confident of a full pardon.We follow Stone through 2020 as he prepares the backup plan for the increasingly likely event that Trump loses the election to Joe Biden: the “Stop the Steal” campaign that will, we know, culminate in a march on Capitol Hill on 6 January 2021 and an outbreak of violence that essentially amounts to an insurrection. He rallies the troops, especially the rightwing group known as the Proud Boys, who have appointed themselves his voluntary security force and seem to worship him with almost as much fervour as they do Trump himself. Stone strides on, dropping jokes about it being “Shoot a Liberal for Christ” day and, like a jovial barracuda, reckoning they should “fuck the voting – let’s get right to the violence”, advising crowds on “what you can do for the Republic”, turning truths into plausible lies and generally fostering the tension, conspiracy theories, fear and sense of powerlessness (“a thousand years of darkness” will follow a Democrat win) that fuels the Maga membership. When Biden does win, they are assured that Trump won and the lie falls on perfectly prepared ground. The march takes place, the Capitol is breached, lives are lost and hundreds injured.Trump abandons Stone during the fallout. It turns out that a face contorting with rage is not just something that happens in books. In the back of Guldbrandsen’s car, Stone’s face twists and tics as if snakes are rising from his soul. He denounces Trump, says he will support impeachment charges against the “cocksucker” who “surrounded himself with morons … Fuck you and your abortionist bitch daughter.”It’s a scene that, in the damage it potentially does to his cause – the preservation and exaltation of Roger Stone in the coming new New World – crystallises the question floating throughout the film: why did he agree to it? Why didn’t he get one of any number of patsies who would have been delighted with an all-access three years and delivered a pile of fawning goods at the end of it? What kind of documentary was he expecting from a serious film-maker such as Guldbrandsen? Did he think he could fool him or win him over? Does he actually believe in the cause and want it legitimised in the mainstream media? How deep do the arrogance and delusion run?Guldbrandsen pushes him on little – that’s the price you pay for that all-access pass – though his voiceover generally clarifies his stance, or points up Stone’s latest hypocrisy. But, by the end of a film full of jaw-dropping footage of what seem to be very incriminating moments for Stone personally and Trumpism generally, it comes together as a terrifying testimony to the deliberate nature of the destruction of the literal and metaphorical fabric of US politics. It is also an even more terrifying poser of the question – what storms are yet to come?skip past newsletter promotionafter newsletter promotion More

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      Erica Ash of ‘Mad TV’ and ‘Survivor’s Remorse’ Dies at 46

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      Erica Ash started out on sketch comedy shows in the 2000s before appearing in movies like “Scary Movie V” and the satirical reality show “Real Husbands of Hollywood.”Erica Ash, an actress and comedian known for her roles in the satirical reality show “Real Husbands of Hollywood” and on the sketch comedy show “Mad TV,” died on Sunday in Los Angeles. She was 46.The cause was cancer, her mother, Diann Ash, said in a statement on Monday.Ms. Ash began her career in the 2000s as a cast member on the sketch comedy shows “The Big Gay Sketch Show” and “Mad TV,” where she impersonated celebrities like Michelle Obama and Condoleezza Rice.She went on to appear in several dozen TV shows and films, including “Scary Movie V.” She landed a recurring role on BET’s “The Real Husbands of Hollywood,” a parody of reality TV shows that starred Kevin Hart.On Starz’s “Survivor’s Remorse,” a drama-comedy about a young basketball star’s rise to fame, she played the main character’s sister. Among her last projects, Ms. Ash appeared in the Netflix horror-comedy film, “We Have a Ghost.”Erica Chantal Ash was born on Sept. 19, 1977, in Florida, according to IMDb. She attended Emory University as a pre-medicine student, but pivoted to comedy and entertainment. In an interview in 2018 with Steve Harvey, she talked about taking a year off from studying medicine and becoming a backup singer for a Japanese band.She was popular on social media, where she spoke out on politics and posted videos of herself portraying funny characters.A list of survivors was not immediately available. More

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      ‘House of the Dragon’ Season 2, Episode 7 Recap: Soothing the Savage Beasts

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      Not everyone gets to have a dragon. But maybe more people get to have dragons than everyone thought?Season 2, Episode 7: ‘The Red Sowing’Sometimes, in politics, a bold gamble in unprecedented times pays off. This is as true for the world of Westeros as it is for our own. The woman who wants to rule the realm staked it all on a long-odds play, and her odds came in.For several episodes, Queen Rhaenyra has been down one dragon. The formidable beast Meleys and her equally impressive rider, Princess Rhaenys, are dead. Prince Daemon’s war-hardened “Blood Wyrm,” Caraxes, is mired in his master’s endless quest to subdue the Riverlands. None of the mounts available to Team Black can possibly match Prince-Regent Aemond and his colossal creature, Vhagar, in battle, even when combined.On the advice of her counselor (with benefits?) Mysaria, Rhaenyra expands her search for potential dragon riders to the unrecognized descendants of her sprawling royal family — those born as commoners, outside of marriage. In a face-to-face meeting with the young shipwright Addam of Hull, revealed to be the new rider of the dragon Seasmoke, Rhaenyra has already learned that even those not of fully noble birth can ride a dragon. She doesn’t know that Addam is the son of Lord Corlys Velaryon, whose house has frequently intermarried with the Targaryens — and neither Addam nor Corlys tells her so — but since the young man’s mother was a commoner regardless, the point stands.When word of the search gets to King’s Landing through the usual back channels, Ulf and Hugh, two of the commoners we’ve been following all season, take the fateful trip to Dragonstone to test their mettle against monsters widely considered more god than animal. There, they learn the hard way that gambling is easier when you’re betting with someone else’s money.True, Rhaenyra talks about needing dragon riders to avoid bloodshed, not cause it. And she pushes back against her son Prince Jacaerys’s furious tirade against elevating lowborn part-Targaryen “mongrels” to the level of dragon rider. (In fairness to Jace, his shame about his own parentage, and his fear of becoming just another Targaryen-blooded bastard with a dragon and thus no more a claim to the throne than any other, play as much of a role as snobbery does here.)What Rhaenyra does not do is ask her potential dragon riders to proceed onto the barbecue grill — I’m sorry, the viewing platform — beneath Dragonstone to approach the mighty dragon Vermithor one at time. So what if the dragon keepers have gone on strike in protest of this “blasphemous” move? Surely the Black Queen is aware of best practices when it comes to large groups and hungry fire-breathing dinosaurs by this point in her life. I would call this a flaw in the writing, but the reckless disregard of even “good” Targaryens like Rhaenyra and Rhaenys for civilians caught in the crossfire of their boldness has been a through line of the series.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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      Opening Ceremony Misses the Boat

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      The Paris Games began with a new look and sparkled with Celine Dion. But the show suffered from bloat similar to TV’s other spectacles.About six hours before Celine Dion gutted out the final number of the Paris Olympics opening ceremony, the streaming service Peacock emailed a promo for its coverage with the headline, “We’ll all be crying by the end of this.” So maybe they knew more than they were letting on.The homestretch of the marathon four-hour broadcast, when the celebrating athletes and dance extravaganzas and speeches were out of the way, had some starkly lovely images and moving moments: the speedboat carrying former champions up the Seine in the dark (like a real-life echo of Leos Carax’s great water-skiing scene in “Les Amants du Pont-Neuf”). The grand scale and dramatic lighting of the Louvre as the torch was carried, like a firefly’s flame, through its courtyards. The torch coming to the hand of a 100-year-old French cyclist, steady in his wheelchair, and Dion defying her illness to belt out “Hymne à l’Amour” on the Eiffel Tower.Celine Dion’s performance of “Hymne à l’Amour” provided a triumphant finale.Chang W. Lee/The New York TimesBut it took endurance to get there — for the athletes, performers and spectators drenched by the summer rain, and for the viewers at home watching the ceremony as it was conceived by the French organizers and packaged by NBC and Peacock.The decision to abandon the event’s traditional format — the long, formal parade of athletes marching into a stadium — for a waterborne procession along the Seine intercut with performances had a twofold effect. It turned the ceremony into something bigger, more various and more intermittently entertaining. But it also turned it into something more ordinary — just another bloated made-for-TV spectacle, like a halftime show or awards show or holiday parade that exists to promote and perpetuate itself.Those spectacles can be fun, of course, and the traditional Olympics opening ceremony could feel dull and interminable. But it was not quite like anything else, and it played a key part in making the Games feel special.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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      Scandal Hits U.K.’s ‘Strictly Come Dancing,’ the Original ‘Dancing With the Stars’

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      The BBC said it would add chaperones to rehearsals after allegations of abusive behavior at a hugely popular dance show that inspired international versions.For almost two decades, viewers in Britain have watched celebrities jive, waltz and cha-cha-cha on “Strictly Come Dancing,” a BBC reality television show that inspired the international “Dancing With the Stars” franchise.The format, which has been licensed to 61 other territories including the U.S., pairs professional ballroom dancers with people who are famous in other fields, from athletics and acting to politics and journalism. The amateur dancers then train intensively with their professional partners and compete in weekly live performances.Introduced in 2004, the show quickly became one of the BBC’s most popular programs, widely loved as a glitzy, family-friendly watch on weekends.But in recent months it has grabbed headlines because of a growing scandal: allegations that two professional male dancers exhibited bullying or abusive behavior toward their female dance partners during rehearsals.One former contestant, the actor Amanda Abbington, has alleged in interviews with the British media that her dance partner, Giovanni Pernice, displayed “bullying” and “aggressive behavior” and was “abusive, cruel and mean.” She declined to give further details of the behavior in interviews, saying the ongoing nature of a BBC investigation into the allegations prevented her from doing so.Ms. Abbington, who appeared in the British series “Sherlock,” cited “personal reasons” last year for leaving the dance competition during filming, but said this week that she had flagged the behavior to producers before filing an official complaint with the BBC. She said she believed that there were 50 hours of rehearsal video that could bolster her case, though they have not been made public.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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      Saying Goodbye to the Messy, Murderous World of ‘Elite’

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      A diverse cast of characters and a murder to solve each school year have helped make this teen drama one of Netflix’s longest-running original shows.Shooting the eighth and final season of Netflix’s teen crime drama “Elite” last November, crew members yelled “silencio” so often it could have been mistaken for a chant.Dozens of young actors, dressed in black tie, talked and laughed as they milled around a set on the outskirts of Madrid that depicted a nightclub. The Brazilian actor André Lamoglia seemed used to the chaos as he waited, perching on the bar in a black suit with white trim, to lead another of the show’s rowdy party scenes.After the cameras finally started rolling, and with the extras making much less noise, Lamoglia’s character, Iván, took a seemingly casual selfie with his half sister Chloe (Mirela Balic) that was actually part of a scheme to discover who murdered his friend.Unruly teenagers, expensive clothes and mysterious dead bodies are all typical for the Spanish-language show which, since its premiere in 2018, has become one of Netflix’s most popular original titles, and one of the longest-running. (The final season is being released Friday.)In its first season, “Elite” used a setup familiar from other successful teen shows, including “Gossip Girl” and “Beverly Hills, 90210”: inserting beautiful outsiders into an exclusive social setting. In this case, three scholarship students join Las Encinas, an expensive private high school. But at Las Encinas, every year (and season) there is also a murder for students and the police to investigate.This blending of soapy teen drama and tense murder mystery has helped the show run for eight seasons, and by its fourth, “Elite” was ranking in Netflix’s weekly Top 10 chart in more than 70 countries, according to data from the streamer.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