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      ‘A Million Miles Away’ Review: From the Fields to Outer Space

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      In this biopic, a boy from a family of migrant farm workers watches the moon landing in 1969, which ignites his desire to be an astronaut.The dream of being an astronaut was planted in José Hernández (Michael Peña) early, when he and his family were migrant workers in 1960s California. Back when the U.S. immigration policy resembled a revolving door more than a steel wall, tens of thousands of families would travel north to harvest seasonal crops. For his parents, the work was in service of a long-held dream: to build a house in their native Michoacán. The children were frequently uprooted and placed in new schools as the family zigzagged across the state, following the work. It wasn’t until a teacher, Ms. Young (Michelle Krusiec), intervened that the Hernández parents settled in Stockton, Calif., forsaking their dream for their children’s education. That’s where young José saw the 1969 moon landing on T.V., a moment that ignited a lasting passion for flight.Sacrifice, grit, perseverance, tenacity: These are the themes that drive “A Million Miles Away,” directed by Alejandra Márquez Abella and based on José Hernández’s memoir, “Reaching for the Stars: The Inspiring Story of a Migrant Farmworker Turned Astronaut,” a true up-by-the-bootstraps tale. The film spans decades, from childhood to, eventually, the NASA space program. He married Adela (Rosa Salazar), a car saleswoman and aspiring chef, with whom he had five children; along the way he also worked as an engineer at a federal research facility. He is propelled by the support of his wife and family as well as a “recipe” for success from his father, Salvador (Julio César Cedillo), around which the film is framed.Beautifully shot and interspersed with historical footage of migrant workers and spacecraft launches, the film’s most effective and touching scenes revolve around the family relationships, particularly José’s with his cousin Beto (Bobby Soto), who became a farmworker like his parents. In one scene, Beto says: “I just think it’s great that I get to be so freaking proud and have no idea what you’re talking about, cousin.” It’s a line that aptly distills what many upwardly mobile immigrants face. There are moments that show the clashes of the two worlds, and those that show their melding: José’s driving to work blasting a ranchera on the radio; using a corncob as a spaceship; or washing dishes in his astronaut uniform. These are heartwarming scenes, and it’s hard not to be moved by the enormity of the challenge he undertook and conquered.But the grit narrative at times becomes a bit heavy-handed, with quotes such as “Hard work or nada,” from his father, and “Tenacity is a superpower” from his NASA trainer, Kalpana Chawla (Sarayu Blue). José Hernández applied to the space program 11 times before succeeding, and the film centers almost exclusively on this plight. There are meaningful glances at his hands, an echo of the calloused hands that supported him, and montages of his persevering through training.In peddling the mythical American dream narrative, the film misses an opportunity for conflict or character development and falls short of delving into bigger, more interesting themes: assimilation, immigration, gender roles, family conflict. Doing so would have made for a more meaningful watch and felt more in line with our present understanding of the reality of migrants’ lives.A Million Miles AwayRated PG. Running time: 2 hours. In theaters, and streaming on Prime Video Sept. 15. More

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      Overlooked No More: Chick Strand, Pioneering Experimental Filmmaker

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      Often turning her lens on women, she emerged as one of independent cinema’s fiercest proponents on the West Coast.This article is part of Overlooked, a series of obituaries about remarkable people whose deaths, beginning in 1851, went unreported in The Times.In Chick Strand’s 1979 film “Soft Fiction,” five women speak openly to the camera about their sexual histories, including one who describes being molested by her grandfather. As she talks, images of her performing household activities like cooking breakfast appear in splintered frames and enigmatic shapes.“It is a film about women who win,” Strand explained in a 1998 interview with the conceptual artist Kate Haug for the journal Wide Angle. “It is not about women who were victims or who had survived.”“They carry on,” she added, and by doing so they become “more potent, more powerful, more of themselves.”In “Femme Experimentale,” a research paper based on her interviews with several pioneering female filmmakers, Haug wrote that Strand’s “experimental techniques” in that 55-minute film disrupted “the visual codes of documentary film” with its “poetic transitions between narrators.”“Soft Fiction,” which is regularly screened in university film programs, retrospectives and museums around the world, was one of dozens of movies made by Strand, an experimental filmmaker who often trained her lens on women. Among the others were “Anselmo and the Women” and “Fake Fruit Factory,” both from 1986.Strand was a late bloomer by the standards of her day: She didn’t make her first film until she was 34. But she would go on to have momentous impact on the West Coast’s experimental film movement.A still from Strand’s film “Fake Fruit Factory” (1986), about women who work in a factory making wooden fruit.Canyon Cinema Foundation“She rejects the classification of ‘feminist artist,’” the film scholar Gene Youngblood told The Santa Fe New Mexican in 1999, when some of Strand’s films were being shown at the College of Santa Fe. “And yet she has produced some of the most memorable portraits of female characters in the history of cinema.”Though she never achieved the same level of fame as contemporaries like Barbara Hammer and Shirley Clarke, scholars say her work was just as groundbreaking.Chick Strand was born Mildred Totman on Dec. 3, 1931, in Berkeley, Calif., to Russel and Eleanor Totman. Her father was a bank teller, her mother a homemaker. (Chick was a nickname given to her by her father).She first developed an interest in film while studying anthropology at the University of California, Berkeley. By then she had already dabbled in photography.In the 1960s, inspired by the growing free speech movement, Strand began hosting makeshift screenings in her backyard with her first husband, Paul Anderson Strand, an artist, and the experimental film impresario Bruce Baillie. These “happenings,” as they called them, were intended to showcase highly personal, often esoteric audiovisual experiments among friends. As word spread, they quickly became carnivalesque productions, with Strand, Baillie and other regulars dressing in costumes and performing live while the films were shown to an increasingly large group of strangers.A still from Strand’s “Soft Fiction” (1979), in which five women speak openly to the camera about their sexual histories.Canyon Cinema FoundationIn 1961, she founded The Canyon Cinemanews, a journal for local filmmakers that Stanford University called “the main organ of the independent filmmaking community” when it purchased the journal’s archives in 2010. The journal offered what it described as “a cornucopia of announcements, letters, classifieds, how-to information, call-outs and more” for local filmmakers who lacked access to Hollywood.In 1966, the same year she began studying ethnography at the University of California, Los Angeles (and the same year her son, Eric, was born), Strand presented a three-minute short, “Angel Blue Sweet Wings,” at the New York Film Festival. The film captured the luminous, psychedelically colored landscape of Strand’s second home, in Mexico, through a roaming, almost dancing camera, with the faces of her friends collaged seamlessly over fuzzy bodies, plants and mountains. It was described as “an experimental film poem in celebration of life and visions” by the Film-Makers’ Cooperative.In 1967, Strand helped start the Canyon Cinema collective with Baillie and the filmmakers Lawrence C. Jordan, Robert Nelson, Lenny Lipton and Ben Van Meter. The organization — part pop-up cinematheque, part artists’ cooperative — distributed experimental films by now-famous directors like Hammer, Clarke and Peggy Ahwesh. Canyon Cinema later became a full-time nonprofit, with many of its members’ works incorporated into the National Film Registry.By then Strand and her second husband, Neon Park, the artist known for his imaginative album covers, were splitting their time between California and Mexico. In Mexico, she began to explore assemblage and ethnography more formally in her art, resulting in several works now considered landmarks of West Coast cinema, including “Fake Fruit Factory,” about women who work in a factory making wooden fruit.“I’d be tripping over the rocks and speaking this terrible Spanish,” Strand told L.A. Weekly in 2006. “But I was so incredibly interested, and people really responded.”Strand with her second husband, the artist Neon Park. They split their time between homes in California and Mexico.Canyon Cinema FoundationStrand then delved into what would become perhaps her best-known work: a 20-year trilogy of ethnographic films on the life of Anselmo Aguascalientes, a poor Mexican Indian tuba player. The first of these, “Anselmo” (1967), about his music, “represents an early example of Chick Strand’s abiding interest in documenting people, objects, animals and events through a heightened and poetic subjectivity, while at the same time using assemblage techniques that allow her to incorporate disparate, sometimes jarring elements,” Maria Pramaggiore, a professor of media studies at Maynooth University in Ireland, wrote in an essay, “Chick Strand’s Experimental Ethnography,” published in the book “Women’s Experimental Cinema” (2007).The techniques used in “Anselmo” — and later in “Cosas de Mi Vida” (1976), about Anselmo’s life, and “Anselmo and the Women,” about his wife and mistress — would, Pramaggiore noted, become hallmarks of Strand’s documentary practice.Another key work, “Kristallnacht” (1979), was more technical, using the whites and blacks of 16-millimeter film negatives to craft a luminous existential tribute to Anne Frank. In that film, reflections play across shots of women swimming in a pool of water, sparking glimmers in the chiaroscuro darkness of each inverted image.Throughout her filmmaking career, Strand taught at the film arts program at Occidental College in Los Angeles, ultimately becoming the program’s director. She retired in 1996 but continued to produce groundbreaking experiments in film in her twilight years. As she told L.A. Weekly a decade into retirement: “I’m very satisfied creating works of art. I can’t seem to keep my mind from doing this, from painting or planning new films. It’s just what I love to do.”Strand died of cancer on July 11, 2009, at 77. But she lived long enough to see 350 of her personal items permanently entered into the Motion Picture Academy’s Film Archive in 2007. More

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      Sexual Abuse Suits Against Michael Jackson’s Companies Are Revived

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      An appeals court in California determined that lawsuits by two men who say Jackson molested them as children can proceed.Two men who have accused Michael Jackson of sexually abusing them as children are able to resume their lawsuits against companies owned by the singer, who died in 2009, a California appeals court ruled on Friday.The men, Wade Robson, 40, and James Safechuck, 45, have alleged that Mr. Jackson sexually abused them for years and that employees of the two companies — MJJ Productions Inc. and MJJ Ventures Inc. — were complicit, acting as his “co-conspirators, collaborators, facilitators and alter egos” for the abuse. The suits say that employees of the companies owed a “duty of care” to the boys and failed to take steps to prevent abuse.Mr. Robson’s and Mr. Safechuck’s stories were featured in the 2019 HBO documentary “Leaving Neverland,” in which the men accused Mr. Jackson of molesting them and cultivating relationships with their families to access the boys’ bodies.“Everybody wanted to meet Michael or be with Michael,” Mr. Safechuck said in the film. “He was already larger than life. And then he likes you.”The two companies are now owned by Mr. Jackson’s estate, which has repeatedly denied that he abused the boys.“We remain fully confident that Michael is innocent of these allegations, which are contrary to all credible evidence and independent corroboration, and which were only first made years after Michael’s death by men motivated solely by money,” Jonathan Steinsapir, a lawyer for Mr. Jackson’s estate, said in a statement after the decision.Vince Finaldi, a lawyer for Mr. Safechuck and Mr. Robson, said in a statement that the court had overturned “incorrect rulings in these cases, which were against California law and would have set a dangerous precedent that endangered children.”Mr. Robson and Mr. Safechuck filed their suits against the companies in 2013 and 2014, respectively, but both cases were dismissed in 2017 because they exceeded California’s statute of limitations. They were reopened in 2020 after a new state law provided plaintiffs in child sex abuse cases an additional period to file lawsuits.In October 2020 and April 2021, the suits were again dismissed when a Los Angeles County Superior Court judge ruled that the two corporations and their employees were not legally obligated to protect the men from Mr. Jackson.But on Friday, California’s Second District Court of Appeal ruled that “a corporation that facilitates the sexual abuse of children by one of its employees is not excused from an affirmative duty to protect those children merely because it is solely owned by the perpetrator of the abuse.”In a concurring opinion, Justice John Shepard Wiley Jr. said that for the purposes of civil liability, the corporations did the sole bidding of Mr. Jackson, who had a duty of care to Mr. Robson and Mr. Safechuck.“So did Jackson’s marionettes, because Jackson’s fingers held every string,” he said, adding, “These corporations could have taken cost-effective steps to reduce the risk of harm.”The cases, which were consolidated in the appeals court, will now go back to a trial court.In his lawsuit, Mr. Robson, who is now a choreographer and director, says that Mr. Jackson molested him from age 7 to 14. After meeting Mr. Jackson through a dance competition when he was 5, Mr. Robson performed in his music videos and released an album on his record label.According to his suit, the abuse started in 1990 when Mr. Jackson invited Mr. Robson and his family to stay at his Neverland Ranch in California. Mr. Robson and Mr. Jackson slept in the same bed and touched each other’s genitals, according to the suit. Over the next seven years, the suit said, they engaged in sexual acts including masturbation and oral sex.The suit says that employees of MJJ Productions witnessed the abuse and that employees of the two companies took steps to ensure that Mr. Jackson was alone with Mr. Robson and other children.Mr. Safechuck’s lawsuit says he was one of several children entrapped by the companies’ “child sexual abuse procurement and facilitation organization.” According to his suit, Mr. Safechuck met Mr. Jackson during filming for a Pepsi commercial in late 1986 or early 1987 and later became a dancer for Mr. Jackson.Mr. Jackson showed the 10-year-old boy how to masturbate while on tour in 1988, the suit alleges, and abused Mr. Safechuck hundreds of times over the next four years. The employees of MJJ Productions and MJJ Ventures coordinated the visits, according to the suit.Before these lawsuits, Mr. Jackson twice faced criminal investigations into the possible sexual abuse of children.In 1994, the district attorneys for Los Angeles and Santa Barbara Counties decided not to proceed with charges that Mr. Jackson had molested three boys because the “primary alleged victim” decided not to testify. Mr. Jackson, who denied any wrongdoing, had reached a $20 million civil settlement with the boy’s family.In 2003, a Santa Barbara County district attorney charged Mr. Jackson with several counts of child molesting and serving alcohol to minors. After a 14-week trial in 2005, he was acquitted by a jury. More

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      Prue Leith’s 2,200-Mile Road Trip From California to Florida

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      The “Great British Baking Show” judge steps out of the tent to sample the flavors of America. Is her 2,200-mile drive a showstopper or a technical challenge?​​Last fall, my husband and I set our hearts on renting an R.V. for a road trip from Los Angeles to Florida. We imagined picnicking on mountaintops in New Mexico, sleeping under the stars in Texas and barbecuing prawns (the R.V. would come with a grill, of course) on a Mississippi levee. In the end, our 2,200-mile American journey ended up being memorable, but for none of those reasons.“We can’t accept anyone over 70 with a British driver’s license,” insisted the woman on the phone. I’m 83, but in my head I’m a sprightly 60, and my husband, John, is 76. Nobody had warned us about this potential obstacle. If they had the same age cutoff for Americans, I thought, the R.V. business would collapse.We called another company. Their rep said he’d never heard of any age restriction. “No problem,” he said. “We’ve got the perfect R.V. for you.” Except it was 45 feet long. The thought of parking something the size of a London bus was too much, even for my gung-ho husband.Common sense prevailed, and we rented a Ford Explorer.New MexicoSalsa and sticker shockWe were overdue for a break. Aside from my usual job eating cake as a judge on “The Great British Baking Show,” I’d been doing trial runs of my one-woman stage show in Britain and the United States, and it had been exhausting.So, before we set off on our great adventure, we rented a mobility scooter for two and hit the boardwalk at Venice Beach, in Los Angeles. But our crawl through the deafeningly loud music, junk food and stands selling shorts emblazoned with vulgar words and messages like “Beat Me” did little to re-energize our spirits.On the day we left California, torrents of rain were falling. By the time we crossed into Arizona, the sun had exploded over the hills in a glorious display of opera lighting.We made it as far as Sante Fe, N.M., where our hotel, the Vanessie, a charming collection of wooden buildings around a courtyard was, like everywhere, suffering from a lack of staff. The single employee handed us a laminated notice: “Our restaurant, room service and bar are currently closed. A $30 service charge will be added to your bill.”Happily, Vara Vinoteca, across the street, was open. We ate tiny padrón peppers stuffed with cream cheese and cumin, tuna ceviche and pineapple salsa, and a small bowl of warm, slightly curried mussels in the shell, all served with a flight of four glasses of different California cabernet sauvignons.I’d have been happy to have all our meals in that simple little room. But Santa Fe brims with good restaurants, quirky architecture, art museums and shops stuffed with desirable things, so we set off to explore. John fell in love with a hatter’s shop, where he bought two authentic Stetsons. He also spent eye-watering amounts of money on two baseball caps for his grandsons. Is there a difference between a $41 and a $5 baseball cap? Apparently.John was equally dumbfounded at my lusting after an irresistible $150 necklace made from cut-up plastic water bottles and sprayed with red, black and gold paint. Vibrant, bouncy, light as a feather — it was a work of art. But apparently it was a piece that, at least for us, money couldn’t buy: The shop’s credit card system required a U.S. ZIP code, and cash was not accepted. We gave up.Prices constantly amazed us. The exchange rate has made the U.S. shockingly expensive for Brits, and taxes and tip on top of that? I’m already vaguely offended to be expected to tip when buying a coffee at a counter. And now with the touch screens suggesting tips of 15 percent and up, a latte feels like a major purchase. Only petrol seemed cheap, at half the U.K. price.Luis MazónTexasWhere astronauts dare to dine“Boring, flat, brown, goes on forever”: Everyone said we’d hate Texas. But we loved it. Maybe because I grew up in the wide-open spaces of South Africa, the little towns with not much more than a windmill and a church touched my heart.We stopped for lunch at Dirk’s, a Lubbock diner packed with locals eating chicken tenders, sticky ribs and burgers, all flooded with gloopy barbecue sauce and followed by doughnuts or pancakes in a lake of syrup.The waiter seemed puzzled when I asked, “Do you have any green vegetables?” Then he smiled and said, “Oh, yes, we have green beans.” They turned out to be canned beans in a cloying juice.We were also puzzled by the way American waiters routinely congratulate you on your menu choice, rewarding you with “Good choice,” “Excellent” or even “Awesome.” You want fries with that? “Awesome!”By the time we got to San Antonio, we were ready for a drink. A waterside cafe among the raised flower beds, paved walks and roving mariachi bands of the River Walk delivered first-class margaritas (freezing, salt on only one edge of the glass, not too sweet) and still-warm tortilla chips. Watching the young waiter make guacamole at a riverside table was a joy: knife razor-sharp, chile fresh, avocado and tomato perfectly ripe. And his judgment was fine — a smidge of chopped raw red onion, a decent squeeze of lime, and a generous grind of pepper and salt, all turned together gently rather than crudely mashed. I found myself eating very slowly, just to hold on to that flavor as long as possible.We had the worst meal of our whole trip not far away in the Texas Hill Country tourist town of Fredericksburg, which prides itself on its German heritage. We’d spent a happy morning touring the shops, museums and galleries of the town’s north end, and enjoyed a lunch of fried chicken sandwiches and banana walnut pancakes.So we had high hopes for the south side. But sadly its historic houses were full of tourist junk like plastic stein mugs and Barbie dolls squeezed into lederhosen. We retreated to a restaurant whose menu boasted of authentic German dishes. We were served pork chops ruined by oversweet gravy, tasteless sauerkraut, sweet and vinegary red cabbage, and potato mash obviously made with powdered mix that had not been brought to a boil. We abandoned our plates and went back to our motel to microwave emergency rations of Campbell’s tomato soup.The next day, on our way to Houston, we passed a roadside church whose huge hoarding exhorted us to “Give Up Lust — Take Up Jesus.” I thought that sign might be my most abiding memory, until I’d spent a few hours at the Space Center Houston. I never guessed I’d be so riveted by topics like the geology of the moon and how NASA astronauts train underwater.But the cafeteria! It is astonishing, the best I’ve ever seen anywhere in a public building: brioche or sourdough sandwiches, homemade soups, hot roasts and grills, fresh tortillas, a salad bar to tempt the most die-hard carnivore, and no junk food in sight. It was a long way from the usual NASA fare of freeze-dried food in pouches and tubes.Luis MazónLouisianaHow to nurse a hangoverLouisiana is famous for gumbos and étouffées, so I was expecting gastronomy as we crossed the state line and drove toward Louisiana State University’s Rural Life Museum, a Cajun heritage village in Baton Rouge. I guess I was overly optimistic. The jambalaya and blackened fish in the cafe were tasteless and dried out. I’ve had better Cajun food in London.Plantation Alley, along the Great Mississippi Road, with its half a dozen “Gone With the Wind”-style estates, now open to the public, swept me away. The most beautiful of them was Oak Alley, with its avenue of 250-year-old Southern live oaks, their branches creating a vast green tunnel. But I couldn’t understand how the magnificent trees were obviously much older than the house. It turns out that these oaks are native to the area, and had once grown all over the estate. When the house was built in 1836, enslaved workers were made to dig up 28 of the huge 60- to 70-year-old trees, with root systems equal to the size of their canopies, and replant them in an avenue down to the Mississippi levee.The Great Mississippi Road eventually leads to New Orleans and the famous French Quarter, with its balconies of elaborate wrought iron — a daytime picture of Victorian good taste. We, ignorant Brits, had no idea that at night on Bourbon Street, that “good taste” became the flavor of daiquiris, pizza and hot dogs against a backdrop of bands belting out rock ’n’ roll, small children beating dustbins, grown-ups playing jazz, and the raucous din of drunken tourists until 3 a.m.But I liked the party atmosphere, and I’m mighty partial to a daiquiri, so we set off on a pub crawl. I now know that the secret to a good mango daiquiri is fresh mango, and not bottled mango syrup. And the next morning, after one too many mango delights and little sleep, I learned that shrimp and grits, with a good grating of cheese, is the perfect hangover cure.FloridaTurkey, sweet potatoes and slice of modern EdenOur road trip ended, as it had started, at a beach. Only this one was a mercifully far cry from the Venice boardwalk.We had rented a house for the week in the small Florida Panhandle community of Seacrest Beach, on the Emerald Coast along Highway 30A. This eight-mile strip — a kind of manufactured, perfectly designed modern Eden — consists of 16 neighborhoods on white-sand beaches between Pensacola and Panama City. Developments with names like Rosemary Beach, Seagrove Beach, Alys Beach, Grayton Beach and WaterColor share the perfect sands and the desired 30A address.Everyone rides around on bikes, and perfectly tanned mothers gossip over kombucha and wheatgrass at sidewalk cafes. Even the children look straight out of an upmarket catalog.Friends of friends, on holiday, invited us to their Thanksgiving dinner — turkey with all the trimmings, sweet potatoes, pecan pie and ice cream. In thanking them, I said something about the pleasure of such generosity, family closeness and their children’s politeness. Our host laughed. It’s because we’re from the South, she said.I’m glad we failed to rent my dream Winnebago back in Los Angeles. If we’d succeeded, we’d never have experienced a traditional American family Thanksgiving. We’d have been in a trailer park, eating takeout. Thank you, Lady Luck.Follow New York Times Travel on Instagram and sign up for our weekly Travel Dispatch newsletter to get expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places to Go in 2023. More

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      Jay Johnston, ‘Bob’s Burgers’ Actor, Is Arrested on Jan. 6 Charges

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      The actor was banned from the animated sitcom in 2021 after he was accused of participating in the Capitol riot.Jay Johnston, a comic actor known for his work on the animated sitcom “Bob’s Burgers,” was arrested in California on Wednesday and charged with felony obstruction of police officers during the riot at the Capitol on Jan. 6, 2021.The actor was identified in police body camera footage pushing against officers and aiding other rioters at the Capitol, according to the F.B.I.Mr. Johnston, 54, was charged on four counts, including civil disorder and entering a restricted building. An F.B.I. affidavit states that images from closed-circuit television show Mr. Johnston using a shield stolen from the Capitol Police to join a group assault on officers defending a tunnel entrance to the building.Mr. Johnston’s name surfaced in connection with the riot in March 2021 when amateur sleuths said they recognized him in photographs shown in an F.B.I. call for tips on Twitter. Colleagues on the podcast “Harmontown” also tweeted that they recognized Mr. Johnston, who appeared in small roles on “Arrested Development” and “Anchorman,” among other comedies.“I’m no detective, but I do know Jay,” Cassandra Church, who worked on “Harmontown” with Mr. Johnston, wrote in a tweet that has since been deleted. “He said he was there. And that’s him in the picture. So…”The F.B.I. said three associates of Mr. Johnston’s identified him in the Jan. 6 photographs. One associate provided the F.B.I. with a text message in which Mr. Johnston acknowledged being at the Capitol on Jan. 6, stating: “The news presented it as an attack. It actually wasn’t. Thought it kind of turned into that. It was a mess. Got maced and tear gassed.”Mr. Johnston was also said to have assisted other rioters by pouring water over their eyes after they had been sprayed.The Daily Beast reported in December 2021 that Mr. Johnston had been banned from voicing his recurring character, Jimmy Pesto Sr., on the Fox show “Bob’s Burgers” after the Jan. 6 riot.More than 1,040 people have been charged in connection with the attack on the Capitol, according to the Justice Department. Prosecutors have indicated that there could be as many as another 1,000 people who might eventually face charges, according to people familiar with the matter.The owner of a Long Island funeral home, Peter G. Moloney, was also charged on Wednesday in the department’s investigation of the riot. He is accused of spraying an insecticide at police officers guarding the Capitol and attacking members of the news media.Last month, Richard Barnett, who was photographed with his boot on Speaker Nancy Pelosi’s desk during the attack, was sentenced to four and a half years in prison after being found guilty in January on eight criminal offenses.Stewart Rhodes, the leader of the far-right Oath Keepers militia, received the most severe penalty so far from criminal cases stemming from the Capitol attack. He was sentenced last month to 18 years in prison for his conviction on seditious conspiracy charges.Mr. Johnston has a long list of television and movie credits, mostly in comedic roles. He was a regular on the 1990s sketch comedy program “Mr. Show” with David Cross and Bob Odenkirk. He more recently appeared in an episode of “Better Call Saul,” starring Mr. Odenkirk.A lawyer for Mr. Johnston did not immediately respond to a request for comment.Alan Feuer More

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      Forests, Band from Singapore, Played On After U.S. Robbery

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      Forests, a band from Singapore, ended its tour in New York in high spirits, two weeks after being robbed in California.The band, Forests, did not miss a show.ForestsAn international rock band’s first U.S. tour is a moment to be celebrated, a sign that years of hard work have paid off. But just a few days into their American debut, the members of Forests, an emo rock band from Singapore, endured another rite of passage for some musicians traveling the United States when they stopped for the night at a California hotel.When they returned to their rental van a few hours later, they realized they’d been robbed.“In Singapore I kind of made a joke about it, like, oh, you know, your band is only legit if your stuff got stolen,” said Darell Laser, 36, the bassist. “Then it really happened.”Forests and the Oklahoma band they were touring with, Ben Quad, are hardly the first musicians to be robbed while on tour in America. (In 1999, Sonic Youth famously lost an entire truck’s worth of gear to a thief, also in California.) But the experience was still a shock for a band from a country as safe as Singapore.“It was the worst luck ever,” said Chris Martinez, 29, a Forests fan from San Diego who discovered the band years ago on a business trip to Singapore.The robbery prompted an outpouring of concern from both bands’ fans, and more than $9,000 in donations allowed them to buy replacement instruments. They did not miss a show, and they ended their tour in high spirits with a sold-out concert at a bar in Queens on Tuesday.“They seem to have moved past it,” said Mr. Martinez, who donated $200 to the bands’ crowdfunding campaign after learning of the robbery. “Keeping a positive attitude and trying not to let it bring them down.”Forests and Ben Quad had some instruments, along with other goods, stolen from their parked rental van while they were sleeping in a hotel after a show. ForestsThe May 1 robbery made for a surreal early leg of a cross-country tour — entitled “Get in losers, we’re going to Walmart” — that Forests had spent months planning and years looking forward to. It happened a few days after their tour began in Seattle and a few hours after their gig in Oakland.When the tired musicians from the two bands straggled into a Hampton Inn in Hayward, Calif., at about 1:30 a.m., they left their gear in the 15-passenger rental van they were sharing for the tour. They parked next to a security camera as a precaution, but it didn’t help: When they returned to the parking lot after 11 a.m., they noticed that some of their guitars, a bass, pedals, clothing and a box with cash from merchandise sales had been stolen.The theft was the latest in an area of California where property crimes like shoplifting and car break-ins are on the rise. The hotel management told the bands that its security footage did not show a theft. A location tag on one instrument appeared to show that the stolen gear had been taken to an Oakland apartment building, but the police said there was no easy way to get it back.“The cops told us, ‘Hey, there’s nothing we can do unless it ends up in a pawnshop,’” said Edgar Viveros, 27, Ben Quad’s lead guitarist. The pawnshops they called said that it had not.Instead of canceling the tour, the bands decided to play on with borrowed gear. They also set up a crowdfunding page and were surprised to see how quickly donations rolled in — $6,000 in about four hours.The robbery was “kinda heartbreaking,” Imre Griga, 23, a fan in Columbia, Mo., who attended three of the bands’ tour dates this month, said in an email. “I think the entire community felt Forests deserved much better for their first tour in America.”Within a few days, members of both bands were playing with new instruments. They went a little longer without the pedal board that Ben Quad typically uses to play samples, like the theme from an “Austin Powers” movie, between sets. But a replacement for that, too, was eventually found.Forests first played with borrowed instruments after the theft, then bought replacements after fans donated more than $9,000.ForestsBack home in Singapore, the story of the robbery, and the fan support, made headlines. Some readers commented about their own experiences of getting robbed in the United States. Others wondered how the three members of Forests, who all have day jobs and tour on their vacations, could have been so naïve.For Forests, it was not their first international tour: They have performed across the Asia-Pacific region over the years. But on their first tour of America, they loved watching the landscape — deserts, trees, snowy mountains — whip past the van’s windows.They also kept a list of “crazy things” they had seen, like people fighting in convenience stores, or the woman in Seattle who threw her luggage down three flights of stairs in a subway station. The band’s drummer, Niki Koh, 31, said he particularly enjoyed visiting a store that sold guns, knives and hunting gear — “ everything that we won’t find in Singapore.”“It’s culture shock,” he said, speaking in a video interview from Kansas City. “But at the same time, it’s very interesting.” More

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      Jacklyn Zeman, Nurse Bobbie on ‘General Hospital,’ Dies at 70

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      , She played the same role on the popular soap opera for nearly half a century and was nominated for four Daytime Emmy Awards.Jacklyn Zeman, an Emmy-nominated actress who for nearly a half-century played the role of Bobbie Spencer, a nurse on the long-running soap opera “General Hospital,” died on Tuesday in Thousand Oaks, Calif. She was 70.Her death, at Los Robles Regional Medical Center, came after a “short battle” with cancer, according to her family.In announcing Ms. Zeman’s death on Wednesday, the show’s executive producer, Frank Valentini, wrote on Twitter, “Just like her character, the legendary Bobbie Spencer, she was a bright light and true professional that brought so much positive energy with her to work.”As Barbara Jean (Bobbie) Spencer, Ms. Zeman was among the longest-lasting cast members on the series, which since 1963 has centered around the lives of characters who work in the hospital and in the wealthy business community in the fictional New York town of Port Charles. Ms. Zeman first appeared on the show in 1977 and was featured in nearly 900 episodes.Bobbie was a student nurse who had moved on from her past life as a prostitute who gave up a baby for adoption in Florida; vied for the affections of a law student named Scotty Baldwin; and was the younger sister of Luke Spencer, played by Anthony Geary.She portrayed her character as a loving but tough nurse who had emerged from a difficult past. In one scene, she defends her hard-knocks upbringing to Mr. Baldwin, saying she never had anything handed to her.“I wanted Bobbie to be bouncy and have a positive aura and energy,” she said in an interview last year with TV Insider. “I wanted her to have intelligence, humor and a love of people. Bobbie came from a dysfunctional background but she wanted to have kids and be a mother.”“I wanted the character to be perky and to come in like a hurricane,” she said.Ms. Zeman was nominated for four Daytime Emmy Awards for her work on the show and received a fifth nomination in 2021 for her acting on the television series “The Bay.”Jacklyn Lee Zeman was born on March 6, 1953, in Englewood, N.J., and grew up in Bergenfield. She was the oldest of three daughters born to Richard Zeman, an engineer with IBM, and Rita (Duhart) Zeman Rohlman, who worked for Scholastic Magazine.She began training in ballet at the age of 5, said Cassidy Zee Macleod, one of Ms. Zeman’s two daughters. When she was 15, she moved to New York City to pursue dancing and attended New York University briefly, Ms. Macleod said. She was cast as Lana McLain in 1976 on “One Life to Live” before her move to “General Hospital” in 1977.In addition to Ms. Macleod and Lacey Rose Gorden, another daughter whom she had with her third husband, Glenn Gorden (they divorced in 2007), Ms. Zeman is survived by two sisters, Lauren Fischetti and Carol Kolb, and two grandchildren. In April, “General Hospital” celebrated 60 years on the air. Ms. Macleod said that one of her mother’s last appearances was on the show’s nurses’ ball in April.Ms. Macleod said that her mother, who lived in Calabasas, Calif., adored the “strong-willed” role of Bobbie and that she and her sister recognized how deeply their mother’s role had affected people when some of the nurses caring for her described how Bobbie had inspired them.“We recognized how many lives she touched,” said Ms. Macleod. “They said they became nurses because of her.” More

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      Ben Savage, ‘Boy Meets World’ Actor, Is Running for Congress

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      The former star of the 1990s-era ABC sitcom is running as a Democrat for a seat in the Los Angeles area that is being vacated by Representative Adam B. Schiff.Ben Savage, the former child actor who was the star of the ABC sitcom “Boy Meets World” in the 1990s, said on Monday that he was running to represent a Los Angeles-area district in Congress.“I’m running for Congress because it’s time to restore faith in government by offering reasonable, innovative and compassionate solutions to our country’s most pressing issues,” Mr. Savage, 42, said in a statement on Instagram.“It’s time for new and passionate leaders who can help move the country forward,” he said. “Leaders who want to see the government operating at maximum capacity, unhindered by political divisions and special interests.”A representative for Mr. Savage did not immediately respond to a request for comment on Tuesday.Mr. Savage moved to Los Angeles in 1987 and landed a role two years later in “Little Monsters,” a movie about a boy who discovers a world of monsters under his bed. He is best known for his role as Cory Matthews on “Boy Meets World,” a coming-of-age sitcom that was a staple of ABC’s Friday night lineup for seven seasons, from 1993 to 2000. He reprised his role in 2014 in a spinoff series, “Girl Meets World.”Mr. Savage, the younger brother of the actor, director and former child star Fred Savage, submitted paperwork to the Federal Election Commission in January to run as a Democrat in the 30th Congressional District, which includes parts of well-known Southern California cities like Burbank, Glendale and Pasadena. (For those familiar with both the show and Southern California geography, the district does not include Topanga Canyon, which shares a name with Cory Matthews’s love interest and sits in the 32nd District.)Mr. Savage, who lives in West Hollywood, is running to replace Representative Adam B. Schiff, a Democrat who led the first impeachment trial of former President Donald J. Trump and who is now seeking the Senate seat long held by Dianne Feinstein.Ms. Feinstein, 89, announced last month that she would retire at the end of her term in 2024, capping more than three decades in office.In November, Mr. Savage ran unsuccessfully for a seat on West Hollywood’s City Council, earning less than 7 percent of the votes, according to the Los Angeles County Registrar’s office.For his congressional run, Mr. Savage, who described himself as a “proud Californian, union member and longtime resident of District 30,” will campaign on affordable housing solutions, reforms and improvements to police-citizen interactions, and supporting women’s health rights, according to his campaign website.Mr. Savage, who graduated from Stanford University with a degree in political science, joins a growing list of California celebrities-turned-politicians.Ronald Reagan was an actor in Hollywood before his political career, serving as the governor of California and the 40th president of the United States. In 2003, Arnold Schwarzenegger, a Republican and former action-movie star, was sworn in as California’s 38th governor, serving two terms. And Caitlyn Jenner, the Republican former Olympian and prominent transgender activist, unsuccessfully ran for governor of California in 2021. More