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    ESPN, Fox and Others to Launch Sports Streaming Service: What to Know

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    The joint venture announced by Disney, Fox and Warner Bros. Discovery will offer a lot, but it may not be enough on its own for serious fans.Disney, Fox and Warner Bros. Discovery announced on Tuesday that they would join together and sell access to all of the sports they televise through a new streaming service. It will be available this fall, but many other details, like price or who would run the service, are not yet known.The subtext of the agreement — and of most decisions media companies make — is that the cable bundle is collapsing. A decade ago, about 100 million homes in the United States subscribed to a package of cable or satellite television channels. Today, that number is around 70 million, and dropping.Media companies know that young adults no longer sign up for cable, and that their best customers are also their oldest. They know people no longer think of “television,” but are instead used to “content” that can be watched on a television, a phone or some other device.Cable’s days seem numbered but right now it is still a profitable business — streaming, for most companies, is not — and the biggest audiences for shows, especially sports, still exist on traditional television. So how do media companies get from where they are today to where they are going to be?With, they hope, deals like the one announced this week.How does it work?Disney, Fox and Warner Bros. Discovery have bundled 14 of their channels that show sports — the full list includes ABC, ESPN, ESPN2, ESPNU, SEC Network, ACC Network, ESPNews, Fox, Fox Sports 1, Fox Sports 2, Big Ten Network, TNT, TBS and truTV — and the ESPN+ streaming service, and will sell them as a single package.How much will it cost?That was not announced. But you can expect it to cost more than the $15 or so a month that most streaming companies charge, and less than the $100 or so it costs each month to subscribe to a pay television package. Ads will be shown on the new service.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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      Gordon Ramsay Isn’t Going Anywhere

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      With a new season of his series “Next Level Chef,” reality TV’s most enduring antihero still reigns supreme. How long can he keep it up?Gordon Ramsay insists he never wanted to be the bad boy. His image as the brash, bellicose chef and restaurateur, as the master of the culinary meltdown, was, he said, largely a matter of getting off on the wrong foot.Ramsay was introduced to British viewers on “Boiling Point” (1999), a five-part series on Channel 4 chronicling his turbulent efforts to open his first restaurant. At around the same time, BBC Two launched “The Naked Chef,” a breezy, upbeat cooking show starring the young chef Jamie Oliver. The two shows, and the two chefs, could hardly have seemed more different.On the one hand, you had Ramsay, a surly perfectionist, firing a waiter for drinking water in view of customers. “And then literally at the same time, on another channel, there was Jamie,” he recalled in an interview last week, “this floppy-haired Essex boy, sliding down the banister doing one-pot wonders.”“The nation fell in love with him,” Ramsay said. Whereas with himself, he added, “the nation wondered what the hell was going on.”Ramsay’s explanation may not entirely account for his enduring infamy as an explosive TV tyrant — it wasn’t Oliver, after all, who named Ramsay’s signature series “Hell’s Kitchen,” and he hardly forced Ramsay to bludgeon countless chefs and restaurant owners with colorful jeremiads for the past 25 years on air. But that Ramsay still brings up old rivalries when discussing his reputation is revealing, a glimpse of the competitive intensity that has been crucial to his continuing success.That competitiveness is one reason that the host of roughly two dozen shows over the years, including “Next Level Chef,” returning on Sunday for its third season on Fox, still devotes so much of his down time to watching other food shows. It’s why, during the pandemic lockdown, he threw himself headlong into social media. And it’s also why, at 57, Ramsay has no intention of calling it quits.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?  More

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      4.3 Million Watched the Emmys, a New Low

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      The Emmys had a lot going against it, including a ceremony delayed months by the Hollywood strikes, and stiff competition from other events.The Emmy Awards ratings collapse continues.An audience of 4.3 million people watched the Emmys on Fox on Monday night, the lowest viewership since records have been kept, according to preliminary Nielsen data. In 2022, the Emmys garnered 5.9 million viewers, the previous low.The ratings have put the Emmys dangerously close to the Tony Awards, which for decades has drawn a significantly smaller audience. But in June, 4.3 million people tuned into the Tonys, an increase from its previous ceremony.The final Emmy numbers, which will be released on Wednesday, will probably increase somewhat from the preliminary figures.The Emmys had a lot going against it. The ceremony had been delayed by four months because of last year’s screenwriter and actor strikes, the most significant postponement for the event in more than two decades.Indeed, the competition was stiff on Monday night. The Emmys went head-to-head against a Monday night football playoff game and the Iowa caucuses.The football game, which featured the Philadelphia Eagles and the Tampa Bay Buccaneers, drew more than 28 million viewers, according to Nielsen. Roughly 4.7 million people tuned into the three big cable news networks between 8 p.m. and 11 p.m. for Iowa returns, according to the preliminary Nielsen data.The Emmys also faced competition from other award shows. All the big winners on Monday night — “Succession,” “The Bear” and “Beef” — had been honored at the Golden Globes last week, and the Critics Choice Awards on Sunday night.Yet the Emmys even had trouble holding its own against a rerun of a network television show. A repeat of “NCIS” on CBS at 8 p.m. on Monday night — which had the benefit of a lead-in from another playoff football game — drew 4.9 million viewers, according to preliminary Nielsen data.Most other major award shows — despite lower audience figures compared with a decade ago — have seen ratings rebound recently. Oscar ratings have ticked up two years in a row. So have the Grammys. Even the scandal-plagued Golden Globes saw a big increase in audience last week.The Emmys telecast, which was broadcast on Fox and hosted by Anthony Anderson, cannot be blamed. The ceremony got generally warm reviews, with critics appreciating the number of cast reunions — including “Cheers,” “Ally McBeal” and “Grey’s Anatomy” — that were staged in honor of the 75th Anniversary of the awards.The Emmys will not be gone long. The next ceremony will be in September, and broadcast on ABC. More

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      Emmy Winners: Updating List

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      The list of winners for the 75th Emmy Awards.[Follow live updates of the Emmy Awards here.]The 75th Emmy Awards will be held at 8 p.m. Eastern on Monday, broadcast live on Fox and streamed live on Hulu + Live TV, YouTube TV, Sling TV and other services. (It will also be available to watch on Hulu beginning Tuesday.) Anthony Anderson, who has been nominated for numerous Emmys for his ABC sitcom “black-ish,” which ended in 2022, is hosting the show, which will be held at the Peacock Theater in Los Angeles.The ceremony, originally scheduled for September, was postponed because of the simultaneous Hollywood writers’ and actors’ strikes, one of the longest labor crises in the history of the entertainment industry. In September, the Writers Guild of America reached a deal with entertainment companies; SAG-AFTRA, the union representing tens of thousands of actors, followed suit, reaching a deal in November. Now the awards show will go on.If last week’s Golden Globes was any prediction of how the Emmys will go, the best comedy competition will be fierce — “Abbott Elementary,” “The Bear,” “Ted Lasso” and “Wednesday” are among the nominees — while HBO’s “Succession,” which earned 27 nods for its final season, is expected to dominate in the drama categories.Beyond “Succession,” HBO — which also scored nominations for “The White Lotus,” “The Last of Us” and “House of the Dragon” — has solidified itself as the network to beat. “The Last of Us” already won the most Creative Arts Emmys, which were given earlier this month, with eight awards; “The Bear,” “Wednesday” and “The White Lotus” all received four and “Succession” nabbed one. Also on Monday, the late-night category will see a winner other than John Oliver for the first time since 2015.The list below will be updated throughout Monday night’s ceremony.These are this year’s Emmy winners so far.Documentary or Nonfiction Series“The 1619 Project” (Hulu)Documentary or Nonfiction Special“Still: A Michael J. Fox Movie” (Apple TV+) More

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      Fall TV Reflects the Hollywood Strikes, but Not How You Think

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      The tired familiarity of the reality-heavy network schedules is a reminder of the issues that led to the work stoppages.Fall TV this year rolls in amid the fog of the writers’ and actors’ strikes. The networks have been slow to commit to their schedules, still rejiggering their lineups for September and beyond. Cable outlets have been bumping the release dates of in-the-can shows, lest they wither without promotion by their stars, an activity prohibited by the actors’ guild during the strike. The streaming archives beckon.At first glance the fall network schedules suggest the work stoppages have had an impact: They are overstuffed with reality competitions and game shows, whose employees generally work under different contracts from those of the Writers Guild and SAG-AFTRA.ABC’s Wednesday prime-time lineup consists of “Celebrity Jeopardy!” followed by “Celebrity Wheel of Fortune” followed by “The $100,000 Pyramid.” On Thursdays CBS added a new competition called “Buddy Games” to go along with the long-running “Big Brother” and another installment of “The Challenge: USA.” On Fox, celebrities endure military training on Mondays (“Special Forces: World’s Toughest Test”), guess songs on Tuesdays (“Celebrity Name That Tune”) and croon in ridiculous outfits on Wednesdays (“The Masked Singer”).However, aside from “Buddy Games,” essentially summer camp competitions for groups of adult friends, none of the shows in the previous paragraph are new — the networks have been churning out unscripted prime-time shows by the bushel for years. Overall, their lineups are eerily steady, more like an extended summer season of familiar titles and reruns than an uncharacteristically barren fall slate.So the schedules end up reflecting the strikes not because they look radically different, but because their numbing sameness is a reminder of the issues that led to the work stoppages — that everything is simply “content,” and the only kind of value is monetary value.Jesse L. Martin and Maahra Hill in NBC’s “The Irrational,” one of the few new scripted series arriving this fall.NBCWhat are we to assume about the studios’ feelings toward the people who make television when their offerings suggest apathy regarding the people who watch it? Or perhaps these lackluster lineups are the product of corporate strategy, now that seemingly all of TV has been consolidated within a few media megaliths that are transforming how shows get made and creators get paid.It is little wonder ABC is happy to offer up singing contests and celebs spinning the Wheel when Disney, its owner, would like you to subscribe to Hulu and Disney+ for scripted family and prestige shows along with franchise fare like the Marvel and “Star Wars” series. CBS? Oh, you mean the broadcast home of the Viacom empire, where you can also watch repeats of Paramount+ shows like “FBI True” and “Yellowstone?”(This shift isn’t limited to networks, of course. Think not of HBO as a refined tastemaker in a separate TV universe from home-makeover shows and insects pulled from people’s bodies — imagine instead an array of treasures and garbage and the “Friends” catalog all piled up under one meaningless heading: Max.)This is hardly the first fall to be full of reality shows. ABC was always going to air another season of “Dancing With the Stars” (this will be its 32nd); NBC was always going to air “The Voice” (Season 24); CBS was always going to air “Survivor” (45) and “The Amazing Race” (35); and Fox has slotted “Hell’s Kitchen” (22) in its fall line-up plenty of times. Even though the CW is largely ceding any claim to original programming, opting instead to fill out its fall schedule with an array of existing foreign shows, it is still airing new episodes of its version of “Whose Line Is It Anyway?,” which begins its 12th season in November.NBC is spreading out the reruns of the “Law & Order” and “Chicago” franchises, its reliance on the Dick Wolf universe a core programming strategy for much of the past three decades. ABC will keep “America’s Funniest Home Videos” alive until the sun eats the earth. Fox’s animated comedies are shelf stable for the time being.Even most of the new fare colors comfortably inside the lines. ABC’s “Golden Bachelor” is “The Bachelor” with a 71-year-old widower at its center. NBC has two scripted dramas: “The Irrational” and “Found,” each a spin on the crime procedural, lest any American go more than a few minutes without seeing someone ducking under yellow crime-scene tape. Fox has a new cartoon from Dan Harmon (“Krapopolis”), his third current animated series. CBS is airing the original British version of “Ghosts” as a companion to reruns of its American version — an inspired choice in its way, but also a simple one, given the adaptation’s success.Otherwise, our newcomers include the already mentioned “Buddy Games,” hosted and executive produced by Josh Duhamel, who previously made two movies based on the same concept, and two CBS game shows: “Lotería Loca,” hosted by Jaime Camil, a TV version of the bingo-style game lotería; and “Raid the Cage,” an adaptation of an Israeli show that involves people grabbing prizes out of a cage. Lastly, there is Fox’s “Snake Oil,” a hybrid of “Shark Tank” and “Bullsh*t,” hosted by David Spade.From left, Charlotte Ritchie, Katy Wix and Jim Howick in the original British “Ghosts,” which CBS will run alongside reruns of its own version.Monumental Television, via CBSTo be fair, the networks have been counted out many times before, and shows like ABC’s “Abbott Elementary,” which scored eight Emmy nominations in July, and “Ghosts” demonstrate that there is still plenty of fun and specialness to be had in a broadcast format. Those and other sitcoms and procedurals could be back with new episodes in the new year. (Or perhaps even earlier, if the strikes somehow get resolved soon.) But such sparks are rare.Way back in the early 2000s, premium cable shows began to mostly outshine network ones and plenty of streaming series have since done the same — winning awards, amassing cachet, draining our wallets. Fair enough! After a while, it seemed like the networks were barely putting up a fight; cop shows and singing competitions as far as the eye can see, plus “Grey’s Anatomy” and “The Simpsons.”But now the new flashy ride at the fair is not a pricier, fancier platform; it’s free, ad-supported streaming television. The increasing popularity of these platforms, like the Roku Channel, Tubi, Pluto and Amazon’s Freevee, suggests that viewers want to recreate the basic-cable experience of yesteryear with marathons of classics, but they also want fun and interesting original shows (Freevee’s “Jury Duty” got four Emmy nominations this year, including for best comedy) and are happy to tolerate ads. That’s a network television audience.That also means networks could occupy a different space in the public imagination — the main floor isn’t the penthouse, but hey, it’s not the garden unit or the storage basement either. Mass-appeal comedies and long-season dramas still have value in the streaming era, perhaps more now than ever before as a way to lure parents and children away from their individual screens.Maybe a fall of game shows will eventually alienate viewers and consequently, convince program executives of the worth of actual creativity. Maybe it will lead to more adventurous attitudes in Hollywood when the strikes eventually end. Maybe the next time the networks have to put things on hold, we will actually feel the loss. More

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      Former Fox Employee Convicted of Bribery for Soccer Broadcast Deals

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      The employee, Hernán López, and an Argentine marketing firm were accused of helping make illegal payments for rights to tournaments in South America.After hearing seven weeks of often-impenetrable testimony about television contracts, codes of ethics and the interpretation of Spanish phrases in emails sent more than a dozen years ago, a federal jury in Brooklyn on Thursday convicted a former Fox employee and an Argentine sports marketing firm of paying bribes in exchange for lucrative soccer broadcasting contracts.Prosecutors said that Hernán López, who until 2016 worked for a unit of what was then known as 21st Century Fox, had taken part in a complex scheme to make millions of dollars in secret annual payments to the presidents of national soccer federations in order to secure the rights to the Copa Libertadores and the Copa Sudamericana, widely viewed South American soccer tournaments. Full Play Group, the marketing firm, stood accused of similar but far more extensive corruption. Prosecutors said it paid bribes for the rights to World Cup qualifiers, exhibition matches, the Copa América tournament and the Copa Libertadores.The government also argued that López had taken advantage of “loyalty secured through the payment of bribes” to secure inside information that helped Fox beat out ESPN in its bid for the United States broadcasting rights for the 2018 and 2022 men’s World Cups — a theory Fox has vigorously denied. Fox was never accused of any wrongdoing.López, who holds dual American and Argentine citizenship, was convicted on one count of money laundering conspiracy and one count of wire fraud conspiracy and faces up to 40 years in prison. Full Play was convicted on six fraud and money laundering counts and, as a corporation, could face financial penalties.A third defendant, Carlos Martínez, who worked under López at Fox, was acquitted on counts of wire fraud conspiracy and money laundering conspiracy.The convictions represent what Breon S. Peace, the U.S. attorney for the Eastern District of New York, called “a resounding victory” in the Justice Department’s sweeping investigation of corruption in international soccer.After a secret inquiry began in 2010, the case broke into public view in May 2015 when sensational predawn arrests were made in Zurich, the city that FIFA, soccer’s world governing body, calls home. Since then, more than two dozen individuals and entities have voluntarily pleaded guilty to a wide variety of charges, including racketeering and wire fraud. And in 2017, a different federal jury convicted two soccer officials, from Paraguay and Brazil, on wire fraud conspiracy and other charges.Prosecutors indicted López, Martínez and Full Play in March 2020, signaling that the long-running case — which shook FIFA to the core and resulted in a shakeout of several generations of leadership in its ranks — still had legs.“The defendants cheated by bribing soccer officials to act in their own greedy interests rather than in the best interests of the sport,” Peace said in a statement following the verdict. Judge Pamela K. Chen rejected a request from prosecutors that López be taken immediately into custody, instead releasing him with tightened bond restrictions. A sentencing date has not been set.John Gleeson, a lawyer for López, said in a statement that “we are obviously disappointed with the jury’s verdict.”He continued, “The proceedings have involved both legal and factual errors, and we look forward to vindicating our client on appeal.” Lopez, who left Fox in early 2016, went on to found the podcasting company Wondery, which was sold to Amazon in 2020 in a deal that valued the company at a reported $300 million.Carlos Ortiz, a lawyer for Full Play, declined to comment. The company was founded by an Argentine father and son, Hugo and Mariano Jinkis, who were charged in 2015 but were not extradited. A lawyer for Hugo Jinkis said he could not immediately comment on the news.“We are very grateful for the jury’s service,” Steven McCool, Martínez’s lead lawyer, said in a brief call after the verdict. “Carlos received justice today and it was a long time coming.”A watch party in Los Angeles for the 2022 World Cup. Fox had the U.S. English-language rights for last year’s tournament in Qatar and the 2018 tournament in Russia.Mark Abramson for The New York TimesThursday’s verdict came on the fourth day of deliberations after a complex and slow-moving trial. Jurors were presented with reams of contracts, financial spreadsheets and bank transfer statements, as well as expert witnesses who debated whether a particular phrase meant “pay him less” or “pay it less.”At one point, early in the trial, Judge Chen admonished the lead prosecutor, Kaitlin T. Farrell, for reading entire emails about corporate issues into the official record, warning that she risked losing the jury’s attention.And as in the first trial in the case, the government relied particularly heavily on a single star witness: Alejandro Burzaco, the former chief executive of the Argentine sports marketing and TV production firm Torneos, who pleaded guilty in the case in 2015 and has been cooperating with the U.S. government since.Over 11 days of testimony, he described in painstaking and sometimes stultifying detail the esoteric series of shell companies and phony contracts that had been used to pay bribes to soccer officials through a joint venture owned by Torneos and 21st Century Fox. Although he personally arranged the payments, Burzaco said he had informed both López and Martínez about their existence and said that neither executive had done anything to halt them.Burzaco also detailed using a relationship cultivated through bribes paid to Julio Grondona — a FIFA vice president and a longtime president of Argentina’s soccer association who died in 2014 — to gain inside information that helped Fox win the U.S. English-language rights to the 2018 and 2022 World Cups. ESPN had long held that coveted property.Although bidding was supposed to have been blind, Burzaco said he had asked Grondona in late 2011 for help at López’s request. Burzaco testified that Grondona had “told me if Fox puts $400 million, they are going to award it to Fox — tell your friends.” Fox ultimately paid $425 million, and several years later obtained rights to the 2026 World Cup, to be held in the United States, Canada and Mexico.Over howls of protest from defense lawyers, prosecutors called the former ESPN president John Skipper to testify about the incident. “I was disappointed,” he said. “In fact, I was angry.”In a statement after the verdict, a Fox spokesman said, “This case does not involve Fox Corporation, and it was made clear that there was no connection to Fox’s successful World Cup bids.” The company has in the past noted that the unit where López and Martínez worked, Fox International Channels, was spun off in 2019 and that it was a different division, Fox Sports, that was charged with negotiating for those rights.Although both López and Martínez maintained their innocence, claiming they were never aware any bribes had been paid, Full Play took a decidedly different tack. Its lawyers readily admitted that the company had made regular payments to Latin American soccer officials but claimed that those payments had not been bribes but simply the standard way of doing business when it came to South American soccer.Ortiz, the lawyer for Full Play, said in his closing arguments late last week: “You can look at it and, say, hey, do I like this morally? Do I think this is appropriate?” But, he added, “all of these executives and officers acted in a manner and behaved and carried themselves in a manner that sent a clear, strong message that their receipts of payments were totally fine.” More

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      Jussie Smollett Timeline: A Case With Twists and Turns

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      The case began in 2019 when the actor reported that he had been the victim of a racist and homophobic attack, and led to a trial in which he was accused of staging the attack himself.Nearly three years have passed since the actor Jussie Smollett reported that he had been the victim of a racist and homophobic attack in Chicago. The police initially investigated the incident as a possible hate crime, then accused Mr. Smollett of staging the attack himself. Charges were filed against Mr. Smollett, then dropped. A special prosecutor was appointed and charges were filed again, leading to his trial on charges of disorderly conduct for making a false report to the police.Here’s a timeline of how we got here.Jan. 29, 2019: Mr. Smollett, who is Black and gay, tells the police that at about 2 a.m., two masked men, one of whom he believed to be white, attacked him on the 300 block of East Lower North Water Street in downtown Chicago. The assailants, according to Mr. Smollett, hurled homophobic and racial slurs at him, put a rope around his neck and poured a chemical substance on him.Mr. Smollett says he went home and a close associate of his reported the incident to the police 40 minutes after it happened. Anthony Guglielmi, the chief spokesman for the Chicago Police Department, later told The Chicago Sun-Times that Mr. Smollett had been hesitant to call the police because of his status as a public figure.Law enforcement officials say they are treating the incident “as a possible hate crime.” At a follow-up visit by investigators, Mr. Smollett says the attackers mentioned “MAGA country,” a reference to the campaign slogan of former President Donald J. Trump.Celebrities, politicians and advocacy groups offer their support to Mr. Smollett. Fox, the network on which “Empire” airs, issues a statement saying the “entire studio, network and production stands united in the face of any despicable act of violence and hate.”Detectives comb through surveillance camera recordings but say they can’t find images of the attack.Jan. 30: Investigators announce the first possible break in the case: A surveillance image shows “potential persons of interest wanted for questioning” in connection to the case. The images are of two men with their backs to the camera.At this point, the F.B.I. is already investigating a threatening letter sent to Mr. Smollett at the “Empire” production offices in Chicago the week before.Jan. 31: Mr. Trump is asked about the incident in the Oval Office. He refers to it as “horrible” and added that it “doesn’t get worse.”The Smollett family releases a statement: “Jussie was the victim of a violent and unprovoked attack. We want to be clear, this was a racial and homophobic hate crime. Jussie has told the police everything from the very beginning. His story has never changed, and we are hopeful they will find these men and bring them to justice.”Feb. 1: Mr. Smollett releases his first public statement through his publicist. It says: “Let me start by saying that I’m OK. My body is strong but my soul is stronger. More importantly, I want to say thank you. The outpouring of love and support from my village has meant more than I will ever be able to truly put into words.”Acknowledging some skepticism about his story on social media, Mr. Smollett adds, “I am working with authorities and have been 100 percent factual and consistent on every level. Despite my frustrations and deep concern with certain inaccuracies and misrepresentations that have been spread, I still believe that justice will be served.”The Chicago police superintendent, Eddie T. Johnson, says in an interview with a local television station: “We have to remember, he’s a victim. You know, so we have to treat it like he’s a victim. We have no reason to think that he’s not being genuine with us.”Feb. 2: Mr. Smollett appears in public for the first time since he reported the attack, performing a concert in West Hollywood.“I have so many words on my heart that I want to say, but the most important thing I can say is, thank you so much, and that I’m OK,” Mr. Smollett tells the crowd.Feb. 4: The Chicago police say the people of interest have not been identified yet but they are continuing to follow up on leads.Feb. 11: The department reacts to phone records that Mr. Smollett turned over to investigators. The police had asked Mr. Smollett for access to his phone because he had been in conversation with his manager when the incident occurred. Mr. Smollett provides the police with redacted records that they say “do not meet the burden for a criminal investigation.”Feb. 13: Two brothers of Nigerian descent, Olabinjo and Abimbola Osundairo, are detained by the authorities after a flight back home to Chicago from Nigeria. Police officers raid their home and, according to CBS Chicago, remove items including an “Empire” script and two hats.Feb. 14: Mr. Smollett gives his first interview about the incident to “Good Morning America,” where he is adamant that he is telling the truth.“It feels like if I had said it was a Muslim, or a Mexican, or someone Black, I feel like the doubters would have supported me much more,” Mr. Smollett tells ABC’s Robin Roberts. “A lot more.”He also says he is convinced that the men in the surveillance images were his attackers.“Because I was there,” Mr. Smollett says. “For me, when that was released, I was like, ‘OK, we’re getting somewhere.’ I don’t have any doubt in my mind that that’s them. Never did.”The Chicago police reveal publicly that at least one of the men detained has appeared as an extra on “Empire.” The department also says they “are not yet suspects.” Their lawyer, Gloria Schmidt, tells CBS Chicago: “They’re really baffled why they are people of interest. They really don’t understand how they even got information that linked them to this horrific crime. But they’re not guilty of it. They know that the evidence is going to prove them innocent. They send their best to Jussie.”The local news media releases its first reports that investigators are beginning to look at the possibility that this is a hoax, something the Chicago police dispute publicly.Feb. 15: In a whirlwind day, the detained brothers are identified as potential suspects by police, but that night are released without being charged. Investigators announce they are no longer considered suspects but do not say why.Feb. 16: The police say they are seeking to speak with Mr. Smollett again. Media outlets, including CNN, report that the two men have told investigators they were paid to take part in a hoax. Mr. Guglielmi says in a statement, “We can confirm that the information received from the individuals questioned by police earlier in the ‘Empire’ case has in fact shifted the trajectory of the investigation.”Lawyers for Mr. Smollett release a statement saying, “As a victim of a hate crime who has cooperated with the police investigation, Jussie Smollett is angered and devastated by recent reports that the perpetrators are individuals he is familiar with.”It added: “One of these purported suspects was Jussie’s personal trainer who he hired to ready him physically for a music video. It is impossible to believe that this person could have played a role in the crime against Jussie or would falsely claim Jussie’s complicity.”The lawyers say that Mr. Smollett will “continue to cooperate” and that they “have no inclination to respond to ‘unnamed’ sources inside of the investigation.”Feb. 20: Fox releases a statement in support of Mr. Smollett amid reports that his role was being reduced on “Empire.” Later in the day, the Chicago police announce that they consider Mr. Smollett a suspect in the filing of a false report.Understand the Jussie Smollett TrialCard 1 of 5A staged hate crime? More

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      Jussie Smollett Tells Jury He Did Not Direct a Fake Attack on Himself

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      The actor, who is accused of asking two brothers to mildly attack him, and then reporting it as a hate crime, took the stand at his criminal trial on charges related to the 2019 assault.Jussie Smollett took the stand on Monday in an effort to convince a Chicago jury that he did not orchestrate a racist and homophobic hate crime against himself but, instead, was the victim of both a real attack and the police’s rush to judgment in charging him.Mr. Smollett, 39, submitted himself to questioning in his own trial to rebut the testimony of two key witnesses, Abimbola Osundairo and Olabinjo Osundairo, brothers who told the court last week that Mr. Smollett had instructed them in detail on how to attack him.The Osundairo brothers said Mr. Smollett took them through a “dry run” of the attack on the day before it was supposed to occur in January 2019 and asked one of them to bruise him without inflicting real injuries while the other put a rope around his neck and poured bleach on him.Prosecutors have argued that Mr. Smollett staged the attack because he was upset that the show on which he starred, the Fox hip-hop drama “Empire,” did not take seriously a threatening letter he had received at the studio.But Mr. Smollett sought to undercut the prosecution’s explanation, testifying that he had refused the studio’s offer of additional security, which would have driven him each day from his home to the set.“I’m a grown man,” Mr. Smollett said. “I don’t need to be driven around like Miss Daisy.”He also supported the defense contention that the brothers attacked him so that he might be scared enough to hire them as his private security. Mr. Smollett said that Abimbola Osundairo was persistent in trying to act as his bodyguard, at times behaving when they went out in ways that reminded him of the “Secret Service.”And Mr. Smollett’s version of what happened on Jan. 25, 2019, just days before the attack, when the prosecution says Mr. Smollett asked Abimbola Osundairo for help “on the low,” was completely different. He was seeking a meeting, not to plan his own assault, but to arrange to get an herbal steroid from Nigeria that helps people lose body fat and is illegal in the United States.“At any point in time did you talk to him about some hoax?” Mr. Smollett’s lawyer, Nenye Uche, asked.“No,” Mr. Smollett replied.During their car ride later, they did not plan the attack, as the prosecution argued, but smoked marijuana, Mr. Smollett said.“We drove around and smoked and that was that,” he testified.Olabinjo Osundairo, at the courthouse, where he testified Thursday that Mr. Smollett had orchestrated the attack.Charles Rex Arbogast/Associated PressAbimbola Osundairo, Olabinjo’s brother, told the court last week that Mr. Smollett was upset that a threatening letter he received had not been taken more seriously.Charles Rex Arbogast/Associated PressMr. Smollett also sought early in his testimony to indicate just how happy he had been with his role on “Empire,” and, when asked directly, said he had no problem with Fox. Instead Mr. Smollett, who is gay, testified that it had been a blessing to win the role of Jamal Lyon, a gay singer-songwriter, that so closely mirrored his identity and to eventually earn $100,000 per episode.“I had never seen a gay man — let alone a gay Black man — portrayed ever,” Mr. Smollett said. “I really, really wanted to do it.”Over the course of the trial, prosecutors have sought to paint a picture of the attack as a bid for publicity, pointing to how, days before the attack, Mr. Smollett had received the letter at the studio for “Empire.” It included a red stick figure hanging from a noose, a homophobic slur and the acronym “MAGA,” said Daniel K. Webb, the special prosecutor in the case, in the courtroom last week.“He devised this fake hate crime to take place so that the ‘Empire’ studio would take this more seriously,” Mr. Webb said, “because this fake hate crime would get media attention.”But the showrunner for “Empire” at the time, Brett Mahoney, testified earlier on Monday that the show had actually taken the letter “very seriously,” and sought to provide Mr. Smollett with additional security.As he began his testimony, Mr. Smollett depicted himself to the jury with a lengthy biographical summary of his career as someone who grew up in a middle-class family of performers, received some work as a child actor, became deeply involved in charity organizations and returned to acting, landing the major role on “Empire.”In January 2019, when the attack was reported, public sympathy for Mr. Smollett was immediate and widespread. But as the police investigation into the report stalled, suspicion grew about Mr. Smollett’s account, though the actor stood by it.Understand the Jussie Smollett TrialCard 1 of 5A staged hate crime? More

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      Lawyer for ‘Rust’ Assistant Director Says Checking Gun Was Not His Job

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      The assistant director, Dave Halls, had previously told a detective that he should have more thoroughly checked the gun before Alec Baldwin handled it, according to an affidavit.A lawyer for the assistant director on the film “Rust” — who law-enforcement officials said had handed a gun to the actor Alec Baldwin before it discharged a live round that killed the cinematographer — said in an interview on Fox News Monday that it was “not his responsibility” to check the weapon.The assistant director, Dave Halls, had told a detective shortly after the fatal shooting that when the movie’s armorer had shown him the firearm to inspect its rounds, he “should have checked all of them, but didn’t,” according to an affidavit released by the sheriff’s office in Santa Fe County, N.M. According to another affidavit, Mr. Halls had called out “cold gun,” indicating that the gun did not contain any live rounds, and handed it to Mr. Baldwin.But Mr. Halls’s lawyer, Lisa Torraco, contended in an interview with Martha MacCallum on Fox News that the main responsibility for checking the gun was with the film’s armorer, claiming that it was “not the assistant director’s job.”“What I can tell you is that expecting an assistant director to check a firearm is like telling the assistant director to check the camera angle or telling the assistant director to check sound or lighting,” she said in the interview. “That’s not the assistant director’s job. If he chooses to check the firearm because he wants to make sure that everyone’s safe, he can do that, but that’s not his responsibility.”The film’s director, Joel Souza, who was wounded in the shooting, later told a detective that the firearms were checked by the film’s armorer, Hannah Gutierrez-Reed, and “then the firearm is checked by the assistant director Dave Halls, who then gives it to the actor using the firearm,” according to another affidavit released as part of a search warrant application.Larry Zanoff, a veteran armorer whose past films include “Django Unchained” and “Fantastic Four,” said it was common practice on a film set for the first assistant director to be one of the people responsible for inspecting guns on set, including checking to make sure a gun is empty before the armorer hands it to an actor.The shooting on the set of “Rust” killed Halyna Hutchins, an up-and-coming cinematographer.Since the shooting, public scrutiny has been largely focused on Mr. Halls and Ms. Gutierrez-Reed, because investigators reported that they handled the gun shortly before the incident. In an affidavit released by the sheriff’s department, a detective, Joel Cano, wrote that he learned that shortly before the shooting, Mr. Halls had picked the gun up from a gray cart that had been set up by Ms. Gutierrez-Reed and had taken it onto the set, where he handed it to Mr. Baldwin and yelled “cold gun.”.css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-m80ywj header{margin-bottom:5px;}.css-m80ywj header h4{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:500;font-size:1.25rem;line-height:1.5625rem;margin-bottom:0;}@media (min-width:740px){.css-m80ywj header h4{font-size:1.5625rem;line-height:1.875rem;}}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}Ms. Torraco disputed that chain of events in the Fox interview, saying, “This idea that my client grabbed the gun off of a prop cart and handed it to Mr. Baldwin absolutely did not happen.” Ms. Torraco said she has heard differing accounts from crew members on set.She did not directly give her client’s account. “My client went through something that was such a freak accident that he’s in shock,” Ms. Torraco said. “He’s having a hard time sorting out what happened.”Mr. Halls has not responded to several requests for comment; Ms. Torraco’s office declined to comment last week and has not responded to several requests for comment this week.Mr. Halls has been the subject of complaints on previous film productions. In 2019, Mr. Halls was fired from a movie, “Freedom’s Path,” after a gun discharged unexpectedly on set, causing a minor injury to a crew member, its production company said. Ms. Torraco did not respond to a question in the Fox interview about the previous complaints.No criminal charges have been announced in the case, but the district attorney overseeing it, Mary Carmack-Altwies, has said that her office has not ruled them out. As details have emerged around a series of errors on set that preceded the fatal shooting, how a live round got into the revolver that Mr. Baldwin handled remains unclear. More