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    Soulja Boy Is Ordered to Pay $4 Million in Sexual Assault Case

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    The rapper, known for songs like “Crank That (Soulja Boy),” was found liable of assaulting a woman who said she was his assistant over two years.A jury in Los Angeles found the rapper Soulja Boy liable for sexual battery and assault, ordering him to pay $4 million to a woman who said that he became violent toward her as their once-professional relationship turned romantic, the woman’s lawyer said.The decision on Thursday, which was also reported by The Associated Press, came after a nearly monthlong trial, in which the woman said that she had started as the rapper’s assistant.She accused him of physically and sexually assaulting her over two years. Soulja Boy — known for songs like “Crank That (Soulja Boy),” “Kiss Me Thru the Phone” and “Pretty Boy Swag” — denied the claims during the trial.“Our client is pleased with and vindicated by the verdict,” Neama Rahmani, a lawyer for the woman, whose name was not revealed in the proceedings, said in a statement. “Yesterday’s verdict is just the beginning of justice for Soulja Boy’s victims and a reckoning for the entire music industry.”Reading a statement on his phone, Soulja Boy, whose real name is DeAndre Cortez Way, criticized the verdict outside the Superior Court in Los Angeles County after the verdict.“I believe this entire process has been tainted by a system that is not designed to protect the rights of the accused,” Mr. Way said. “I want to make it clear that I am innocent.”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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      in Television

      Jay North, Child Star Who Played ‘Dennis the Menace,’ Dies at 73

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      Mr. North was best known for playing the towheaded Dennis Mitchell on the television series, which ran on CBS from 1959 to 1963.Jay North, who played the well-meaning, trouble-causing protagonist of the popular CBS sitcom “Dennis the Menace” from 1959 to 1963, died on Sunday at his home in Lake Butler, Fla. He was 73.His death was confirmed by Laurie Jacobson, a friend of Mr. North’s for 30 years. The cause was colorectal cancer, Ms. Jacobson said.Mr. North played the towheaded Dennis Mitchell, who roamed his neighborhood, usually clad in a striped shirt and overalls, with his friends, and often exasperated his neighbor, a retiree named George Wilson, who was played by Joseph Kearns. Herbert Anderson played Dennis’s father, and Gloria Henry played his mother.Dennis winds up causing lots of trouble, usually by accident.In one episode, a truck knocks over a street sign, and Dennis and a friend stand it up — incorrectly. Workmen then dig a gigantic hole, meant to be a pool for a different address, in Mr. Wilson’s front yard.The show, which was adapted from a comic strip by Hank Ketcham, presented an idyllic, innocent vision of suburban America as the 1950s gave way to the tumultuous ’60s.But things were not easy for Mr. North behind the scenes.Many years after “Dennis the Menace” ended, Mr. North said that his acting success came at the cost of a happy childhood.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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      in Movies

      Hollywood Has Not Recovered Jobs Lost During Strikes, Report Says

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      Many entertainment industry workers have been jobless for months, leading state officials to consider increasing subsidies to keep film and television production in California.Hollywood has yet to recover the jobs in film and television production that were lost when strikes by writers and actors brought production to a halt in 2023 as the industry was shifting, according to a report released Thursday.The report by the Otis College of Art and Design found that jobs in the entertainment sector in 2024 remained 25 percent below their 2022 peak, when the industry was working to make up for time lost during the pandemic shutdown.One measure of production, the number of shooting days in Los Angeles County, decreased by 42 percent last year compared to 2022, according to the report.“The film, TV, and sound sector appears to be settling into a new normal characterized by lower employment and production levels when compared to its pre-strike peak,” the report said.Michael F. Miller Jr., a vice president at the International Alliance of Theatrical Stage Employees who oversees film and television production for the union, said that over the two-year period from 2022 to 2024, roughly 18,000 full-time jobs had evaporated. One recent survey of more than over 700 crew members found that almost two in three reported that their income fell short of expectations last year.The new report found that the entertainment sector added almost 15,000 jobs last year, but that the gains were not enough to make up for all the jobs lost during the strikes.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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      in Movies

      How to Watch the Oscars 2025: Date, Time and Streaming

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      Conan O’Brien will host the annual awards, which will be available to watch live on a streaming service for the first time.It seems like a lifetime ago that Sean Baker’s screwball comedy “Anora” first emerged as the favorite in the best picture race (no one was yet even thinking about holding space for “Wicked”).But we’re now right back where we started in the fall with both math and our Projectionist columnist, Kyle Buchanan, predicting that “Anora” will emerge triumphant. It’s by no means a sure thing — last weekend’s big Screen Actors Guild Awards winner, the papal thriller “Conclave,” could play spoiler.In the acting races, Demi Moore appears to be the one to beat after notching another win at the SAGs (though Buchanan says not to count out Fernanda Torres, who delivers a tour de force performance in the quiet Brazilian drama “I’m Still Here”).But could Adrien Brody, who plays a Jewish architect who survives the Holocaust in “The Brutalist,” be in for an upset from the 29-year-old Timothée Chalamet, who has embarked on a decidedly unconventional — and very online — Oscar campaign for his lead role in the Bob Dylan biopic “A Complete Unknown”?Here’s everything you need to know.What time does the show start and where can I watch?This year’s show is again one for the early birds: The ceremony is set to begin at 7 p.m. Eastern, 4 p.m. Pacific, at the Dolby Theater in Los Angeles.On TV, ABC is the official broadcaster. Online, you can watch the show live on the ABC app, which is free to download, or at abc.com, though you’ll need to sign in using the credentials from your cable provider. There are also a number of live TV streaming services that offer access to ABC, including Hulu + Live TV, YouTube TV, AT&T TV and FuboTV, which all require subscriptions.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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      in Movies

      Who Makes the Red Carpet? Steve.

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      On a recent weekday morning in La Mirada, a suburb outside Los Angeles, Steve Olive, 58, walked among hundreds of carpet rolls in red, green and lavender in a white, sun-drenched, 36,000-square-foot warehouse.Laid out on the floor was a 150-foot stretch of rug, delivered by truck from Georgia a few days before, in the custom shade of Academy Red that is only available for the Oscars.Mr. Olive himself may not be famous, but celebrities have strolled the plush craftsmanship of his carpet for nearly three decades.His company, Event Carpet Pros, has supplied carpets for the Oscars, Golden Globes, Grammys and Emmys, as well as for Disney, Marvel and Warner Bros. movie premieres and the Super Bowl.And, at a moment when carpets have moved beyond the classic red and become splashier and more intricate, his handiwork has become more prominent. He has crafted custom designs like a shimmering, sunlit pool carpet for the 2023 “Barbie” world premiere and a green-and-black ectoplasm drip carpet for the “Ghostbusters” world premiere in 2016 that took a month to create.“I haven’t come across anything that we couldn’t do,” Mr. Olive, who founded the company with his brother-in-law, Walter Clyne, in 1992, said in an interview.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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      in Television

      After Netflix Success, ‘Suits’ Opens Another Firm

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      The creator of the legal drama didn’t expect to make any more spinoffs. But after “Suits” became a rerun hit on Netflix, “Suits LA” was born.On a January morning, attractive people in tailored attire stood in a sun-skimmed California courtroom, arguing a motion in the murder trial.“Bring the venom!” the director, Anton Cropper, said encouragingly.This was on the set of “Suits LA,” a sibling of “Suits,” the legal procedural that ran on USA for nine seasons, from 2011 to 2019. (It is also a cousin of “Pearson,” a short-lived “Suits” spinoff.) Back in the courtroom, a clash over evidentiary rules turned vicious as one lawyer hissed at another, “You immoral piece of filth!” Time, it seemed, had not mellowed the mildly glamorous, majorly cutthroat world of “Suits.”The original “Suits” had done well on USA during its run — well enough to be renewed and renewed. But its hold on the cultural imagination was never especially strong and its reviews were, like the Season 1 suits themselves, muted. “Though the series begins amusingly enough, it quickly descends into cloying buddy escapade,” The New York Times wrote in 2011.It wasn’t much lamented when it ended, and as late as a year and a half ago, Aaron Korsh, the show’s creator, claimed another “Suits” spinoff was unlikely. Case closed.But when “Suits” moved to Netflix in mid 2023, it set a record for the most total weeks and the most consecutive weeks at the top of the Nielsen streaming ratings. Pacey, witty, cast with good-looking actors (Meghan Markle among them) and smart — but not so smart that you couldn’t follow along while also answering a few emails — “Suits” was the nice lawyer show an exhausted America needed.From left, Gabriel Macht, Patrick J. Adams and Rick Hoffman in “Suits.”Ian Watson/USA NetworkWe 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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      in Television

      The Actor Fred Savage’s New Role Is as a Watch Entrepreneur

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      The actor, who spent his childhood in “The Wonder Years,” has established a watch assessment service.Fred Savage, the actor best known for his childhood role in the television comedy “The Wonder Years,” has taken on a new part in real life: watch collector and entrepreneur.In the past six months or so, he attended Geneva Watch Days, WatchTime New York and the Dec. 6 Important Watches auction at Sotheby’s New York. He also is a member of Classic Watch Club, a collectors’ group in Manhattan, and owns about 50 watches.“Watch collecting started as a hobby, because I was really interested in these mechanical objects that still worked and looked so great a hundred years after they were manufactured,” Mr. Savage, 48, said during a phone interview (wearing, he noted, a Jaeger-LeCoultre Memovox GT). “The deeper I’ve gotten into watches, my knowledge has grown. It has really enriched my life — almost every aspect of my life — because of the people that it has introduced me to.”And late last month Mr. Savage officially introduced Timepiece Grading Specialists, or TGS, a business that rates a watch’s condition for authentication or valuation purposes. Fees start at $250 per watch, which would include a detailed report with photos; appraisals, servicing and storage are available at additional cost. The business began accepting watches for evaluation last fall in a kind of soft launch, and three of the watches sold at the Sotheby’s sale in December had TGS assessments.Timepiece Grading Specialists is headquartered in Dayton, Ohio, in the offices of Stoll & Company, which handles the horological work.Brian Kaiser for The New York TimesMr. Savage said his company was meant to fill a void in the watch community. “I realized that, with the huge marketplace that’s like the Wild West, nobody’s looking out for the collector,” he said. “I looked at all these other collectible verticals: Whether it’s comic books or coins or baseball cards or sports cards or shoes or video games, every one of these collectibles has one, if not multiple, third-party authentication and grading services.”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

    • 138 Shares169 Views

      in Theater

      The Playwright Larissa FastHorse Doesn’t Want to Be a Cautionary Tale

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      After a delay, “Fake It Until You Make It,” the writer’s follow-up to her Broadway satire, “The Thanksgiving Play,” is finally onstage in Los Angeles.In the 1980s, when Larissa FastHorse was in high school in Pierre, S.D., friends would sometimes forget she was Native American. Talk would turn to the area’s “drunk lazy Indians,” she said, and “I’d be like, ‘um, excuse me, I’m right here.’”“And then it was always, ‘Oh, well, not you!’” she continued. Even after FastHorse’s “The Thanksgiving Play” opened on Broadway in 2023, the “not you” slights continued. At one of her own plays in New York, she overheard women in the bathroom joking about how Native Americans would be late to the show because they tell time by the sun — it was an evening performance — and because they would be taking horses, not cars. “People say crazy stuff like that all the time,” she said.In Southern California, where she has lived since 1991, it rarely occurs to strangers that she is Native, or, as she noted, that anyone might be. “It’s all part of the great erasure,” she said. “Everyone speaks Spanish to me in L.A.,” she said. “Which is fine, it’s lovely. But it’s like I have to fight to be Native American here.”Over the years, FastHorse, 53, has transformed her experiences as a Native American navigating her way through the worlds of theater, nonprofits, TV writing and ballet into thought-provoking, often wickedly funny work. Her plays are both a way of confronting that “great erasure” — “the last thing people tend to think about are Native Americans,” she said — and replacing offensive stereotypes, like the “Hollywood Indians” she grew up watching on TV, with more nuanced and human portrayals.In “The Thanksgiving Play,” which premiered Off Broadway in 2018, four well-meaning white people struggle mightily to produce a more historically accurate holiday pageant for grade schoolers, replacing happy pilgrims and prayers of gratitude with a bag of bloody Native American heads. In “What Would Crazy Horse Do?” (2017), the last members of a fictional tribe encounter a pair of kinder, gentler Ku Klux Klan members.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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      in Television

      A Hollywood Drought and a Game Show Dream

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      It’s tough to get work in film and television these days. So one unemployed writer decided to study up on “The Price Is Right.”There is very little work to go around in Hollywood these days. So to stay inspired over the past several months, Emily Winter has met with a writing group on Zoom each weekday morning at 10 a.m.Celeste, do you have a meeting? You look fancy.Do you play softball? I can put you on the sub list!What’s everyone working on today?During one such meeting last spring, Winter remembered that she had tickets to an upcoming taping of “The Price Is Right,” where every audience member is eligible to win prizes like a billiards table or a car. “My hottest iron in the fire,” she explained to her writing group.Then she took a beat to think.She had used up all of her unemployment. She was starting to panic about her dwindling savings account. And she did not have anything better to do. Why not figure out how to increase her chances of being selected to compete on the game show?“Let’s win some $$$,” she wrote in an email to two friends when she invited them to attend the taping in May, “or a weird boat!!!!!”Building a CareerTo keep her sanity and make some money while between writing gigs, Winter has turned to standup comedy.Alex Welsh for The New York TimesWe 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