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      Labor Board Looking Into Complaints at Sean Penn Vaccination Site

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      Two online commenters complained of working 18-hour days and not getting food from Krispy Kreme or Subway. Penn saw “narcissism” and “betrayal.”A nonprofit group co-founded by Sean Penn is facing a National Labor Relations Board hearing over an accusation that he implicitly threatened employees after complaints about long hours and the food served during a Covid-19 vaccination effort.In January the group, Community Organized Relief Effort, played a key role in an operation to administer vaccines in a parking lot of Dodger Stadium in Los Angeles.The work drew praise, but an anonymous online comment posted in response to a New York Times article late that month about the vaccinations said that employees were working up to 18 hours a day. A second comment, also anonymous, said there had been a lack of Krispy Kreme doughnuts and Subway sandwiches — food described by the Times report as being at the site.Soon, CORE employees were sent a long, impassioned email by Penn. He wrote that he was grateful for their work and mindful of his responsibilities in “the race against mutations and the fight against the current strains of Covid-19.”He also appeared to suggest that the online commenters were guilty of “reckless narcissism” and “broad betrayal.”And Penn proposed that those who might feel inclined to gripe online amid a pandemic ought to simply leave the group instead.“Any of us who might find themselves predisposed to a culture of complaint, have a much simpler avenue than broad-based cyber whining,” he wrote. “It’s called quitting.”A labor lawyer in Los Angeles read the message after it was published, in early February, along with an accompanying article, by The Los Angeles Times. That lawyer, Daniel B. Rojas, said Penn’s remarks struck him as unlawful and that he quickly filed a charge with the N.L.R.B. The N.L.R.B. process calls for a charge to be followed by an investigation, which can lead to a complaint or a dismissal.In this instance, the N.L.R.B. issued a complaint, dated Oct. 25, saying Penn’s email violated federal labor law. Penn had, the complaint added, “impliedly threatened” employees with reprisals or discharge.A hearing before an administrative law judge has been scheduled for January.A lawyer for CORE and for Penn said that “on principle and merit,” both had rejected a settlement offer from the N.L.R.B. that did not involve any fine or monetary payment, and will “vigorously contest and fight” the charge.“Despite its utter lack of legal merit, the N.L.R.B.’s General Counsel and Regional Director have decided to waste federal resources and taxpayer dollars by filing an ill‐advised and meritless lawsuit, even as CORE continues its groundbreaking work,” a statement from the lawyer, Mathew S. Rosengart, said. “The N.L.R.B.’s actions to distract CORE from its crucial mission for a case where no employees were harmed, are shameful.”In May, Rosengart and two colleagues sent a letter to the N.L.R.B. saying the complaint about long hours was false and that charges by Rojas were “utterly frivolous” and should be dismissed. Penn’s email, the lawyers added, was “a motivational rallying cry.”The N.L.R.B. general counsel, Jennifer Abruzzo, said in a statement on Thursday: “Although CORE engages in important and admirable work, like all employers, it must respect the right of its employees under the National Labor Relations Act to engage in protected concerted activities, such as discussing matters of mutual concern with one another and bringing workplace concerns to the public, federal agencies, or other third parties.”This week, Rojas explained his motive in filing the charge, writing in an email: “It’s neither selfish nor un-American to discuss your wages or working conditions with the public.”.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-k59gj9{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-flex-direction:column;-ms-flex-direction:column;flex-direction:column;width:100%;}.css-1e2usoh{font-family:inherit;display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-box-pack:justify;-webkit-justify-content:space-between;-ms-flex-pack:justify;justify-content:space-between;border-top:1px solid #ccc;padding:10px 0px 10px 0px;background-color:#fff;}.css-1jz6h6z{font-family:inherit;font-weight:bold;font-size:1rem;line-height:1.5rem;text-align:left;}.css-1t412wb{box-sizing:border-box;margin:8px 15px 0px 15px;cursor:pointer;}.css-hhzar2{-webkit-transition:-webkit-transform ease 0.5s;-webkit-transition:transform ease 0.5s;transition:transform ease 0.5s;}.css-t54hv4{-webkit-transform:rotate(180deg);-ms-transform:rotate(180deg);transform:rotate(180deg);}.css-1r2j9qz{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-e1ipqs{font-size:1rem;line-height:1.5rem;padding:0px 30px 0px 0px;}.css-e1ipqs a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;}.css-e1ipqs a:hover{-webkit-text-decoration:none;text-decoration:none;}.css-1o76pdf{visibility:show;height:100%;padding-bottom:20px;}.css-1sw9s96{visibility:hidden;height:0px;}.css-1in8jot{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;font-family:’nyt-franklin’,arial,helvetica,sans-serif;text-align:left;}@media (min-width:740px){.css-1in8jot{padding:20px;width:100%;}}.css-1in8jot:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1in8jot{border:none;padding:10px 0 0;border-top:2px solid #121212;}What to Know About Covid-19 Booster ShotsThe F.D.A. has authorized booster shots for millions of recipients of the Pfizer-BioNTech, Moderna and Johnson & Johnson vaccines. Pfizer and Moderna recipients who are eligible for a booster include people 65 and older, and younger adults at high risk of severe Covid-19 because of medical conditions or where they work. Eligible Pfizer and Moderna recipients can get a booster at least six months after their second dose. All Johnson & Johnson recipients will be eligible for a second shot at least two months after the first.Yes. The F.D.A. has updated its authorizations to allow medical providers to boost people with a different vaccine than the one they initially received, a strategy known as “mix and match.” Whether you received Moderna, Johnson & Johnson or Pfizer-BioNTech, you may receive a booster of any other vaccine. Regulators have not recommended any one vaccine over another as a booster. They have also remained silent on whether it is preferable to stick with the same vaccine when possible.The C.D.C. has said the conditions that qualify a person for a booster shot include: hypertension and heart disease; diabetes or obesity; cancer or blood disorders; weakened immune system; chronic lung, kidney or liver disease; dementia and certain disabilities. Pregnant women and current and former smokers are also eligible.The F.D.A. authorized boosters for workers whose jobs put them at high risk of exposure to potentially infectious people. The C.D.C. says that group includes: emergency medical workers; education workers; food and agriculture workers; manufacturing workers; corrections workers; U.S. Postal Service workers; public transit workers; grocery store workers.Yes. The C.D.C. says the Covid vaccine may be administered without regard to the timing of other vaccines, and many pharmacy sites are allowing people to schedule a flu shot at the same time as a booster dose.By many measures, CORE’s pandemic work has been a success. The group, which Penn co-founded after the 2010 earthquake in Haiti, has provided free coronavirus testing in California and beyond. At Dodger stadium, CORE assisted the Los Angeles Fire Department, which led an operation that administered nearly 56,000 vaccinations in its first nine days.The description of the parking-lot scene in The Times article in late January included: “There is Krispy Kreme for breakfast and Subway for lunch (the fruit on the tables is for poking with syringes during training sessions). At the trailers marked ‘Vaccine Draw,’ runners elbow past Mr. Penn, slide their empty coolers inside and await a fresh batch of syringes.”Among 150 comments in response to the story were the two that purported to come from CORE workers. One, attributed to “CORE staff,” referred to the federal Occupational Safety and Health Administration, writing: “We have staff working 18 hour days, 6 days a week,” adding: “This is an OSHA violation.”A second commenter, “staff #2,” wrote: “We do NOT get krispy kreme for breakfast. In fact, we usually DON’T get breakfast, just coffee,” that commenter wrote. “And the lunch is NOT subway. It’s the same old lettuce wraps every day. It’s free lunch for staff/volunteers so I’m not complaining but still … not subway.”The day after the article ran, Penn’s message addressed to “All CORE Staff” went out, citing “a pair of highly visible comments on a major news outlet’s platform.” He began by commending CORE workers and wrote that he is consumed with the fight against Covid: “I awaken pre-dawn and pass out post-midnight every morning and every night, pulling at my hair and pounding pavement.”Penn wrote that CORE has strong complaint procedures and complies with OSHA regulations, but also warned against “obscene critiques” and stated that “valuable, organized response is most vulnerable to destruction from within.”And although he wrote that he had “taken counsel” and would refrain from using certain language, Penn left little doubt about his feelings toward the commenters.“And to whoever authored these,” he wrote, “understand that in every cell of my body is a vitriol for the way your actions reflect so harmfully upon your brothers and sisters in arms.” More

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      Brandon Lee and Other Deaths on Set

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      Accidents on sets have resulted in numerous deaths and injuries over the years, some bringing about lawsuits or changes in safety guidelines.Behind the magic of movies and television are actors and props, crew members, stunt performers and a sometimes dangerous set of circumstances for the people filming scenes.On Thursday, the potential danger on some sets made news around the world, after the actor Alec Baldwin discharged a gun that was used as a prop on the set of a western in New Mexico, killing the film’s director of photography and wounding the movie’s director.The authorities said the shooting took place in the middle of a scene that was either being rehearsed or filmed. Many other details of what happened remained unclear on Friday.Accidents on movie and television sets, like stuntmen and stuntwomen being injured during action sequences or actors getting killed when props malfunction, have occurred with some regularity over the last several decades. There have been at least 194 serious television- and film-set accidents in the United States from 1990 to 2014, and at least 43 deaths, according to The Associated Press.Here’s a partial list of set accidents from recent history.‘Twilight Zone: The Movie’The actor Vic Morrow on the set of the ABC series “Combat!”Moviestore Collection Ltd / Alamy Stock PhotoA helicopter crash on the Los Angeles set of the “Twilight Zone” movie killed the actor Vic Morrow and two child actors, Renee Shinn Chen and My-ca Dinh Lee, in July 1982.The tail rotor of the helicopter was hit by debris from explosives detonated in a scene depicting the Vietnam War. The main rotor of the helicopter struck and killed Mr. Morrow and the children as the aircraft pitched into a river on the set.The film’s director, John Landis, was charged with involuntary manslaughter in connection with the deaths, as were with four other members of the film crew, including the helicopter pilot. After a trial that lasted nearly a year and nine days of deliberation by a jury, all five were acquitted in May 1987. In the aftermath of the accident, the Directors Guild of America created a safety committee to put in place safety guidelines.‘Cover Up’Jon-Erik Hexum in “Cover Up,” a CBS detective action television series, in 1984.CBS, via Getty ImagesThe actor Jon-Erik Hexum accidentally shot himself in the head while playing Russian roulette on the set of the television series “Cover Up” in October 1984.Mr. Hexum, 26, had loaded three empty cartridges and two gunpowder-filled blanks into a high-powered handgun before firing the gun, according to a detective on the case.Mr. Hexum sustained a fractured skull and underwent five hours of surgery. He died several days later. The police ruled the shooting an accident.‘The Crow’Brandon Lee in “The Crow.”Allstar Picture Library Ltd. / Alamy Stock PhotoBrandon Lee, an actor and the son of the martial-arts star Bruce Lee, died in March 1993 during the filming of “The Crow,” after being shot at with a gun that was supposed to fire blank cartridges.The tip of a .44-caliber bullet had become lodged in the gun’s barrel in filming a close-up scene, and dislodged when a blank cartridge was fired. The bullet pierced Mr. Lee’s abdomen, damaging several organs and lodging in his spine.Mr. Lee, 28, was the star of the film, about a rock musician who is killed by a street gang and then comes back to life with supernatural powers.An executive producer of the movie said at the time that when a blank is fired, a piece of soft wadding normally comes out of the gun, but in this instance, a metallic projectile came out. A police investigation into the shooting found no evidence of criminal wrongdoing and no charges were filed.‘Midnight Rider’Richard and Elizabeth Jones at a memorial for their daughter, Sarah Jones, who was killed in 2014 by a train while shooting the film “Midnight Rider.”David Mcnew/Getty ImagesSarah Jones, a camera assistant, died on the set of the independent film “Midnight Rider,” about the musician Gregg Allman, in Georgia in February 2014. Ms. Jones was killed while helping prepare a shot that involved placing a bed across the tracks of a CSX railroad line.After two trains passed, crew members on the film believed they would have a safe interval to get the shot, part of a planned dream sequence. But a third train appeared, moving at high speed through the set, killing Ms. Jones and injuring others.Later that year, the family of Ms. Jones reached a settlement with 11 defendants in a lawsuit over her death. The terms of the settlement were not disclosed. In 2015, the film’s director, Randall Miller, pleaded guilty to involuntary manslaughter and served a year in jail. He was also sentenced to 10 years of probation.‘Resident Evil: The Final Chapter’Olivia Jackson, a stuntwoman for the actor Milla Jovovich, was severely injured while filming a sequence for “Resident Evil: The Final Chapter” in South Africa in September 2015. While riding a motorcycle, Ms. Jackson collided with a piece of camera equipment, according to Deadline.The accident nearly killed Ms. Jackson, leaving her with multiple injuries including disfigurement, several nerves torn out of her spinal cord and a partly amputated left arm.In April 2020, the High Court in South Africa ruled in favor of Ms. Jackson and against a company involved in the movie.Two months after Ms. Jackson was injured, another crew member, Ricardo Cornelius, died after a Humvee slid off a rotating platform and crushed him against a wall, Deadline reported.‘The Walking Dead’A scene from “The Walking Dead” featuring, from left, Andrew Lincoln, Danai Gurira and Melissa Ponzio.Gene Page/AMC , via Associated PressJohn Bernecker, a stuntman for AMC’s “The Walking Dead,” died in July 2017 after falling on a balcony set in Georgia.Mr. Bernecker, who had been an active stuntman since at least 2009 and had appeared in films such as “Get Out” and “The Fate of the Furious,” died of blunt-force trauma, a coroner said. Production of the show’s eighth season was temporarily shut down after the accident.Mr. Bernecker’s family filed a wrongful-death lawsuit in early 2018 against AMC Networks, the production company Stalwart Films and other parties in Georgia, claiming they had failed to make the show with appropriate safety measures. The suit claimed that some fall protection was in place but that airbags and spotters were not used, and that the padding did not fully cover the area below the fall. Mr. Bernecker landed on his head or shoulder area.In December 2019, a jury found AMC Networks not to be negligent but awarded more than $8 million in civil damages. The Georgia Court of Appeals overturned the decision in March 2021.‘Deadpool 2’A woman was killed while attempting a stunt on a motorcycle on the set of “Deadpool 2” in Vancouver, British Columbia, in August 2017. The woman, Joi Harris, was acting in her first film as a stuntwoman, according to Deadline.Ms. Harris, 40, had worked as a motorcycle racer before joining the crew of the film, and was serving as a stunt double for the actor Zazie Beetz. More

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      In a Blue Origin Rocket, William Shatner Finally Goes to Space

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      The actor who played Captain Kirk played the role of pitchman for Jeff Bezos’ spaceflight company at a time that it is facing a number of workplace and business difficulties.NEAR VAN HORN, TEXAS — William Shatner, the actor best known as the heroic Captain James T. Kirk in “Star Trek,” and three other passengers returned safely from a brief trip to the edge of space on Wednesday.Mr. Shatner, 90, became the world’s oldest space traveler on the flight, which was the latest excursion over the West Texas desert aboard a rocket built by Blue Origin for space tourists. The private space company is owned by Jeff Bezos, the founder of Amazon and one of the wealthiest men on the planet.It was the sixth launch carrying private passengers this year, as billionaire-backed companies jockey to normalize launching humans to space. Carrying two paying passengers, the quick jaunt to space also checked off another revenue-generating flight for Blue Origin’s space tourism business, advancing competition with Richard Branson’s Virgin Galactic to attract more wealthy and adventure-seeking customers.But the successful flight and landing came amid a string of controversies for Mr. Bezos’ company, particularly charges from current and former employees that its workplace culture was “rife” with sexism and that it prioritized speed over addressing some employees’ safety concerns. The company has rebutted the criticisms, but has also faced setbacks in other lines of its business.The actor who played Captain Kirk in “Star Trek” told Jeff Bezos his visit to the edge of space in the Blue Origin rocket was the most profound experience he could imagine.Blue Origin, via EPA, via ShutterstockThose concerns were absent on Wednesday as an effusive Mr. Shatner bent Mr. Bezos’ ear just outside the capsule after it landed, pouring forth words during a video livestream to describe his brief trek into the limits of the planet’s atmosphere. His trip aboard the rocket might have been conceived as a publicity stunt, but brushing the edge of the sky left the actor full of wonder, mixed with unease.“What you have given me is the most profound experience I can imagine,” Mr. Shatner told Mr. Bezos, waxing poetically about the “immeasurably small” line he witnessed between Earth and space, describing it as a fragile, underappreciated boundary between life and death.“This air which is keeping us alive is thinner than your skin,” he continued, adding: “it would be so important for everybody to have that experience, through one means or another.”The Origin New Shepard rocket rising from the launch site on Wednesday.LM Otero/Associated PressSpectators watched the New Shepard rocket carrying Mr. Shatner to the edge of space.Mario Tama/Getty ImagesMr. Bezos, who has said he was inspired by “Star Trek” as a boy, listened, still as a statue. He may have been giving Mr. Shatner some space, but it was a sharp contrast to his appearance after his own brief spaceflight in July, when he was aboard the same spacecraft. Then, Mr. Bezos held forth from a stage, rousing condemnation from critics of the vast company he founded as he thanked Amazon’s employees and customers for making it possible for him to finance his private space venture.Mr. Shatner shared the capsule on Wednesday with three other passengers: Audrey Powers, a Blue Origin vice president who oversees New Shepard operations, and two paying customers: Chris Boshuizen, a co-founder of the Earth-observation company Planet Labs, and Glen de Vries, a co-founder of a company that builds software for clinical researchers.The launch Wednesday morning was pushed back by roughly an hour by two pauses to the launch countdown — caused in part by extra checks to the spacecraft and winds near its launchpad. The quartet was driven in electric pickup trucks to Blue Origin’s launchpad, roughly an hour before liftoff, flanked by Mr. Bezos and company employees.For a moment, it appeared Mr. Bezos, dressed in a flight suit like the one he wore in July, would join them in flying to space. But he closed the hatch door before leaving the pad, sending the crew on their journey.The rocket lifted off at 9:49 a.m. Central time, ascending nearly as fast as a speeding bullet at 2,235 miles per hour and sending the crew some 65.8 miles high. The whole trip lasted 10 minutes, 17 seconds, and gave the four passengers about four minutes of weightlessness.Mr. Boshuizen, talking to reporters after the flight, likened the crew’s entry into space to a stone hitting the surface of a lake. “I was trying to smile but my jaw was pushed back in my head,” he said.Mr. Shatner emerged from the New Shepard capsule after a safe landing near Van Horn, Texas, on Wednesday. Blue Origin, via EPA, via ShutterstockIn the “Star Trek” episode, “A Piece of the Action,” William Shatner as Captain Kirk appears with DeForest Kelley as Dr. Leonard McCoy, center, and Leonard Nimoy as Mr. Spock, right, in 1968.CBS via Getty ImagesMr. de Vries said the crew “had a moment of camaraderie” when they reached space. “We actually just put our hands together,” he said.“And then we enjoyed the view as much as we can,” Mr. de Vries said.In video footage released later by Blue Origin, Mr. Shatner appeared nearly speechless as the crew floated inside the capsule, legs aloft and small toys wafting around. “This is nuts,” said Ms. Powers, gripping the frame of one of the capsule’s windows.Footage captured the 90-year-old “Star Trek” actor and three other passengers floating weightless inside the Blue Origin spacecraft capsule during their trip to the edge of space.Blue OriginThe capsule then descended back to land under a set of three parachutes.Mr. Shatner wasn’t thrilled about his new status as the oldest person to fly into space. “I wish I had broken the world record in the 10-yard dash, but unfortunately it was how old I was,” he said hours after the mission during a news conference on the landing pad. He beat the record recently clinched during Blue Origin’s first crewed flight in July by Wally Funk, an 82-year-old pilot and former candidate for NASA’s astronaut corps who was turned down from joining in the 60s because of her sex.Like Blue Origin’s July trip, in which Mr. Bezos launched to space with Ms. Funk and two other passengers, Wednesday’s flight served as an advertisement of the company’s space tourism business to prospective wealthy customers. It is competing primarily with Virgin Galactic, a rival space company founded by Richard Branson, the British businessman.Virgin Galactic’s suborbital ship is a space plane that takes off from a runway like a commercial airliner. It tops out at a lower altitude. The company sent Mr. Branson and three company employees to the edge of space in July aboard SpaceShipTwo, nine days before Mr. Bezos’ flight.Blue Origin has declined to publicly state a price for a ticket to fly on New Shepard. The company is nearing $100 million in sales so far, Mr. Bezos had said in July. But it’s unclear how many ticket holders that includes.Tickets on Virgin Galactic’s SpaceShipTwo were hiked to $450,000 in August, from $250,000, when the company reopened ticket sales after a yearslong hiatus. And flights to orbit — a much higher altitude than Blue Origin or Virgin Galactic’s trips go — are far more expensive. Three passengers going to the International Space Station next year are paying $55 million each for their seats on a SpaceX rocket, bought through the company Axiom Space.An illustration of the proposed SpaceX Starship human lander on the moon.SpaceXVirgin Galactic’s passenger rocket plane VSS Unity, carrying Richard Branson and crew, beginning its ascent to the edge of space above New Mexico in July.Virgin Galactic, via ReutersBut space tourism is not Blue Origin’s only business, nor its only challenge. Earlier this year, the company lost out to SpaceX, the rival rocket company owned by the billionaire Elon Musk, for a lucrative NASA contract to land humans on the moon. The company is currently challenging the award to SpaceX in federal court, and may receive a ruling in November.Mr. Bezos’ company is also attempting to overcome technical hurdles in its effort to finish building its much bigger rocket, New Glenn, as well as that rocket’s engines, which are to be relied on by a competitor, United Launch Alliance, to fly NASA and Pentagon hardware on its rockets.Its most immediate challenge has concerned accusations that the company’s work culture allowed harassment and sexist behavior. In September, Alexandra Abrams, the former head of employee communications at Blue Origin, published an essay with 20 unnamed current and former employees of the company outlining those charges, as well as accusations that internal safety concerns were often dismissed by management.“Even if there are absolutely zero issues with all of Blue’s programs, which is absolutely not the case, a toxic culture bursting with schedule pressure and untrustworthy leaders breeds and encourages failures and mistakes each and every day,” Ms. Abrams said this week.Blue Origin disputed the allegations in the essay, saying in a statement that the company has an internal hotline for sexual harassment complaints. And on Wednesday’s livestream of the launch, Ariane Cornell, Blue Origin’s astronaut sales director, emphasized the company’s safety record, saying “safety has been baked into the design of New Shepard from day one.”On Wednesday after the flight, Mr. Shatner also brought up New Shepard’s safety.“I think, just generally, the press needs to know how safe this was,” he said, adding “the technology is very safe, the approach was safe, the training was safe and everything went according to exactly what they predicted. We even waited for the winds an extra half-hour.”But asked by reporters if he would launch to space again, he said, “I am so filled with such an emotion, I don’t want to dissipate it by thinking of another journey.”Floating back to the west Texas desert after a successful mission.LM Otero/Associated PressDavid Streitfeld and Daniel E. Slotnik contributed reporting. More

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      Former ‘Hamilton’ Cast Member Files Discrimination Complaint Against Show

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      In the E.E.O.C. filing, the actor, who is nonbinary, describes being retaliated against after requesting a gender-neutral dressing room, among other claims. The show denies the allegations.A former “Hamilton” cast member filed a federal workplace complaint against the show on Wednesday, alleging that the show had retaliated and refused to renew a contract after the actor had requested a gender-neutral dressing room.In the complaint, filed with the U.S. Equal Employment Opportunity Commission, lawyers for the former cast member, Suni Reid (who prefers the pronouns they/them), said they were sidelined and eventually let go in September after requesting a gender-neutral space at the Pantages Theater in Los Angeles where “Hamilton” was playing.In the 28-page complaint, Reid, a Black, nonbinary performer who has performed with the New York, Chicago and Los Angeles productions of “Hamilton” since 2017, outlined several other instances of discrimination and harassment by cast members and management over the years, including episodes in which Reid said they were physically threatened or intentionally and repeatedly misgendered.The complaint said Reid eventually intends to pursue legal claims in federal court. Filing a charge of discrimination and retaliation with the E.E.O.C. is a precursor to filing such a lawsuit.“Publicly, ‘Hamilton’ is a beacon of diversity and appears committed to causes seeking social justice and harmony,” Reid’s lawyers, Lawrence M. Pearson and Lindsay M. Goldbrum, said in a statement. “Behind the curtain, however, the Company’s management will force out a Black, transgender cast member simply because they stood up for themselves and advocated for a more equitable workplace, and therefore called that public image into question.”“We look forward to upholding Reid’s rights and hope this is a wake-up call for the theater industry about the systemic inequities that persist even at its greatest heights,” the statement continued.In its own statement, “Hamilton” said Wednesday that Reid had been “a valued cast member” for years and said the show had “offered them a contract to return to ‘Hamilton’ with terms responsive to their requests.”“We deny the allegations in the Charge,” the show said. “We have not discriminated or retaliated against Suni.” During the shutdown, it added, “we have given Suni direct financial support, paid for their health insurance, and paid for their housing. We wish Suni well in their future endeavors.”Reid has performed in the ensemble as well as in roles such as Aaron Burr, George Washington, Hercules Mulligan/James Madison, and Marquis de Lafayette/Thomas Jefferson, according to the complaint.It comes as Broadway and touring shows are working to find their footing following a lengthy pandemic-related shutdown. Earlier this summer, as several shows like “Hamilton” were preparing to restart, some of the most powerful players on Broadway signed a pact pledging to strengthen the industry’s diversity practices.But Reid’s complaint paints a picture of a toxic workplace environment at “Hamilton” that stretched from coast to coast.Reid was cast in the Broadway production of the show in 2017 and met hostility from the start, according to the complaint. Reid eventually requested a transfer from the Broadway production and started with the Chicago company of “Hamilton” in March 2019, according to the complaint, and came out publicly as transgender and gender-nonconforming. They were constantly misgendered by co-workers, “at times in a pointedly hostile or callous manner,” according to the complaint.By 2020, Reid had begun rehearsals for the Los Angeles company, but never was able to to join the Los Angeles cast in performance because of the shutdown, the complaint said.In May, Reid was presented with a contract renewal for “Hamilton.” Around that time, they asked their agent, Michele Largé, to request a gender-neutral dressing room at Pantages that Reid and others could use. “Hamilton” officials then raised concerns about posts Reid had published on social media describing racial equity issues on the show, according to the complaint.The show would eventually agree to set up gender-neutral dressing spaces in every “Hamilton” theater. But in the fall, after Reid’s lawyers informed the show that they had legal claims of discrimination, the show told Reid’s lawyers that it was “no longer open” to having Reid perform in “Hamilton,” and that “renewal of their contract was no longer an option,” the complaint said. More

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      'Jagged Little Pill' Producers Respond to Controversies

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      “Jagged Little Pill” barrels into tonight’s Tony Awards with 15 nominations, more than any other show — but also with its producers confronting two controversies that have prompted scrutiny and an apology.The show, a musical featuring Alanis Morissette songs and a script that explores a host of social issues, is one of three contenders for best musical, and is a leading contender in the best featured actress and best book categories. It plans to resume performances on Broadway next month.But in the run-up to the Tonys the show’s producers have found themselves responding to criticism over how depictions of a character’s gender identity evolved as the show developed, and over the accusation by a former member of the cast who said they were asked to delay a surgical procedure. (The Tony voting period ended in March, before that accusation became public.)On Saturday, the show’s lead producers, Vivek J. Tiwary, Arvind Ethan David and Eva Price, said that they had hired an employment lawyer to look into an accusation from the former cast member, Nora Schell, who uses the pronouns they and them, and who said the production had asked them to delay a procedure to remove vaginal cysts. The union representing stage performers, Actors’ Equity, also said it would investigate; Schell said a union vice president was among those who mishandled the medical concerns.The statement from the producers came a little more than a week after the musical had issued an apology for its response to concerns about the gender identity of one of the show’s main characters, Jo, who is played by Lauren Patten, a nominee for best featured actress in a musical.During the show’s pre-Broadway run, some people saw Jo as a rare example of nonbinary representation in a major musical; when the show then transferred to Broadway, some of those fans were disappointed with how the role had evolved.“In Jo, we set out to portray a character on a gender expansive journey without a known outcome,” the lead producers said. “Throughout the creative process, as the character evolved and changed, between Boston and Broadway, we made mistakes in how we handled this evolution. In a process designed to clarify and streamline, many of the lines that signaled Jo as gender nonconforming, and with them, something vital and integral, got removed from Jo’s character journey.”The producers said they had “hired a new dramaturgical team (which includes nonbinary, transgender and BIPOC representation), to revisit and deepen the script.”Schell, who was a member of the ensemble when the musical opened in late 2019, voiced their concerns about backstage treatment on Twitter.“During previews for the Broadway run of JAGGED LITTLE PILL I was intimidated, coerced and forced by multiple higher ups to put off CRITICAL AND NECESSARY surgery to remove growths from my vagina that were making me anemic,” Schell wrote.The producers responded with their own statement, declaring themselves “deeply troubled” by the claims and pledging to “take this matter very seriously.”“Broadway shows are by their very nature collaborative human efforts, so there is nothing more important to us than our people,” they said. “We are committed to continuing to nurture a work environment where everyone feels valued and respected.”On Saturday, one of the show’s Tony-nominated stars, Celia Rose Gooding, said on Twitter that she was concerned by the allegations. Responding to Schell’s tweet, she wrote, “this is unacceptable. nobody should have to put off necessary medical treatment for a show, ever.”And, in a more general tweet bidding farewell to the show, which she is leaving for a role in “Star Trek: Strange New Worlds,” she wrote that she “cannot ignore the harm Jagged has done to the trans and nonbinary community.” More

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      in Television

      He’s No Longer Host. But Mike Richards Is Still Running ‘Jeopardy!’

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      Defying a backlash over sexist and crude comments, a top Sony TV executive told the show’s staff that they were standing behind Mr. Richards as the executive producer.Last week, Mike Richards lost his gig as the new host of “Jeopardy!,” faced a rebuke from the Anti-Defamation League, heard an outpouring of dismay from the show’s demoralized staff, and was forced to apologize after it was revealed he made sexist and crude jokes on a podcast several years ago in which he mocked women’s appearances, unemployed workers, and the size of Jewish noses.This week, Mr. Richards is back running the show. And his bosses at Sony appear intent on keeping it that way.In a show of defiance that has baffled Hollywood, Sony Pictures Entertainment has signaled that it will keep Mr. Richards on as executive producer of “Jeopardy!” and “Wheel of Fortune.” During a call with “Jeopardy” staff on Monday, Sony’s top TV executive, Ravi Ahuja, made clear that the studio supported Mr. Richards, according to several people briefed on the call who spoke on condition of anonymity to discuss internal conversations.Mr. Ahuja praised Mr. Richards for his willingness to step down from the hosting job, saying it was the right move for “Jeopardy!,” and signaled that he expected the crew to move forward from last week’s uproar with Mr. Richards in charge, the people said.He lamented the media coverage of Mr. Richards and instructed the staff not to speak to reporters. Mr. Ahuja also invoked his own upbringing as an Indian-American who grew up in Mississippi in the 1970s, where he said he faced racially offensive remarks, to emphasize that he was sensitive to concerns about Mr. Richards’s crude comments, the people said.Mr. Richards has agreed to undergo sensitivity training, the people said.On the call, Mr. Richards apologized again for his behavior and asked for an opportunity to prove “who he really is,” according to his spokesman, Ed Tagliaferri.Mr. Tagliaferri also swatted away the notion that Mr. Richards might be negotiating an exit from Sony, saying, “Mike is committed to continuing as the executive producer of ‘Jeopardy!’ and ‘Wheel of Fortune.’”Sony has tapped a veteran business and legal affairs executive at the studio, Suzanne Prete, to oversee Mr. Richards at the show and “take more of an active presence on the creative direction and strategy.” Sony said that the new role for Ms. Prete, who will also oversee the business side of the show, was planned before last week’s uproar. She will report to Mr. Ahuja.Sony declined to make Mr. Ahuja available for an interview. Mr. Richards is back on set this week taping episodes with Mayim Bialik, who has temporarily taken over weekday hosting duties. A Sony spokeswoman referred to a statement issued last week, in which Sony expressed “hope” that Mr. Richards would carry out his producing duties “with professionalism and respect.”Sony has assigned a veteran business and legal affairs executive at the studio, Suzanne Prete, to oversee Mr. Richards’s work on “Jeopardy!” and “Wheel of Fortune.”Beth Coller for The New York TimesHollywood insiders had widely expected Mr. Richards and Sony to be negotiating his exit after a report in The Ringer revealed a string of past offensive comments. In a podcast he recorded in 2013 and 2014, while serving as executive producer of “The Price Is Right,” Mr. Richards called his female co-host a “booth slut” because she once worked as a model at a consumer trade show, asked if she had “booby pics” on her cellphone, mocked women who wear one-piece swimsuits as “really frumpy and overweight” and referred to stereotypes about Jews and large noses.Former employees of “The Price Is Right” had also filed lawsuits that accused Mr. Richards of making sexist and misogynist comments on-set, including balking when a model he had hired for the show revealed she was pregnant with twins. (Mr. Richards disputes those claims.)Some “Jeopardy!” fans were already skeptical of Mr. Richards, a virtually unknown figure who was named as Alex Trebek’s replacement despite helping to oversee the host audition process.Sony says it made its decision independently of Mr. Richards. But as executive producer, he had a hand in choosing the footage of each candidate that was screened for focus groups.Meredith Vieira, the former “Today” show star, was one television personality who was eager to try out as a guest host. But she was not offered an audition, with the studio saying it was not interested in anyone currently hosting another game show, according to three people familiar with the audition process who spoke on condition of anonymity. (Ms. Vieira hosts a syndicated show based on a board game called “25 Words or Less.”)Mr. Richards, an experienced game show host himself, was hired by Sony in 2019 from “The Price Is Right,” a tired franchise that Mr. Richards helped revive with Drew Carey as host. (Mr. Richards also auditioned for that hosting job.) He became executive producer of “Jeopardy!” last year, replacing Harry Friedman, an under-the-radar figure who exercised near-complete control of the program over a 25-year tenure.“Jeopardy!” is one of the more profitable assets in Sony’s American entertainment portfolio, but picking Mr. Richards as the host came with an added financial benefit. As a relatively obscure figure, he would command a smaller salary than better-known contenders like LeVar Burton or Anderson Cooper. Mr. Richards’s compensation as host and executive producer was believed to be significantly lower than Mr. Trebek’s pay.A segment of “Jeopardy!” viewers and aspiring contestants has expressed dissatisfaction with the decision to keep Mr. Richards as executive producer — some going so far as to re-evaluate their interest in the show because of his behavior.“If it was enough to disqualify him from being host,” said Jon Porobil, a 35-year-old “Jeopardy!” fan from Pittsburgh, “why isn’t it enough to disqualify him from being executive producer?”Matt Cappiello, 34, has taken the “Jeopardy!” entrance test multiple times, hoping to fulfill a lifelong dream of appearing on the show. But because of the controversy over Mr. Richards, he is now reconsidering.“It tarnished the reputation of the show for me,” said Mr. Cappiello, a copywriter who watches the show nightly from a bar in Brooklyn. “‘Jeopardy!’ is supposed to be a celebration of knowledge, and it’s being run by this guy who’s the personification of ignorance.”For all the criticism, Mr. Richards does have some supporters.Gwendolyn Osborne, a model who worked on “The Price Is Right” for more than 12 years and considers herself a friend of Mr. Richards, said she was shocked to learn about his podcast comments, saying they did not align with his behavior as a boss. Contrary to the behavior alleged in the pregnancy-discrimination lawsuit, she recalled that Mr. Richards supported her when she returned to work from maternity leave, and then years later when she became pregnant again.“I have reached out to him to tell him to continue to believe in his greatnesses, and that I do believe that everybody is worthy of redemption,” she said in an interview. More

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      She Wrote the History of ‘Jeopardy!’ Then She Changed It.

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      The reporting of Claire McNear, a journalist who had written a book on the game show, helped end Mike Richards’s hopes of succeeding Alex Trebek as its host.Two days before the journalist Claire McNear published her book, which was billed as a “definitive history” of “Jeopardy!,” its beloved host, Alex Trebek, died of pancreatic cancer, thrusting the game show into a period of uncertainty unlike any its staff had ever seen.McNear’s 2020 book, “Answers in the Form of Questions,” had argued that “Jeopardy!,” a television staple that first premiered in 1964, was on the precipice of significant change, with some key figures who had helped shape the show for decades stepping back.But the loss of Trebek in November raised a new existential question for the show: Could “Jeopardy!” continue to be a success without its trusted, even-keeled captain, who had been its face for more than 36 years?For McNear, one of the most critical chapters in the show’s history had just begun.Nine months later, McNear’s report for The Ringer on the man who had been chosen to succeed Trebek — the show’s executive producer, Mike Richards — would change the course of that history.McNear had listened to all 41 episodes of a podcast that Richards had recorded in 2013 and 2014, when he was executive producer on “The Price Is Right,” and discovered that he had made a number of offensive and sexist comments, including asking two young women who worked on the podcast whether they had ever taken nude photos, and referring to a stereotype about Jews and large noses.Days after the story was published, Richards, 46, resigned from his role as host, saying that the show did not need the distraction. Sony, which produces the show, said he would remain as executive producer. (Mayim Bialik, the sitcom star who had been tapped to host prime-time “Jeopardy!” specials, will temporarily take over weeknight hosting duties.)In an interview, McNear, 32, who writes about sports and culture for The Ringer, discussed her personal relationship to “Jeopardy!,” the impact of her reporting and the show’s future. The conversation has been edited and condensed.McNear Alyssa Schukar for The New York TimesEvery “Jeopardy!” fan has their own early memories of the show and a story of what drew them to it. Why did this show become so important to you?I was never one of those superfans who would watch every single night and know all the statistics and the pantheon of all the greatest players. I had watched it with my parents growing up, but I was not one of those hard-core people. It wasn’t until my fiancé and I moved in together, about five years ago, that we got cable — it was the first time I had cable since I was a little kid. And I remember having this light-bulb moment: “Oh my God, we can record ‘Jeopardy!’ every night.” And because of my day job, I started getting to write about it.Two weeks ago, the big hosting announcement dropped: Richards had been chosen. Knowing what you knew about him at the time, what was your reaction to the decision?As I had started to write about “Jeopardy!” more and watch it more seriously, I learned more about the world. I met the fans; I met the people who make the show. And I kept hearing things from people close to the show: that the host-search process might not have been as aboveboard as the way that it was being described publicly, and a number of staff members had fairly grave concerns about him. I wanted to know more about his past and his genesis as a television personality because he had been really open about the fact that, in addition to producing, he wanted to host.What led you to his podcast?He has talked about it in interviews but also, literally, it’s listed — or at least it was — in his official Jeopardy.com bio, that he hosted a comedy news show as a college student called “The Randumb Show.” And I tried to find as much as I could about that show, but it was all taped in the ’90s. It did lead me to the podcast with the exact same name, which is the one that he hosted as the executive producer of “The Price Is Right.”So you’re sitting there listening to these episodes. At what point do you start to become unsettled by his comments?It became extremely clear to me very quickly that those things were kind of dotted throughout the episode: He uses sexist language; he uses ableist language; he uses ugly slurs and stereotypes. There’s a lot of stuff that we did not transcribe in the story that is in there and paints this broader picture of what “The Price Is Right” was like as a workplace. And he was the co-executive producer at the time — he was the boss, and he was mostly just talking to his employees.How long did it take to listen to all 41 episodes?What I will say is it was not a terribly glamorous reporting process. I live in Washington, D.C., and there was one point a couple weeks ago where my air-conditioning broke overnight. And so I spent the whole next day sitting in my living room with an ice pack on my stomach, listening to Mike Richards’s podcast episodes. It was not like what they show in the movies.You wrote in your book that when Trebek first started as host in 1984, fans were actually wary of him following Art Fleming’s run. Do you think fans would accept any new host of “Jeopardy!” with enthusiasm right now?I think Sony was always going to be in a difficult place because it’s not going to be Alex Trebek. Fleming was this sort of genial, affable, friendly guy who was very upfront about not knowing the answers to any of the clues and he was just happy to be there and he needed the sheet in front of him. And then of course, Alex Trebek cultivated this image that he could probably beat all the contestants on any given night. He was this very erudite figure who got all his pronunciations just so. There were fans that didn’t like that at first because they loved the Art Fleming version of the show. I think that does speak to the fact that “Jeopardy!” fans might struggle with a new host — any host — but there’s certainly a history of people coming to admire even a very different host of “Jeopardy!”Trebek always said that it’s the game, not him, that kept viewers coming back. With all you’ve seen over the past eight months, do you think that’s proving to be true?It’s important to note that as much as there has been all this change at “Jeopardy!,” there are also a lot of things that are exactly the same as they have been for years. A lot of the people who work there have been there for decades and spent their entire professional life making “Jeopardy!”The “Jeopardy!” machinery is mostly intact and unchanged. But I think there is a great amount of sadness and fear among “Jeopardy!” fans and among the “Jeopardy!” staff that this whole episode with Mike Richards has damaged this universal appeal that it’s had for all these decades, that it was this totally neutral space that was not partisan. It was never flashy; it was never trying to get in the headlines or be the thing that you debated over dinner. And now it very much is, and it’s possible that when they do bring in a permanent host, people will talk about it a bunch at the beginning, and then it will just kind of settle back down to being the same old “Jeopardy!” But it’s possible that it’s lost that sheen of being unimpeachable. More

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      in Music

      Grammy Officials Oppose an Open Hearing on Reasons for Ousting C.E.O.

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      The lawyer for the former chief executive, Deborah Dugan, said the Recording Academy, which runs the Grammy Awards, had already agreed to an open session to discuss her grievances.As the organization behind the Grammy Awards prepares for an arbitration hearing next month with Deborah Dugan, its ousted chief executive, lawyers for Ms. Dugan have accused the Grammys of reneging on a promise to have the proceedings be open to the public.The arbitration, over Ms. Dugan’s dismissal early last year after just five months on the job, could be a rare window into the opaque politics of the Recording Academy, after years of complaints from artists and others in the music industry that the group fails to adequately recognize women and minorities and is rife with conflicts of interest.Those criticisms boiled over when Ms. Dugan was placed on administrative leave by the academy just 10 days before the 62nd annual Grammys ceremony, in January 2020, and later fired. As the dispute played out between Ms. Dugan and the academy, Harvey Mason Jr., who was then the chairman and interim chief, declared the academy’s dedication to transparency.In a letter on Feb. 4, 2020, Mr. Mason, who has since taken over as chief executive, told Ms. Dugan that the academy had agreed to waive the confidentiality provision of the arbitration clause in Ms. Dugan’s employment contract.“The Recording Academy has absolutely nothing to hide,” Mr. Mason wrote, “and, in fact, welcomes the opportunity to tell its story so that the entire music community and the world can hear the truth — and nothing but the truth — about what you did to this proud institution during your brief tenure as president/C.E.O.“In short,” Mr. Mason continued, “we welcome a full public airing of your allegations against the Academy as well as the Academy’s many claims and defenses against you.”Harvey Mason Jr. wrote that “The Recording Academy has absolutely nothing to hide,” in a letter dated Feb. 4, 2020.Jordan Strauss/Invision, via Associated PressBut as the hearing, now set for July 12 in Los Angeles, approaches, the academy has requested the proceedings remain closed. In correspondence with the arbitrator, Sara Adler, and lawyers for both sides, the academy’s lawyers said that the organization “was and is willing to make public the results of this arbitration, and the reasoning for those results, and nothing more,” according to Anthony J. Oncidi of Proskauer Rose, a law firm that has long represented the academy.According to Mr. Oncidi, the confidentiality provision cited in Mr. Mason’s letter last year covered only the disclosure of “the existence, content or result of any arbitration,” and that a full public hearing would expose other confidential information and cause “further emotional distress” to witnesses.In an email to Ms. Adler last week, Michael J. Willemin, a lawyer for Ms. Dugan at the firm Wigdor LLP, said that the academy was changing its position and should be required to keep the hearing open.“The simple, undeniable fact,” Mr. Willemin wrote, “is that the parties agreed to open this proceeding to the public, and, therefore, it must be open to the public unless Ms. Dugan agrees otherwise.”According to the academy, Ms. Dugan was dismissed because she alienated the staff and exhibited bullying behavior toward an executive assistant assigned to her.Ms. Dugan cast the decision to dismiss her differently in a discrimination complaint lodged with the Equal Employment Opportunity Commission. Ms. Dugan — who had led Red, the nonprofit co-founded by Bono of U2, and was brought into the Grammys as a change agent — said her dismissal was an act of retaliation after she challenged the “boys’ club” that she said dominated the academy.Dugan’s ouster also came three weeks after she wrote a detailed letter to the academy’s human resources department alleging voting irregularities, financial mismanagement and conflicts of interest involving members of the academy’s board and its executive committee. She also accused a prominent outside lawyer for the academy of making unwanted sexual advances toward her. (That lawyer, Joel Katz, disputed Ms. Dugan’s account.)The Recording Academy has for years faced complaints about its voting process and its poor record of recognizing women and people of color in many of the top awards. In 2018, Neil Portnow, Ms. Dugan’s predecessor, was criticized for suggesting that women should “step up” to be recognized at the Grammys.This year, the academy voted to eliminate most of its anonymous nomination review committees, in which experts selected by academy executives made the final decision on who made the final ballot in 61 of the Grammys’ 84 categories.Those committees were criticized by Ms. Dugan and came under fire from top musicians like the Weeknd. The next Grammy ceremony, set for Jan. 31, 2022, will be the first in years in which the committees will play no part in making up the ballots of most awards, although they will still be used for 11 categories like production and packaging. More