Author: rb809rb

  • Melania Calls for Kimmel Cancellation After “Expectant Widow” Joke, Tells ABC to “Take a Stand”

    Melania Trump is calling on ABC to cancel Jimmy Kimmel Live! in the wake of Sunday’s apparent assassination attempt on the president during the White House Correspondents’ Dinner.

    The first lady posted on X Monday morning condemning Kimmel following the comedian’s ill-timed joke last week, which called Melania an “expectant widow.”

    In a skit on the late-night talk show on Thursday, Kimmel read jokes that he would have told if he had been asked to host the WHCD. One was, “Look at Melania, so beautiful. Mrs. Trump, you have a glow like an expectant widow.” In another, he said that if he bruised Trump’s ego, “It will only make your hands look less disgusting.”

    But following a suspected shooter being arrested for opening fire at the WHCD host hotel — and Attorney General Todd Blanche revealing that investigators believe the suspect, Cole Tomas Allen, 31, was targeting members of Trump’s administration — Melania released a statement hitting back at Kimmel.

    “Kimmel’s hateful and violent rhetoric is intended to divide our country,” she wrote. “His monologue about my family isn’t comedy—his words are corrosive and deepens the political sickness within America. People like Kimmel shouldn’t have the opportunity to enter our homes each evening to spread hate. A coward, Kimmel hides behind ABC because he knows the network will keep running cover to protect him. Enough is enough. It is time for ABC to take a stand. How many times will ABC’s leadership enable Kimmel’s atrocious behavior at the expense of our community.”

    A representative for ABC and Kimmel had no immediate comment.

    The shooting marked the third time Trump’s security has been breached by a man with a gun who intended to cause the president harm.

    The first lady’s statement follows ABC temporarily suspending Jimmy Kimmel Live! last September following threats from Trump’s Federal Communications Commission chairman Brendan Carr. That incident was tied to a joke Kimmel made after Charlie Kirk’s assassination. When Kimmel returned to the air, he said his joke had been “ill-timed or unclear or maybe both” and added, “I get why you’re upset.”

    Supporters for Kimmel are pointing out that Kimmel was likely joking about the the president’s health — not being targeted for assassination—and that he couldn’t have known what was going to happen at the WHCD. On the other hand, one can also fairly say Kimmel should have known better given there have been previous attempts on Trump’s life and having been suspended for his Kirk joke—which, like the similarly vague “expectant widow” comment—could be taken more than one way.

    More to come…

  • Sophie Thatcher, Erin Kellyman and Joe Alywn to Star in Witch Hunt Action-Thriller ‘Cavendish,’ Cornerstone Launching in Cannes

    Sophie Thatcher, Erin Kellyman and Joe Alywn to Star in Witch Hunt Action-Thriller ‘Cavendish,’ Cornerstone Launching in Cannes

    Sophie Thatcher (“Heretic,” “Companion”), Erin Kellyman (“28 Years Later: The Bone Temple,” “Eleanor the Great”) and Joe Alwyn (“The Brutalist,” “Hamnet”) are to star in “Cavendish, an “irreverent and original” thriller set against the witch hunts of 17th-century Britain.

    From writer-director Christopher Andrews (“Bring Them Down”), “Cavendish” is billed as “blending visceral action with sharp, unexpected humour.” Cornerstone will handle international sales and distribution and will commence sales at Cannes. CAA Media Finance is handling domestic.

    Set in 1645, the story sees a privileged young bride (Thatcher) accused of witchcraft on her wedding day and pursued by a ruthless witch hunter (Alwyn). Forced into an uneasy alliance with a sharp-witted poacher living on the margins of society (Kellyman), the two women, as per the synopsis, fight back, “turning their powerlessness into strength through violence, wit and defiance.”

    Cavendish is produced by BAFTA award winners Ivana MacKinnon and Emily Leo (“How to Have Sex,” “Bring Them Down,” “Beast”) from Wild Swim Films together with January Films’ Rosa Attab and Jacqueline De Croy (“You Were Never Really Here,” “I Daniel Blake”) and Klaudia Smieja-Rostworowska and Bogna Szewczyk-Skupien (“The Brutalist,” “The Testament of Ann Lee”) from Polish production entity Madants. The film was developed in collaboration with BBC Film and also received funding from the Polish Film Institute cash rebate program. It will commence production in Poland September 2026.

    “It’s rare to find a British action thriller in this period that feels this fresh, entertaining and original,” said Cornerstone’s Alison Thompson and Mark Gooder said. “Cavendish is a real page-turner, with a wicked sense of humour and a bold subversion of traditional female roles. Christopher Andrews is going to create something fresh and exciting, and we can’t wait to share his vision with buyers”

    Andrews’ debut feature “Bring Them Down” premiered at TIFF in Special Presentation in 2024. The film starred Barry Keoghan and Christopher Abbott and won the Douglans Hickox Award for Outstanding Debut Director at the 2024 British Independent film awards.

    Thatcher is represented by CAA and Doreen Wilcox Little at Echo Lake Entertainment. Kellyman is represented by CAA, Curtis Brown Group and Goodman, Genow, Schenkman, Smelkinson & Christoper. Alwyn is represented by CAA, Lizzie Newell at Independent Talent, and Kelli Allick at Entertainment 360. Andrews is represented by Julien Thuan, Dan Erlij, Stella Ginsberg and Milorad Dragicevic, at UTA.

  • ‘Michael’ Electrifies the Box Office: 5 Reasons Bad Reviews Couldn’t Derail the Michael Jackson Biopic

    ‘Michael’ Electrifies the Box Office: 5 Reasons Bad Reviews Couldn’t Derail the Michael Jackson Biopic

    Now that’s a box office thriller.

    Michael,” an origin story about Michael Jackson, electrified the box office with $97 million domestically and $217 million globally in its first weekend of release. The PG-13 film wildly exceeded expectations to secure the biggest opening of all time for any musical biopic, easily supplanting the record set long ago by 2015’s “Straight Outta Compton” ($60 million debut). It’s a blockbuster result for Lionsgate, ranking as the company’s biggest hit since 2015’s “The Hunger Games: Mockingjay – Part 2” ($102 million debut). The studio is expected to greenlight at least one more film about Jackson’s life.

    “The power of Michael Jackson’s reach into culture is undeniable,” says Lionsgate’s motion picture chair Adam Fogelson. “And people are having a blast in theaters.”

    Directed by Antoine Fuqua, “Michael” stars Jaafar Jackson (the singer’s nephew in his acting debut) and chronicles the performer’s journey from the Jackson 5 to his status as the King of Pop. Negative reviews and costly behind-the-scenes headaches didn’t tarnish the excitement for “Michael,” which box office watchers predict will remain a major draw into the summer season. Here are five takeaways from the movie’s massive debut:

    Can’t stop a crowd-pleaser

    Critics have complained that “Michael” paints a sanitized portrait of Jackson since the film ends before he was accused of child molestation. (Jackson, who died in 2009, has denied all allegations.) Ticket buyers didn’t share that criticism. They embraced “Michael” with an “A-” grade on CinemaScore exit polls, a mark that bodes well for box office longevity.

    “Michael” wasn’t a small-scale production, meaning the film couldn’t afford to polarize audiences. With a price tag nearing $200 million, it’s one of the most expensive biopics of all time. (Lionsgate shared expenses with the international distributor Universal and the Jackson estate.)

    Initially, “Michael” had dramatized a 1993 child sexual abuse lawsuit against Jackson. But those sequences had to be removed after producers discovered a clause in the settlement with the young accuser that barred the depiction or mention of him in film or television. Toning down the screenplay was a major headache that added tens of millions to the budget. But in the end, the version that appeared onscreen was accessible to music fans of all ages and demographics.

    “Reviews are weak,” notes David A. Gross, who publishes the box office newsletter FranchiseRe. But “the movie is playing as a feel good, nostalgic appreciation. Audiences [are] on their feet, singing and dancing.”

    Cue up the greatest hits

    Mainstream audiences don’t necessarily want a warts-and-all story about their music icons. Some just want to feel like they’re enjoying a concert — from the comfort of plush recliners. That was part of the appeal of 2018’s Queen film “Bohemian Rhapsody,” which generated a massive $911 million globally. Since that movie’s stratospheric success, there have been plenty of musical biopics about artists such as Elvis Presley (“Elvis”), Amy Winehouse (“Back to Black”), Bob Dylan (“A Complete Unknown”), Bob Marley (“One Love”) and Bruce Springsteen (“Deliver Me From Nowhere”). Not all have been embraced with equal fervor. “Deliver Me From Nowhere,” for example, was criticized for focusing on a less commercial chapter of the Boss’ discography, his acoustic album “Nebraska,” rather than providing a look into the making of his greatest hits.

    Much like “Bohemian Rhapsody” and “Elvis,” the film about Jackson became a crowd-pleaser by leaning heavily on recreations of iconic performances of “Billie Jean,” “Thriller” and “Beat It.” Cinema-goers opted to watch those thrilling sequences on the biggest and brightest screens. Imax alone accounted for $13.8 million, or roughly 14% of North American ticket sales, and $24.5 million globally, ranking as the company’s biggest start for a musical biopic.

    “Movie theaters are perfect for music-centric films, with incredible sound systems offering up an experience that simply cannot be replicated at home,” says senior Comscore analyst Paul Dergarabedian. “Enjoying the film with other Michael Jackson fans only added to the energy and excitement that made ‘Michael’ truly a must-see event on the big screen this weekend.”

    Here’s hoping that Sam Mendes is taking notes as he prepares to make four interconnected films about the Beatles.

    Jackson’s fans have long ago separated the art from the artist

    It’s an age-old debate: Can you separate the art from the artist? Despite the child molestation claims that plagued Jackson for decades, his fans have demonstrated a number of times that the answer is yes. The singer’s estate, a producer on the film, was encouraged by several successful productions, including the profitable Broadway musical “MJ” (one of only four new shows since the pandemic that’s still running), the Cirque du Soleil show “One” and the 2009 concert film “This Is It.” None of those projects deal with allegations against Jackson.

    If producers move forward with a sequel (and that’s clearly the intention — the words “His story continues” appear at the end of the movie), audiences might have to reckon with uncomfortable questions. Will people return en masse for a story that covers a period of Jackson’s life that was dominated by controversy and scandal?

    Lionsgate’s commercial streak

    What a difference a couple of years can make. By the end of 2024, Lionsgate’s box office fortunes were downright depressing after an epic string of failures including “Borderlands,” a reboot of “The Crow” and the “Wonder” prequel “White Bird.” Since last fall, though, Lionsgate has been on the upswing with wins including September’s dystopian drama “The Long Walk” ($62 million) and two November releases, heist sequel “Now You See Me: Now You Don’t” ($243 million) and psychological thriller “The Housemaid” ($400 million).

    Fogelson believes those three films, plus “Michael,” have benefited from a common thread: the “joy of the communal experience.”

    “The fact that we’ve had success on such different types of movies has been incredibly gratifying,” he said. “It’s becoming more and more apparent that if you can create the promise of something that’s best experienced with a group of friends rather than alone, you are meaningfully enhancing the odds of success.”

    Box office momentum matters

    Exhibitors often lament they need new movies year-round (and not just during the summer and Christmastime) to entice patrons. Well, they didn’t have to dust off the cobwebs to welcome patrons for “Michael.” Auditoriums have been bustling for most of the spring, thanks to “Scream 7,” “The Super Mario Galaxy Movie” and “Project Hail Mary.” Now it’s up to cinema operators to keep people in the habit as they wait for next weekend’s “The Devil Wears Prada 2″ — followed by the Warner Bros. action sequel “Mortal Kombat 2” and “Star Wars” spinoff “The Mandalorian and Grogu” — to kick off the summer season in style. Enter Miranda Priestly.

  • Mariclare Costello, Actress in ‘The Waltons’ and ‘Let’s Scare Jessica to Death,’ Dies at 90

    Mariclare Costello, a lifetime member of The Actors Studio who recurred as the schoolteacher Rosemary Hunter on The Waltons and played a hippie vampire in the cult horror film Let’s Scare Jessica to Death, died April 17 in Brooklyn, her family announced. She was 90.

    A native of Illinois, Costello was an original member of the Lincoln Center Repertory Company, and she appeared four times on Broadway, including in a 1970 revival of Harvey that starred Jimmy Stewart and Helen Hayes.

    In 1974, she portrayed the wife of Martin Sheen’s title character in the Emmy-winning ABC telefilm The Execution of Private Slovik.  

    She was married to actor Allan Arbus, who played the psychiatrist Maj. Sidney Freedman on CBS’ M*A*S*H, from 1977 until his death in 2013 at age 95. (His first wife was the photographer Diane Arbus.)

    Costello stood out as Rosemary on 15 episodes of CBS’ The Waltons during its first five seasons (1972-77). Her character, the first to read one of John-Boy’s (Richard Thomas) stories at Walton’s Mountain School, winds up marrying the Rev. Matthew Fordwick (John Ritter) on the show’s fourth-season opener in September 1975.

    “I had the greatest time with Richard Thomas and John Ritter,” she recalled in a 2011 interview. “We laughed from the beginning of the day until the end of the day. We spent a lot of time together. They were great.”

    Costello noted that when she told producers that she was pregnant, they wrote that into the show, and the toddler Arin appears as Rosemary’s daughter, Mary Margaret, in season five.

    She left the series to co-star as the matriarch on the 1977-78 CBS drama The Fitzpatricks, a drama about a family with four kids (one of them played by Jimmy McNichol) living in Flint, Michigan. The show, however, lasted just 13 episodes.

    In Let’s Scare Jessica to Death (1971), directed by John D. Hancock, Costello was mesmerizing as Emily Bishop, a vampire ghost who terrorizes her mentally unstable friend Jessica (Zohra Lampert). She rises from a lake in a wedding dress in what is perhaps her most memorable scene.

    The youngest of three sisters, Mariclare Catherine Costello was born on Feb. 3, 1936, in Peoria, Illinois. Her mother, Margaret, was secretary to the Speaker of the Illinois House of Representatives in Peoria and Springfield, and her father, Dallas, was a civil engineer for the Illinois Department of Transportation.

    Costello attended St. Mark School and the Academy of Our Lady in Peoria and went to the all-girls Clarke College in Dubuque, Iowa, spending time at the University of Vienna during her junior year.

    She received her master’s in Theater and Education from Catholic University in Washington, where she studied improv with Viola Spolin and performed for President Kennedy as Nerissa in a production of The Merchant of Venice.

    From hundreds of actors who auditioned, she was one of just 30 in 1964 to be selected for the original Lincoln Center Repertory Company, led by Herbert Blau and Jules Irving. That year, she originated the role of Louise for Elia Kazan in Arthur Miller’s After the Fall, starring Jason Robards and Barbara Loden.

    Costello also worked at the Sheridan Square Theater and The Public Theater and made her Broadway debut in 1965 alongside Stacy Keach in a revival of The Country Wife, followed by 1968’s Lovers and Other Strangers, 1969’s A Patriot for Me and then Harvey, where she played the psychiatric hospital nurse Ruth.

    Along the way, she trained with and worked opposite the likes of Jerome Robbins, James Earl Jones, José Quintero, Hal Holbrook, Austin Pendleton and Faye Dunaway.

    While still attached to The Waltons, Costello recurred on the 1976 CBS drama Sara, which starred Brenda Vaccaro as a teacher in a one-room Colorado schoolhouse in the 1870s (it was canceled after 12 episodes).

    Her résumé also included the films Ordinary People (1980) and The Adventures of Buckaroo Banzai Across the 8th Dimension (1984), the 1976 NBC miniseries Raid on Entebbe (her husband was in that, too) and TV stints on Ironside, Kojak, Harry O, Lou Grant, Murder, She Wrote, Chicago Hope, Judging Amy and Providence.

    She and Arbus first met in an acting class taught by Mira Rostova, and they fell for each other while in rehearsal for the Dorothy Parker one-act play Here We Are. They moved to Los Angeles in the late 1960s and married in their home after 12 years together.

    Mariclare Costello and husband Allan Arbus in 2007.

    Ryan Miller/Getty Images

    Costello led the drama program at St. Paul the Apostle Elementary School in Westwood and directed plays at Loyola High School and Loyola Marymount University, where she also taught acting for many years.

    She also directed productions for Interact Theater and led a theater group at Homeboy Industries, the gang rehabilitation and re-entry program. Her basement was filled “floor to ceiling with costumes and props, and her productions were works of extraordinary care and beauty,” her family said.

    They added: “She was also, in every dimension of her life, someone who paid attention. She could talk to anyone, was interested in everything and was a relentless asker of questions. She loved stray animals, rescued bugs, fed birds and knew that few pleasures in life rivaled a good curbside furniture find. She was a wonderful cook and wrapped presents with the kind of care that made the unwrapping its own event. She refinished countless floors and collected objects, letters, photographs, even used coffee cups, much to her husband and daughter’s dismay. She made every space she inhabited more beautiful. Warm, curious, generous and tough, she had the constitution of an ox, was never sick and was always up for an adventure, especially if she could show up a few minutes late, as was her general inclination.”

    Survivors include her daughter Arin and her partner, Ethan; granddaughter Bird; step-daughters Amy and Doon; nieces Moira, Elizabeth, Molly, Sarah, Kate and Julia; and nephew Jim.

    A funeral service will be held in New York, with a burial and remembrance set for in Peoria.

  • Coachella Uses Google DeepMind AI to Test the Future of Live Entertainment

    Coachella Uses Google DeepMind AI to Test the Future of Live Entertainment

    In brief

    • Coachella built three AI projects with Google DeepMind during the 2026 festival.
    • The tools include a 3D version of live shows, a stage-planning app, and a mobile game.
    • The tests build on Coachella’s past experiments with AR, NFTs, and other fan experiences.

    Coachella is turning one of the world’s biggest music festivals into an AI testing ground.

    The festival collaborated with Google DeepMind during this year’s event to build and test experimental tools designed to change how artists create performances and how fans experience them.

    The new experiments focus on “world models”—AI systems that generate interactive digital environments. Coachella’s innovation team spent the 2026 festival building three prototypes with Google DeepMind’s Project Genie, the company’s world-model platform.

    “We engaged in this project where we’re working with their tools to explore what are the ways that these tools can extend and expand an artist’s canvas, give them more tools for creative expression, expand artist world building on site and at home, and then make the experience more simple and more fun for fans,” Ryan Cenicola, Coachella’s innovation production lead, told Decrypt.

    Coachella 2026 AI experiment
    A Coachella experiment using Google DeepMind AI. Image: Coachella

    One prototype, called “Turning Performances Into Interactive Experiences,” captures live shows and rebuilds them as 3D environments that fans can explore. During the first weekend of the festival, teams recorded lighting, audio, visuals, and the movement of both the crowd and artists during a Quasar stage set, then recreated the performance in Unreal Engine.

    Coachella said the technology could eventually create “living archives” of performances that fans can walk through, replay from different perspectives, or view with alternate visuals generated in real time.

    “There are definitely ways we’re looking at how fans on-site can engage with that content in the future,” Cenicola said. “Looking further ahead, with glasses and the emergence of that form factor, that’s certainly a place we’re thinking about this content living and making it an even more immersive experience for fans on-site.”

    A second prototype is a stage-design tool for artists. The software lets performers upload visuals or enter prompts to see how a show would look on a 3D model of Coachella stages at different times of day and with different crowd conditions.  The goal is to give smaller acts access to production tools typically reserved for artists with larger budgets and teams.

    The third project is a mobile game called Coachella vs. The Game, where players control an astronaut and explore digital worlds based on festival artists. The team compared the idea to the games people could play before visiting a theme park, giving fans a way to explore the lineup before arriving at the festival.

    “Typically, you’re looking at six to 12 month development timelines to really push a high-quality experience. And that time has been shrunk significantly, even just since the beginning of this year,” Kevin McMahon, Coachella’s innovation partnerships lead, told Decrypt.

    Asked why Coachella chose Google DeepMind over rivals like OpenAI or Anthropic, McMahon pointed to the company’s visual AI tools and existing relationship with the festival.

    “For us, we live in a really visual world, and they have the best visual models,” he said. “We work with them across the festival, from our YouTube livestream, which is part of a Google relationship. We’ve found them to have really great models that are easy to use, and they’ve been shipping at a really fast rate. We’re excited to keep exploring with them.”

    Coachella 2026 AI experiment
    A Coachella experiment using Google DeepMind AI. Image: Coachella

    The AI projects build on years of Coachella testing new technology to expand the festival beyond the event itself. In 2024, the festival launched Coachella Quests, a game on the Avalanche blockchain that let attendees complete challenges and earn perks through NFT stamps. That same year, Coachella launched Avalanche-based NFT passes and collectibles after its earlier Solana NFT partnership with FTX fell apart when the crypto exchange collapsed.

    “An experience like Coachella Quest was a way for us to shine a light on things and say, ‘Hey, have you thought about this?’—without doing it in a boring menu kind of way,” McMahon said. “How do we make it interactive—a way to explore and discover at the festival—and give fans a chance to bump into each other and say, ‘Oh, you were going to see that thing or collect that thing too.’ Those happy accidents are something we continue to get really positive feedback on.”

    Coachella has also invested in augmented reality experiences for livestream viewers. This year’s AR broadcasts included digital effects layered onto performances that were visible only to online audiences.

    The current AI projects have not been launched publicly, and remain internal proofs of concept. Cenicola said Coachella is reviewing lessons from this year’s festival before deciding what could roll out in future years.

    “It’s difficult right now to put a firm timeline on it,” he said. “We’re in the phase where we’re taking all the learnings from these three proofs-of-concept that we wrapped up last weekend and working with our team and with DeepMind to understand what the next steps are.”

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  • Western Union to Launch Solana-Based Stablecoin Plus ‘Stable Card’ Next Month

    Western Union to Launch Solana-Based Stablecoin Plus ‘Stable Card’ Next Month

    In brief

    • Western Union’s USDPT stablecoin is expected to launch next month, the financial services firm said on its Q1 earnings call.
    • USDPT will be built on the Solana blockchain and issued by Anchorage Digital Bank for agent settlement operations.
    • The remittance giant plans to launch a USD Stable Card later this year across “dozens of markets,” allowing consumers to hold value in stablecoins and spend globally.

    Global financial services giant Western Union will launch its Solana-based stablecoin USDPT next month, the company said during its Q1 earnings call.

    “It is no longer a question of if Western Union will be active in digital assets, it is now how fast we can scale,” the firm’s CEO and President Devin McGranahan said during the presentation, calling USDPT, “the foundation of our strategy.”

    First announced in October 2025, the U.S. dollar-backed stablecoin is in the “final stages” of preparation, the firm said. Anchorage Digital Bank will serve as the issuer for USDPT, which Western Union designed specifically for settling with its global agent network rather than as a consumer-facing product.

    The initiative marks Western Union’s pivot toward blockchain infrastructure for core business operations, targeting the institutional settlement market where traditional correspondent banking networks have long dominated cross-border payments.

    Western Union’s digital asset ecosystem

    Beyond agent settlements, Western Union is building a broader digital asset ecosystem. The company’s Digital Asset Network (DAN) will onboard its first partner this week, creating a bridge between cryptocurrency wallets and Western Union’s physical locations.

    “Through DAN, millions of wallet users will be able to move from digital assets into local currency using Western Union’s retail network with an experience that is simple for customers and familiar for our agents,” McGranahan said, adding that the firm has seen “strong inbound interest” since announcing its initial partners.

    The company also revealed plans for its USD Stable Card, scheduled to launch later this year across “dozens of markets,” McGranahan said. The Stable Card, which will enable consumers to hold value in stablecoins and spend them around the world, is “particularly compelling in inflation-sensitive markets where customers want dollar-denominated value with immediate practical utility,” he added.

    Ultimately, McGranahan said, the Stable Card will be, “consumer facing expression, connecting USDPT, digital asset, retail customers, global spending, into a single, integrated, easy consumer experience.”

    Western Union reported adjusted revenue of $983 million in the first quarter of 2026, down 1% year-over-year but marking a 400-basis-point improvement from Q4.

    The firm’s stablecoin launch follows the company’s earlier announcement in December about building on Solana’s enterprise platform alongside Mastercard and Worldpay. The move forms part of a broader trend of traditional financial institutions exploring stablecoin infrastructure, with Wells Fargo applying for a WFUSD trademark signaling potential crypto integration and Citi reportedly mulling its own stablecoin offering for cross-border payments.

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  • The Take: What does the US dinner shooting mean for Trump?

    The Take: What does the US dinner shooting mean for Trump?

    Podcast,

    Gunshots at a dinner for White House correspondents spark chaos, scrutiny, and fresh questions over Trump’s security and response.

    Gunshots shattered the White House Correspondents’ Association dinner, throwing Washington’s biggest night into chaos. We unpack how it happened, who the suspect is, how security responded, and what US President Donald Trump said afterward. We also examine the fallout and what it reveals about a White House under pressure. So what happens next?

    In this episode: 

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    • Chris Sheridan (@ChrisSheridan34), senior White House producer, Al Jazeera English

    Episode credits:

    This episode was produced by David Enders, Sarí el-Khalili, and our guest host, Kevin Hirten. It was edited by Sarí el-Khalili. Alex Roldan is our sound designer. Sarí el-Khalili mixed this episode.

    The Take production team is Marcos Bartolomé, Sonia Bhagat, Spencer Cline, Sarí el-Khalili, Tamara Khandaker, Chloe K. Li, Alexandra Locke, Catherine Nouhan, Alex Roldan, and Noor Wazwaz. Our host is Malika Bilal. 

    Our editorial intern is Tuleen Barakat. Our engagement producers are Adam Abou-Gad and Vienna Maglio. Andrew Greiner is lead of audience engagement. Our video editors are Hisham Abu Salah and Mohannad al-Melhem. Alexandra Locke is The Take’s executive producer. 

    Connect with us:

    @AJEPodcasts on X, Instagram, Facebook, and YouTube

  • NPT summit: Can nuclear pact survive US-Israel war on Iran?

    NPT summit: Can nuclear pact survive US-Israel war on Iran?

    The Treaty on the Non-Proliferation of Nuclear Weapons (NPT), the cornerstone of global efforts to prevent the spread of nuclear weapons, has opened its five-year review conference in New York under the shadow of a fragile ceasefire between the United States and Iran.

    At the centre of the discussions will be Iran’s enriched uranium stockpile: how much remains, where it is located and what will ultimately happen to it.

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    On February 27, Omani Foreign Minister, Badr Albusaidi, who was mediating talks between Washington and Tehran, said Iran had agreed to “zero accumulation”, “zero stockpiling” and full verification of its existing stockpile by the International Atomic Energy Agency (IAEA).

    Iran’s existing stockpile, the Omani minister said, would be downblended to natural uranium levels and converted into fuel.

    However, hours later, the US and Israeli strikes began.

    The NPT, alongside the 2015 Iran nuclear deal, which Washington abandoned in 2018, was designed precisely to prevent such a scenario. One of the justifications that the US and Israel have used to wage war on Iran – that Tehran must not be allowed to continue with a nuclear programme – has drawn accusations of hypocrisy, given Israel is the only country in the Middle East with nuclear weapons. Israel has never officially acknowledged it has nuclear weapons and is not a signatory to the NPT.

    To many experts, the NPT’s very survival as a credible mechanism to prevent the spread of nuclear weapons is now at stake.

    The grand bargain is ‘fundamentally broken’

    The NPT rests on a basic exchange: States without nuclear weapons agree not to acquire them while those that possess them commit to eventual disarmament.

    In return, all signatories retain the right to peaceful nuclear technology under international supervision.

    Opened for signature in 1968 with Ireland as the first signatory, the NPT entered into force in 1970. It is the most widely adhered-to arms control agreement with 191 member states.

    Five countries are formally recognised as nuclear-weapon states: the US, Russia, China, the United Kingdom and France, all of which are permanent members of the United Nations Security Council. Every other signatory is legally bound not to develop or acquire nuclear arms.

    The treaty is built on three pillars: nonproliferation, disarmament and the peaceful use of nuclear energy. It is monitored by the IAEA.

    The third pillar has largely held. The second has not.

    “The NPT’s grand bargain has fundamentally broken down because all nuclear-weapon states are modernising their arsenals at an alarming rate, especially China,” Sahar Khan, a Washington, DC-based independent analyst and nonresident fellow at the Institute for Global Affairs, told Al Jazeera.

    Hossein Mousavian, who worked on Iran’s nuclear diplomacy team in negotiations with the European Union and the IAEA, argued that the treaty’s credibility has also been damaged by what many states see as inconsistent enforcement of its principles.

    “The record of the nuclear Non-Proliferation Treaty has come under serious strain,” he said. “Nuclear-weapon states have fallen short of their disarmament commitments while continuing to modernise their arsenals, and some have developed strategic partnerships with nuclear-armed states outside the treaty.”

    He added that attacks on nuclear facilities under IAEA safeguards have not been met with “clear and consistent responses” from either the UN Security Council or the IAEA, raising broader concerns among nonnuclear states about fairness and equal treatment under the treaty.

    “The result is a growing perception that the NPT is shifting from a rules-based regime toward a more politicised instrument shaped by power dynamics rather than uniform application of its principles,” he said.

    The 2000 NPT review conference was the last major moment of consensus before the 2003-2011 Iraq War, which undermined faith in the international arms control system and saw relations between nuclear and nonnuclear states deteriorate sharply, Rebecca Johnson, the director of the Acronym Institute for Disarmament Diplomacy, told Al Jazeera.

    “The possession of nuclear weapons creates a sense of impunity,” she said, arguing that nuclear-armed states increasingly use their arsenals not simply as deterrents but also as geopolitical shields that embolden conventional military action.

    She also argued that frustration with the NPT process helped drive support for the Treaty on the Prohibition of Nuclear Weapons, adopted in 2017, which offers an alternative path towards disarmament outside the control of the nuclear powers.

    Who has signed the NPT and who hasn’t?

    Four UN member states have never signed the treaty: India, Pakistan, Israel and South Sudan.

    India and Pakistan tested nuclear weapons in 1998. Israel maintains a policy of deliberate opacity, neither confirming nor denying it possesses nuclear arms, although it is widely believed to have at least 90 warheads.

    North Korea joined the treaty in 1985, was later found to be noncompliant with its safeguards obligations and withdrew in 2003.

    It has since conducted multiple nuclear tests.

    Analysts said this means the treaty’s architecture has an inherent structural imbalance. States that tested nuclear weapons before January 1, 1967, are permanently recognised as nuclear powers while all others must forgo nuclear weapons indefinitely.

    Iran chose to remain within the framework. It joined the NPT in 1974 and, despite repeated crises, has never withdrawn from it. That status underpins Tehran’s claim to the same rights as any other signatory. Those include the right to uranium enrichment to levels justified for a civilian nuclear programme.

    Israel’s position complicates that argument.

    “The one thing that no one is talking about is how Israel is not a member of the NPT, yet has nuclear weapons, and has been able to bomb a signatory of the NPT that does not have nuclear weapons,” Khan told Al Jazeera. “This war has set a dangerous precedent – that if you have nuclear weapons, you can attack a state you believe has the intention to develop them.”

    Iran and the NPT

    After Iran joined the NPT, its nuclear programme drew limited scrutiny for decades.

    That changed in 2002 when a dissident group revealed undeclared uranium-enrichment facilities at the Natanz Nuclear Facility and a heavy-water reactor in Arak.

    “What got Iran into trouble”, Khan said, “was two things: developing secret underground nuclear facilities – as an NPT signatory, Iran is obligated to declare them and allow IAEA inspections – and President [Mahmoud] Ahmadinejad’s decision to restart uranium enrichment at an accelerated pace.” Ahmadinejad was Iran’s president from 2005 to 2013.

    The 2015 Iran nuclear deal – called the Joint Comprehensive Plan of Action (JCPOA) and agreed between Iran and the five permanent UN Security Council members plus Germany – imposed the most extensive restrictions ever placed on a nonnuclear-weapon state.

    Iran cut its enriched uranium stockpile by 98 percent to 300kg (660lb), capped enrichment at 3.67 percent, reduced its centrifuges by two-thirds and accepted one of the most intrusive inspection regimes implemented by the IAEA. In return, nuclear-related sanctions against it were lifted.

    “The point of the JCPOA was not to stop Iran from enriching uranium, because as a signatory [of the NPT] it is allowed to, but to place the programme under constant monitoring and inspections,” Khan said. “By allowing Iran to enrich and develop its own centrifuges, the JCPOA provided a route for building trust.”

    Former IAEA official Tariq Rauf told Al Jazeera that the NPT does not prohibit uranium enrichment, provided it is declared to the IAEA, placed under safeguards and used for peaceful purposes.

    The IAEA repeatedly verified Iran’s compliance, a point acknowledged by US intelligence assessments at the time.

    In May 2018, however, the US withdrew from the JCPOA. President Donald Trump, who described the deal as “defective at its core” ordered the withdrawal, a move that Mousavian said led to the current crisis.

    Iran continued to observe the deal’s limits for about a year after the US withdrawal before progressively exceeding enrichment caps as efforts to preserve sanctions relief failed, Rauf said.

    By early 2025, Iran was enriching uranium to 60 percent purity, the highest level reached by a nonnuclear-weapon state. Weapons-grade uranium is typically enriched to 90 percent.

    At the centre of the current impasse is Washington’s demand for zero enrichment.

    “There is nothing in the treaty that provides the basis for zero enrichment,” Khan said, adding that such a demand only “serves as a block to diplomacy”.

    Iran argues that demanding that it give up all enrichment represents a double standard and a violation of its rights under the NPT: When other NPT signatories are allowed to enrich uranium for energy purposes, why not Tehran?

    What will come of the conference?

    The conference is being held as two major wars rage, including the Russia-Ukraine conflict. Rauf was pessimistic about its effectiveness, stating that nuclear issues are so riddled with “hypocrisy and double standards” that one would need an “axe to cut through”.

    The last three times an agreement was reached at review conferences in 1995, 2000 and 2010, the nuclear states “had forgotten about it by Monday”, he said, adding: “If they agree to something, they will find weasel words to diminish the importance and the scope.”

  • Dan Steinman Joins Madison Wells as President and Chief Content Officer

    Dan Steinman Joins Madison Wells as President and Chief Content Officer

    Film and TV veteran Dan Steinman has joined Gigi Pritzker’s Madison Wells production venture as president and chief content officer.

    He takes the reins as Madison Wells is on a roll with high-profile original film, TV and stage productions including Netflix’s “Nonnas,” the CNN feature documentary “Prime Minister,” about New Zealand’s Jacinda Ardern, and “The Baddest Speechwriter of All,” produced with Steph Curry’s Unanimous Media. That documentary earned the Sundance Film Festival’s short film grand jury award and will premiere on Netflix later this year.

    “We are thrilled to have Dan on board as our President and Chief Content Officer. His devotion and intentionality will be invaluable to Madison Wells as we continue to tell impactful stories,” said Pritzker.

    Steinman has spent the past nine years as co-president and chief operating officer of 30West, where he helped conceive such projects as the 2017 Margot Robbie film “I, Tonya,” the 2020 Netflix docu-series sensation “Tiger King, 2022’s “Triangle of Sadness” and the upcoming Paul Rudd-Nick Jonas comedy “Power Ballad.”

    “Joining the Madison Wells team feels like a natural next step. Madison Wells’ vision is rooted in the future, focused on how we can evolve our content to match the moment,” Steinman said.

    Madison Wells works in financing and production and it is an investor in other entertainment ventures including streaming platform Mubi and Breakwater Studios. It also produces stage productions including the recent Broadway musicals “Hadestown” and “Swept Away” and play “The Inheritance.”

    Before 30West, Steinman served as co-president and COO of Black Bear Pictures and CEO of its Canadian distribution subsidiary, Elevation Picture. Earlier in his career, he was a senior agent in CAA’s film finance division where he was involved in the financing and sales of such projects as 2013’s “12 Years a Slave” and 2010’s “Black Swan.”

  • Julie DeTraglia, Research Veteran From Netflix, Amazon, Disney, Joins Nielsen

    Julie DeTraglia, Research Veteran From Netflix, Amazon, Disney, Joins Nielsen

    Nielsen has for years been the subject of criticism from some of its flagship TV clients. One way to address the squabbling? Hire more TV executives.

    Julie DeTraglia, a veteran research executive, has joined Nielsen as head of content and strategic insights, and will oversee strategy behind editorial marketing content for the media-measurement giant, supervising  social media, insights articles, client communications, events, sales enablement tools and podcasts. 

    DeTraglia will be based in Nielsen’s New York headquarters and report to Sacha Weinberg, head of global marketing for Nielsen.

    “Julie has a rare talent for transforming data into clear, actionable strategy. She doesn’t just look at where the market has been — she identifies the signals that tell us where it’s going next,” said Weinberg, in a statement. “Her ability to synthesize deep historical insights with current market dynamics will be a game-changer for how we deliver value to our clients in a constantly evolving landscape.”

    DeTraglia had previously been vice president of ads measurement at Netflix and global head of sports strategy and research at Amazon. She has also held research leadership roles at Disney, Hulu and NBCUniversal.

    She is the latest in a string of hires by Nielsen of executives with experience at traditional media companies. In recent months, Nielsen has hired Roberto Ruiz, formerly of TelevisaUnivison, as its new head of measurement science, and Peter Naylor, formerly of Netflix, Snap, Hulu and NBCU, as its chief client officer.

    One of Nielsen’s most-scrutinized marketing efforts, its monthly “The Gauge” ranking of viewing behavior across multiple kinds of media, has generated some controversy. The company in March Nielsen delayed the release of the February results of its popular tabulation after some clients became alarmed by a downturn in streaming audiences following a decision by the measurement giant to add new data to its mix. Streamers were upset by the maneuver, and then Nielsen was criticized by Mark Marshall, the chairman of global advertising and partnerships at NBCU, who told The Wall Street Journal in an interview he believed the Gauge imbroglio revealed Nielsen was overestimating streaming audiences at the expense of traditional TV viewership.

    But the Gauge was never intended to serve as currency for negotiations with advertisers. The tabulation was merely intended to highlight Nielsen’s cross-screen measurement abilities.