Steve Pond's Blog, page 205

‘The Pitt’ Star Noah Wyle Unpacks Robby’s Heartbreaking Episode 13 Meltdown: ‘The Deconstruction of a Hero’

Note: This story contains spoilers for “The Pitt” Episode 13.

“The Pitt” has thrown a lot of curveballs at Dr. Michael “Robby” Robinavitch across its first season, but Episode 13 brought this healthcare professional to his breaking point.

In between high-stakes medical emergencies, the Max medical drama established Robby (Noah Wyle) as the overwhelmed senior attending leading the team of doctors and nurses at the Pittsburgh Trauma Medical Hospital during this intense shift. Though he’s struggling with unresolved trauma from treating patients with COVID at the height of the pandemic, Robby has kept a steady head. But after a mass shooting at a nearby music festival brought a deluge of patients to the ER — including his almost stepson Jake (Jack Speights) and his gravely injured girlfriend — the tragedy hitting so close to home breaks him.

“It’s the deconstruction of a hero. [“The Pitt”] was always intended to show that the fragility of our healthcare system is directly proportional to the fragility of the mental health of our practitioners,” Wyle told TheWrap. “To take a guy that we’ve now invested a lot of trust in — a great doctor, a responsible guy, heroic, capable — and then to show that he’s also human, infallible and breakable, it was a big part of what we were trying to do.”

Noah Wyle in “The Pitt.” (Max)

Episode 13 saw the doctors juggling the care of an overwhelming number of patients, with the nerves of the Pitfest shooter still being on the loose. Robby’s own nerves were validated in this hour too,m when Jake and his girlfriend arrived behind a pickup truck having sustained injuries in the massacre.

Jake had a superficial wound to his leg, but his girlfriend Lea came in a far more serious condition. Robby and the team did their best to help the young woman, but her injuries were too severe and she died in the ER.

The loss surely impacted Robby, but breaking the news to Jake and showing him her body was the final straw. The grief-stricken man blamed his father figure for not working hard enough in saving her. The episode ended with Robby having a full-blown panic attack in the ER’s makeshift morgue.

“With that one, the environment feeds you so much,” Wyle said of filming the scene. “There was so much blood on that set and so many bodies on those gurneys with horrific wounds. The intensity and the depth of chaos was palpable … actors are masochists. You give us days like that where we get to cry and be all histrionical and we love it.”

With two episodes left in Season 1 — and Season 2 already in the works — “The Pitt” has delivered compelling drama while shining a spotlight on the state of the healthcare system and the workers who keep it moving every day. Wyle noted that emergency room practitioners are at high risk for suicide, drug addiction, alcoholism, divorce and violence at work.

For Wyle, it’s also the opportunity to push himself as an actor to his best work yet.

“I wanted, at 53 years old, to see whether I could touch the ceiling of my own talents and really go deeper than I’ve gone in a long time,” he said. “In terms of my own creative exploration, this was one of the most satisfying experiences I’ve ever had. I’m just thrilled that it’s resonating with audiences that they’re going to let us continue to tell it, because I am in my happy place right now.”

“The Pitt” releases new episodes Thursdays at 9 p.m. ET/ 6 p.m. PT on Max.

The post ‘The Pitt’ Star Noah Wyle Unpacks Robby’s Heartbreaking Episode 13 Meltdown: ‘The Deconstruction of a Hero’ appeared first on TheWrap.

‘Thank You Very Much’ Review: Engaging Doc Showcases Andy Kaufman’s Unique Genius

One of the most memorable highlights of “Thank You Very Much,” Alex Braverman’s consistently engaging documentary about comedy legend Andy Kaufman, doesn’t directly involve Kaufman at all.

Well, technically it does — but in the circuitous, convoluted way that only he could design. It’s an audio recording of actor Judd Hirsch, who is so furious he seems ready to explode. His complaint? That a two-bit, no-talent buffoon named Tony Clifton has taken over the set of his 1970s sitcom “Taxi,” which co-starred Kaufman. The fact that Hirsch knows Clifton is one of Kaufman’s alter egos hasn’t remotely mitigated the problem; he’s genuinely angry at Clifton — a guy who doesn’t, in any traditional sense, actually exist.

If there is a moment that distills Kaufman’s unique genius, surely this is it. In other hands, the whole situation would look like a dopey and inexcusably indulgent prank. But he is so fully committed that he’s required everyone else around him to be equally committed, and thus viscerally impacted.

Most of “Thank You Very Much” shows us different versions of Kaufman’s brilliant madness: attempting to read the entirety of “The Great Gatsby” instead of doing the standup routine an outraged audience was expecting; shifting from the childlike persona of an imprecisely foreign introvert to a meticulously outstanding Elvis impersonation; cutting a Carnegie Hall routine short to take everyone out for milk and cookies at a personal cost of — he claimed — $40,000.

Longtime fans will already be aware of all of the above, and may even have seen some of it before. But Braverman’s approach, in which he mostly relies on Kaufman to tell his own story through extensive and deftly edited vintage footage, is the right one.

Other filmmakers might have taken more obvious, misguided routes, attempting to replicate their subject’s style or pulling in all manner of random experts to explain it. Instead, Braverman keeps the circle tight: Andy at the center, with interviews from family, friends and co-workers at the edges. So we hear from musician Laurie Anderson, who served as a pre-planned heckler during his early shows. A typically thoughtful Steve Martin seems to be working out his feelings even today. And an animated Danny DeVito runs through a highly entertaining range of emotions about Kaufman’s antics on and off the “Taxi” set.

Braverman also talks to Kaufman’s collaborator Bob Zmuda and girlfriend Lynne Margulies, who share more personal recollections about his inner life. And no, you won’t come out of the film with any evidence that his tragically early demise — at just 35 — was the ultimate conspiracy planned by a tireless performance artist.

You may, however, find yourself questioning a few unnecessary attempts at deep analysis. The fact that his parents lied to him about his grandfather’s death — asserted here as a singularly defining moment — is sad, but surely an Andy Kaufman is born, not made.

And who was he, really? Someone so complex that no documentary can fully answer that question. But by allowing us to hear directly from him in so many different ways, “Thank You Very Much” comes as close as we’re likely to get.

The post ‘Thank You Very Much’ Review: Engaging Doc Showcases Andy Kaufman’s Unique Genius appeared first on TheWrap.

Meghan McCain Calls on Trolls to ‘Ease Up’ on Rachel Zegler Over ‘Snow White’ Controversy: ‘The Girl Is 23’

Meghan McCain called for the “trolls” who have virtually blasted Rachel Zegler in the midst of her ongoing “Snow White”-drama to “ease up,” as she says she too remembers a time when she said “dumb s—t” as a 23-year-old.

“This may surprise some of you given that I vociferously disagree with every public statement Rachel Zegler has said – but the girl is 23,” McCain said in an X post on Thursday. “I did and said a lot of dumb s–t when I was 23. Can we maybe ease up and let her learn the lesson that entertainers should just entertain?”

This may surprise some of you given that I vociferously disagree with every public statement Rachel Zegler has said – but the girl is 23.

I did and said a lot of dumb shit when I was 23. Can we maybe ease up and let her learn the lesson that entertainers should just entertain?

— Meghan McCain (@MeghanMcCain) March 27, 2025

McCain’s remarks are in response to the backlash Zegler’s received over her past politically-driven comments, as well as her criticisms of the original, animated Disney film.

On Tuesday, a report from Variety detailed behind-the-scenes dramas in the lead-up to the release of Disney’s live-action remake of “Snow White,” which hit theaters Friday. Executive Editor Tatiana Siegel in part wrote that the studio paid for additional security for Israeli actress Gal Gadot (who herself has vocally supported her home country in the ongoing Israel-Palestine conflict), hired a social media specialist to work with Zegler and flew Marc Platt to the younger actress to address her political comments.

In August of last year, three days after taking the stage at Disney’s D23 convention in support of “Snow White,” Zegler — previously best-known for Steven Spielberg’s “West Side Story” and “The Ballad of Songbirds and Snakes” entry to the “Hunger Games” franchise — thanked her fans on X for their continued support before adding in a second comment: “And always remember, free Palestine.”

The actress, now 23, continued to share her social and political views, including writing “F—k Donald Trump” on her personal accounts. Tensions between Disney and Zegler also sparked up in 2022 when the actress referred to the film’s animated original “Snow White” as an outdated tale that features a prince who “literally stalks” its title princess.

McCain is the latest person to come forward with thoughts on Zegler’s drama. On Wednesday, Marc Platt’s son Jonah slammed the actress in a since-deleted Instagram comment, saying she “hijacked” the film’s press run.

“Free speech does not mean you’re allowed to say whatever you want in your private employment without repercussions,” Jonah told an Instagram user, who questioned his father’s decision to fly out to reprimand Zegler. “Tens of thousands of people worked on that film, and she hijacked the conversation for her own immature desires at the risk of all the colleagues and crew and blue collar workers who depend on that movie to be successful. Narcissism is not something to be coddled or encouraged … This is called adult responsibility and accountability. And her actions clearly hurt the film’s box office.”

The post Meghan McCain Calls on Trolls to ‘Ease Up’ on Rachel Zegler Over ‘Snow White’ Controversy: ‘The Girl Is 23’ appeared first on TheWrap.

As Sundance Moves to Boulder, Hollywood Is Optimistic About a Much-Needed Festival Shakeup

It’s the end of Sundance as we know it and Hollywood feels … fine.

The indie film festival, created by Robert Redford in the 1970s but facing a crossroads in recent years with low sales and few breakout hits, is moving to Boulder, Colorado, starting in 2027.

Boulder, which rests about 30 miles north of Denver, beat out a Salt Lake City/Park City hybrid and Cincinnati, Ohio, in the final round of bidding. All of the industry insiders who spoke to TheWrap said the choice was solid, the change welcome and the move absolutely necessary for the long-running festival.

“It’s kind of sad not to go to a Sundance in Park City, but I am also kind of excited about the possibilities and maybe improvements in a different location,” Carla Gutierrez, a filmmaker and editor who’s been going to Sundance since 2004 and most recently attended with her documentary “Frida” in 2024, told TheWrap. Gutierrez cited the rising cost of the festival and dwindling number of screening venues in the past few years as reasons to hope a change in location could be for the better.

The move comes amidst growing challenges for Sundance. The festival has struggled to find funding in recent years, operating at a loss in two of the last three. In fiscal year 2023, the Institute reported losses of $6.2 million on revenues of $45.6 million against costs of nearly $52 million.

That’s on top of an ice cold market for film sales the last two years in a row and particularly negative feedback on the 2025 festival’s programming, which lacked the kind of breakout hits that put Sundance on the map in the first place. For some, a shift to Boulder is seen as a way to reset.

Sophia Dilley, EVP of Concord Originals, told TheWrap her experience with the festival has always been “magical” but applauded the shift to Boulder. “In the last few years I have attended, it was clear that the festival had outgrown Park City’s infrastructure,” she said. “The move to Boulder signals the shift in scope and feels like a genuine effort to better accommodate both a growing audience and an expanded slate of projects highlighted at the festival.”

A top talent agent concurred that Sundance had simply gotten too big for the Utah ski town. “Boulder makes sense. I was told that Cincinnati had the most impressive presentation, which included commitments from the airlines for new direct flights domestically and internationally, but culturally Cincy always seemed like a longshot,” the agent told TheWrap, noting that Boulder is a better cultural fit with the progressive vibe that Park City has set over the last 40 years. By contrast, conservative Salt Lake City is rife with cultural speed bumps such as a law that restricts transgender people from using bathrooms in public buildings.

“As change is inevitable, we must always evolve and grow, which has been at the core of our survival,” Redford said in a statement Thursday. “This move will ensure that the Festival continues its work of risk-taking, supporting innovative storytellers, fostering independence and entertaining and enlightening audiences.”

That affordability will extend to festivalgoers, many of whom felt priced out of Sundance in recent years as rising hotel and travel costs in Park City combined with a slowdown of work post-COVID created a perfect storm.

“There’s a special love that I have for Sundance and the Sundance Institute because they truly support filmmakers and creative voices in pushing the form and experimenting and telling challenging stories,” Guttierez said, adding that she wonders if making the festival more affordable might have a positive impact on filmmakers presenting their work.

Jim Cummings, who won the Short Film Grand Jury Prize at 2016’s Sundance for “Thunder Road,” told TheWrap he’s just glad there’s resolution after a few years of “will they/won’t they” over a potential change in location. “It’s great for Boulder,” he said.

Main Street in Park City during the 2024 Sundance Film Festival. (Matt Winkelmeyer/Getty Images)

The move to Boulder coincides with an inflection point for Sundance and the future of indie film. This year’s festival was marked by a record-low number of sales in January — only one film sold in the first six days — and complaints from attendees that the programming lacked the vitality of past fests. This is where Quentin Tarantino blew the roof off with “Reservoir Dogs.” Where Richard Linklater unveiled his formally audacious “Boyhood.” Where Ryan Coogler exploded onto the scene with “Fruitvale Station.” But 2025’s lineup lacked any clear breakouts and the biggest sale of the fest went to the well-reviewed but fairly standard horror film “Together,” starring Dave Franco and Alison Brie, which sold to Neon for $17 million.

That 2025’s fest came off a similarly cool 2024 made matters worse, and buyers told TheWrap they were “disappointed with the movies and lineup” back in January. If the trend is less excitement and less business around Sundance, can a move to Boulder turn things around?

“Boulder is an art town, tech town, mountain town and college town. It is a place where the festival can build and flourish,” Amanda Kelso, Sundance Institute’s Acting CEO, said in a statement, drawing a contrast to the “ski resort” energy of Park City.

Sundance will be centered in downtown Boulder utilizing a wide array of theaters and venues, and incorporating spaces around the Pearl Street Mall, a pedestrian-only street. The 2025 iteration of Sundance was the first to fully close off Main Street to vehicles to make the festival more walkable — in the vein of how TIFF operates in the heart of Toronto — but the comparatively sparse attendance made it more of a headache for would-be drivers than a luxury. Sundance at Boulder also plans to make use of the University of Colorado Boulder campus, a change of pace from the high school auditorium and small-town library venues used in Park City.

And while the change in venue may enliven spirits and make Sundance easier to attend, the independent film market remains a tough nut to crack — especially for documentaries. Gutierrez, who worked on films like “RBG” and “Pray Away,” acknowledged she’s “not feeling very positive about what’s happening in our country in general,” which extends to the challenges facing docs that elevate diverse voices.

“I think this push against diversity of voices has trickled down,” she said of the market’s reluctance to pick up documentaries highlighting distinct personalities or issues. “I’m just afraid that people are going to be even more cautious.”

Still, Gutierrez said she’s optimistic about the art form itself and hopes the kinds of boundary-pushing films that put Sundance on the map in the first place will continue to be made. “People who have made art in the margins is not new,” she said. “We’ve always made art in the margins.” And the margins is where Sundance has traditionally flourished.

For now, Gutierrez is already hearing rumblings that the 2026 iteration of Sundance — the last one in Park City — is “going to be a party.”

The post As Sundance Moves to Boulder, Hollywood Is Optimistic About a Much-Needed Festival Shakeup appeared first on TheWrap.

Selena Quintanilla-Pérez’s Family Applauds Yolanda Saldívar’s Parole Denial: ‘We Are Grateful’

Selena Quintanilla-Pérez’s family commended the Texas Board of Pardons and Paroles’ decision Thursday to deny parole for Yolanda Saldívar, the woman who was convicted of fatally shooting the legendary Tejano singer in 1995.

“Today, we are grateful that the Texas Board of Pardons and Paroles has chosen to deny paroles for Yolanda Salidívar,” Quintanilla-Pérez’s family and widower Chris Perez wrote in a statement on Thursday. “While nothing can bring Selena back, this decision reaffirms that justice continues to stand for the beautiful life that was taken from us and from millions of fans around the world too soon.”

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A post shared by Selena (@selenaqofficial)

The message from the Grammy award-winning songstress’ family continued, spotlighting Quintanilla-Pérez’s music and generational impact.

“Selena’s legacy is one of love, music and inspiration. She lived with joy, gave selflessly and continues to uplift generations with her voice and spirit,” the message went on. “As her family and loved ones, we remain committed to preserving her memory and ensuring that her story is honored with the dignity and respect it deserves.”

The family’s remarks concluded with them asking that Quintanilla-Pérez be remembered for her art rather than her heartbreaking death.

“We thank Selena’s fans for their unwavering support throughout the years. Your love has been a source of strength and healing,” the statement read. “We will continue to celebrate Selena’s life — not the tragedy that took her from us — and we ask that all you cherish her to the same – the The Quintanilla Family and Chris Pérez.”

Saldívar worked as the manager of Selena Etc. and was president of Quintanilla-Pérez’s fan club. She was fired by the family for allegedly embezzling money. Saldívar murdered the singer on March 31, 1995 after Quintanilla-Pérez went to Saldívar’s hotel room at a Days Inn motel in Corpus Christi, Texas to retrieve business records for a tax filing. After the two got into a dispute, Saldívar shot Quintanilla-Pérez in the back with a .38-caliber revolver. Quintanilla-Pérez died from the gunshot wound an hour after being transported to a nearby hospital.

On Oct. 23, 1995, Saldívar was convicted of first-degree murder and was sentenced to life in prison with the possibility of parole after 30 years. On Sunday, the now-64-year-old, was up for parole for the first time. The panel cited the violent nature of the crime as the reason Saldívar’s parole was denied.

“After a thorough consideration of all available information, which included any confidential interviews conducted, it was the parole panels determination to deny parole to Yolanda Saldivar,” the Texas Board of Pardons and Paroles statement read. “The record indicates that the instant offense has elements of brutality, violence, assaultive behavior or conscious selection of victim’s vulnerability indicating a conscious disregard for the lives, safety, or property of others, such that the offender poses a continuing threat to public safety.”

Following the denial, Saldívar will not be eligible for parole again until 2030.

The post Selena Quintanilla-Pérez’s Family Applauds Yolanda Saldívar’s Parole Denial: ‘We Are Grateful’ appeared first on TheWrap.

‘Adolescence’ Surges Up the Streaming Chart, Knocking ‘Reacher’ Out of the Top 3

Mike White’s third season of “The White Lotus” has embraced the power of threes, and over on the Samba TV Weekly Wrap’s streaming charts, that pattern is impossible to miss. Three platforms, HBO / Max, Paramount+, and Amazon Prime Video, have hit gold with three series that continue their run in the Samba TV Weekly Wrap streaming Top 10: “The White Lotus,” “1923,” and “Reacher.”

That means “The White Lotus” tops the chart for the fifth consecutive week, followed by “1923.” The two series have been firmly lodged at the top of the chart for several weeks now, proving to be massive late-winter hits – and showing the strength of the one-episode-per-week model for their respective platforms, Max and Paramount+. The third season of “Reacher,” meanwhile, is bumped down a spot to miss what would’ve been its fourth week at No. 3. Snatching the third slot is “Adolescence” on Netflix. The British drama about incel culture and teen violence moved up five spots from last week. 

The next few entries on the chart belong to Netflix, starting with three chart debuts. No. 5 is “Den of Thieves 2: Pantera.” The heist film hit theaters in January and made its way onto Netflix this past week. Up next is “The Twister: Caught in the Storm,” a documentary about a tornado that ripped through Joplin, Missouri in 2011. No. 7 is “The Residence,” a murder mystery drama series set in the White House and starring Uzo Aduba of “Orange is the New Black.”

“Moana 2” breaks up the Netflix run in its second week on the chart since being added to Disney+. Closing out the Top 10 is a pair of critically panned movies that slid down the chart this week. “The Electric State” falls four slots to No. 9, while “Kraven: The Hunter” goes from No. 5 to No. 10.

Music remains the dominant force on linear, with three of the top four programs dedicated to performing. Topping the chart is “Opry 100: A Live Celebration.” The tribute to the country music institution featured performances from multiple generations of country (and country-influenced) performers, including Alan Jackson, Reba McEntire, Carrie Underwood and Post Malone.

“The Voice” and “American Idol” are No. 3 and No. 4 this week, respectively, as they continue their battle for America’s most-beloved singing competition.

Breaking up the songs is “Tracker,” landing at No. 2 this week. Other scripted series that made their way onto the Top 10 are “FBI” at No. 5, “Watson” at No. 6, and “Law & Order” at No. 10. “Wheel of Fortune” holds 30 percent of the chart with spots No. 7, No. 8 and No. 9.

The Wrap Report provides an exclusive first look at the most watched movies and TV series from the past week across both streaming and linear television sourced from viewership trends collected from Samba TV’s panel of more than 3 million households, balanced to the U.S. Census.

The post ‘Adolescence’ Surges Up the Streaming Chart, Knocking ‘Reacher’ Out of the Top 3 appeared first on TheWrap.

Jimmy Fallon Jokes Trump Signal Breach Would Never Happen Under Biden – Because ‘He Didn’t Know How to Text’ | Video

Jimmy Fallon waded into political waters during his monologue on Wednesday’ “The Tonight Show,” and given the prevalence of the story, he of course talked a lot about the scandal over the Trump administration’s military plans breach on Signal.

The ineptitude of the whole thing stood out for Fallon in particular, prompting him to compare it unfavorably to some of the, uh, colorful characters associated with Donald Trump’s first term in office.

Fallon also noted that this would never have happened when Joe Biden was president — but only because “he didn’t know how to text.”

Now, we assume you’re familiar with the story — Jeffrey Goldberg, editor-in-chief of The Atlantic, was accidentally added to a group chat on the Signal app by a Trump official, said chat involved multiple other Trump officials — including Secretary of State Pete Hegseth, and they were discussing classified military plans. But if you need a catch up, read this.

Meanwhile, Fallon noted “the White House is doing damage control over the military group chat scandal, and today, the reporter who broke the story published all of these screenshots from the chat. The most humiliating part of the group chat is that some of the text messages were green,” he said, the joke being that there was someone on the chat using an Android phone instead of an iPhone.

“Who knew we’d missed the more competent days of Omarosa and Rudy Giuliani,” Fallon joked soon after. “Yes, say what you want. This never would have happened under Biden. For starters, he didn’t know how to text. So I mean, that would never have happened. Never.”

Fallon then quipped that “Trump held an emergency meeting to decide what scandal he’s going to introduce to make this scandal go away.”

There’s more of course, and you can watch the whole thing below now:

The post Jimmy Fallon Jokes Trump Signal Breach Would Never Happen Under Biden – Because ‘He Didn’t Know How to Text’ | Video appeared first on TheWrap.

Stephen Colbert Says Pete Hegseth’s Reaction to Signal Breach Shows He’s a ‘Mature, Slightly Buzzed Individual’ | Video

The scandal over the massive security breach overseen by several Trump administration national security figures is still the biggest story of the Week, so naturally Stephen Colbert devoted a lot of his Wednesday night monologue to the topic.

We assume you’re familiar with the story of how Jeffrey Goldberg, editor-in-chief of The Atlantic, was accidentally added to a group chat on the Signal app involving several Trump officials — including Secretary of State Pete Hegseth — in which they discussed classified military plans. But if you need a catch up, read this.

Meantime, among other things, Colbert commented on Hegseth, who basically oversaw the debacle, joking that “after the Atlantic article dropped, Secretary of Defense, Pete Hegseth did what any mature, slightly buzzed individual would do when accused: He posted an unhinged rant on Twitter saying the Atlantic released the ‘so called war plans, and those plans include no names, no targets, no locations, no units, no routes, no sources, no methods and no classified information.'”

“A lot of that stuff was actually in there,” Colbert explained. “I, just were you looking to the same page? Were you looking at the right page on the Atlantic website? There was no war plan, just a fascinating deep dive on how Lady Gaga finally sounds like herself again.”

“Hegseth is too busy to think about this stuff anyway, saying, ‘as I type this, my team and I are traveling the Indo PACOM region, meeting with commanders and talking to troops,’ adding for more, hit me up on Signal, and I’ll add you to the
group chat,” Colbert continued.

There’s more of course, and you can watch the full monologue below:

Meanwhile, at the end of Wednesday’s “The Late Show,” Colbert gave a touching tribute to Taylor Tomlinson following the news her show, “After Midnight,” will end with Season 2 so she can focus on her stand up career. Watch that below:

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A post shared by The Late Show (@colbertlateshow)

The post Stephen Colbert Says Pete Hegseth’s Reaction to Signal Breach Shows He’s a ‘Mature, Slightly Buzzed Individual’ | Video appeared first on TheWrap.

WHCA Asks Members to Show Solidarity With AP Against Trump by Wearing 1st Amendment Pins at the White House

The White House Correspondents Association has edged a step closer to pushing back against Donald Trump’s attacks on the Associated Press, by asking members to consider a of solidarity — for one day only.

In a letter to members sent Wednesday afternoon, WHCA asked them to support the AP on Thursday — “and beyond if you feel it” — by wearing a pin that says “First Amendment” while in the White House, or if they appear on TV. WHCA also asked “those that can” to show up in person at the U.S. District Court for Washington, D.C. on Thursday, where as part of its ongoing lawsuit against the Trump administration, AP will ask a federal judge to restore its access to presidential events.

“The board has been brainstorming ways to show support for the Associated Press for their second hearing on their viewpoint discrimination case,” read the letter, first made public by Semafor reporter Max Tani. “The day in court is tomorrow, March 27. It’s an important day not just for one news organization but for every single one of us who depend on the First Amendment to do our jobs.”

“For us, there are two principles at stake: who chooses to cover the President of the United States and who chooses how news organizations report. There is only one right answer,” the letter continued. “That’s why we’d like to ask you to join us in showing up in solidarity with AP on Thursday, and in moments like these small acts of solidary matter.”

“First,” the letter went on,” we have some pins that say First Amendment on them. On Thursday, and beyond if you feel it, we ask that you wear these, particularly at the White House – especially if you are in the pool or on air that day, as well as in the briefing and in our workspace. we will have them at the White House in the ABC booth at the White House with Karen Travers and will be first come, first served.”

Two, for those that can, please join the Associated Press at the courthouse tomorrow,” the letter continued.

The note concluded by telling members about an attached graphic that reads, “1st No law… Abridging… Freedom… Press… Speech… Assembly,” asking them to add it to their social media profiles “as a public reminder that we believe in a free and independent press.”

In an email today, the White House Correspondents Association asked members to support the AP's press access case by wearing a pin that says 1st Amendment it when at the White House and on TV. WHCA also sent members a 1st amendment graphic to attach to social media profiles.

— max tani (@maxtani.bsky.social) 2025-03-26T21:48:53.167Z

The Associated Press was banned from the White House on Feb. 11 in retaliation for the outlet’s refusal to call the Gulf of Mexico the “gulf of America,” as demanded by Trump. The outlet filed a lawsuit to restore access on Feb. 21.

That turned out to be only the first of several direct attacks on media deemed unfriendly to Trump, culminating in the Trump administration taking full control over the rotation of reporters granted access, effectively mooting the White House Correspondents Association.

In response, WHCA basically conceded defeat and told members, “each of your organizations will have to decide whether or not you will take part in these new, government-appointed pools.”

The group is still is not asking members to cease covering the Trump White House in person, though Wednesday’s letter marks the group’s first public step toward fostering a unified response.

The post WHCA Asks Members to Show Solidarity With AP Against Trump by Wearing 1st Amendment Pins at the White House appeared first on TheWrap.

‘Abbott Elementary’ Star Janelle James Loves That Ava Isn’t Wallowing After Firing: ‘Sucks for Them’

Note: This story contains spoilers from “Abbott Elementary” Season 4, Episode 19.

Even though Ava’s life got turned upside down after being fired as principal on “Abbott Elementary,” the last thing you would find Ava (Janelle James) doing is wallowing. Instead, the episode after the shocking exit sees Ava working her side hustles, including motivational speaking to a packed room of fans — a quality James loves in her character.

“I love that Ava is like, ‘OK, next thing.’ She’s not wallowing, she’s not begging or even really thinking about.” James told TheWrap. “I love that she just keeps it moving and pretty much leaves it to Janine, whether or not things work out. She feels like, you’re lucky to have her, so sucks for them that they would do something like that and fire her.”

James was first told about Ava’s departure from the school by “Abbott Elementary” creator and star Quinta Brunson, who James said told her about a week before the episode was shot. “She basically told me beforehand, just so I wouldn’t feel any kind of way,” James said. “But I’ve never felt more secure in a role anyway, so I wasn’t worried — I was excited.”

Ava’s firing won’t impact James’ role in the series, clarifying she would never leave willingly, saying “they would have to drag me out of there.”

Below, James walks us through that firing scene, unpacks where Ava is at afterwards and shares her hopes for Ava in Season 5.

TheWrap: How did you want to approach that firing scene? Obviously Ava would never let the crew know she’s upset.

James: The hijinks and hilarity right up until that point — it was such a big mic drop — I love that. It was really about just keeping my performance light and unsuspecting until that very moment, so it can have the full blind-side effect, which I felt like everybody totally did feel.

I saw people crying and all of those things, so I’m honored that I’ve touched people in that way and that the moment worked. It was a big moment for the show.

What was it like playing that sweet moment between Ava and Barbara?

First of all, anytime I get to act up against Sheryl Lee Ralph, I feel like it just makes me elevate myself to match her. Watching it, I was proud, and not only of the evolution of Ava but the evolution of myself. This is my first big role. I feel like I’ve grown so much, not only in my acting, but the character and her story arc is matching my story arc of entering a new situation and having a new experience and elevating and maybe exceeding expectations. It was a dual moment for me.

This episode sees Janine trying to appeal the decision — is Ava interested in trying to get her job back at this point?

Not at this point, no. She’s a rock star, so something will have to happen, maybe in the coming episodes, that will make her realize where she actually wants to be, if anywhere.

We see Ava getting fired and now at the motivational speaking gig. Do you think she had a moment of mourning privately?

I feel like she went right to her rolodex and started making some calls and hit up her network … maybe some things she had turned down before. She keeps it moving. She’s a hustler and I love that about her.

What are the other side hustles she has?

She’s always doing some s—t at her desk. It looks like she makes lamps and crafts on the side. She has her clothes selling hustle. She’s styling Barbara. She has her TikTok channel — she probably gets brand deals through that. She’s doing the motivational speaking, not only for the school board, but probably for other things as well for herself. She has a clothing line, Avalicious. She’s doing the most, — multiple streams, as they say.

What’s been your favorite thing about digging deeper into Ava’s background this season?

I feel like this is a very Ava season, so that’s been enjoyable. We found out a lot about her, not only her dad but she has a love interest. I like that these things are happening to further her story. I have a love interest and he’s hot … But it’s also, it’s mostly to show that she is going to be a different type of person — softer, little vulnerable — but also what I love about Ava again, in the same way that she handled leaving his job, her personality doesn’t change. So even if she’s softer, she’s still the same person. It’s not like she’s done some complete 180 and now she’s just like soft life girl who’s like crying about everything. She’s showing different sides of her personality, and that’s been pleasurable to play as an actor.

What are your hopes for Ava next season?

That she’s still on the show. I want to see Ava’s house — I want to see how she lives. Is she a scammer? Is she really is as affluent as she says? Is O’Shon poor or not? Is he just good with his money?

Surprisingly, I don’t want to see a resolution with her dad. I think it can be resolved, but I don’t see her “forgiving him.” I feel like she’s an adult, it’s kind of too late for that. I think that’s a new twist to how TV usually goes … I don’t think she’s that person. But that can also bring her some closure as well — he comes back, she rejects it in her way, and that’s a closure on that part. She can stop holding on to that as well, and then that will maybe feed into her becoming more open with O’Shon.

This interview has been edited for length and clarity.

“Abbott Elementary” premieres Wednesdays at 8:30 p.m. ET/PT on ABC and streams the next day on Hulu.

The post ‘Abbott Elementary’ Star Janelle James Loves That Ava Isn’t Wallowing After Firing: ‘Sucks for Them’ appeared first on TheWrap.