The Lincoln Lawyer Renewed For Season 4 By Netflix

The Lincoln Lawyer’s New Lorna Tease Reveals Mickey’s Replacement In Season 4 This article is part of a directory: The Lincoln Lawyer Season 4: Will It Happen? Everything We Know Bosch’s Replacement Character In The Lincoln Lawyer Season 4 Explained By Showrunner

The Lincoln Lawyer has officially been renewed for season 4, with Netflix’s legal drama set to continue the story of Mickey Haller and his legal team. The Lincoln Lawyer season 3 ended on a major cliffhanger, as Mickey (Manuel Garcia-Rulfo) is arrested for murder, after the body of his former client, Sam Scales (Christopher Thornton), is found in the trunk of his car. This sets the stage for a new case where the titular character is behind bars, having to work with his team to prove his innocence, and potentially learn who the real culprit is.

Now, Netflix has confirmed The Lincoln Lawyer will be coming back for season 4, sharing an image of Mickey backing up in one of his cars. The car he’s driving is the same one he was pulled over in at the end of season 3, a fitting image that teases what to expect from the newly-confirmed episodes. However, the streaming service doesn’t offer any more information aside from confirmation more episodes are coming. Check out the announcement and new image below:

What The Lincoln Lawyer Season 4’s Confirmation Means For The Series The Netflix Show Already Hinted At Another Book Adaptation Close

Every season of Netflix’s legal drama has been based on a book in the series of the same name by Michael Connelly. The end of season 3 indicates The Lincoln Lawyer season 4 will be based on the sixth book, The Law of Innocence, which sees Mickey framed for a crime he didn’t commit. While some elements could be altered for the upcoming adaptation, proving his innocence will still be a key part of how the season plays out. Especially since he’ll be relying on the people around him instead of spearheading the investigation as usual.

Related The Lincoln Lawyer Season 4’s Book Story: What Happens In “The Law Of Innocence”

The Lincoln Lawyer season 4 will follow the story of Michael Connelly’s The Law Of Innocence, providing exciting spoilers for the Netflix show.

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With Lorna (Becki Newton) passing the California Bar Exam in season 3, she’s now qualified to represent her boss, helping aid in the investigation on the outside. Although this means the spotlight won’t be on Mickey the whole time, it will allow the cast of The Lincoln Lawyer to showcase their skills in the legal field, showing how well they can handle a situation where their friend’s life is on the line. It also indicates some major shifts in dynamics moving forward, as the main character’s skills will be important yet limited when it comes to attaining his freedom.

Our Take On The Lincoln Lawyer Season 4’s Renewal It Makes Sense Given The Series’ Popularity

It’s unsurprising the legal drama has been renewed for season 4, with the Netflix series topping 2024’s streaming shows list according to Bloomberg, with 8.1 billion minutes viewed. The show’s popularity emphasizes why its success has continued, and why the streaming platform was influenced to officiate its return just three months after season 3 was released. Although it’s unclear when The Lincoln Lawyer will return, this quick turnaround for renewal is a strong sign of its continued performance as a staple of the platform.

There are currently seven books in The Lincoln Lawyer series.

Source: Netflix

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8/10 179 9.5/10 The Lincoln Lawyer TV-MA Drama

The Lincoln Lawyer: This legal drama follows Mickey Haller, a Los Angeles defense attorney known for operating from his Lincoln Town Car, as he revives his career after an accident by taking on a high-profile murder case. The series explores challenges within the justice system and Haller’s pursuit of truth.

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*Availability in US Release Date May 13, 2022 Main Genre Drama Network Netflix Cast Manuel Garcia-Rulfo , Becki Newton , Angus Sampson , Jazz Raycole , Neve Campbell , Krista Warner , Lana Parrilla , Ntare Guma Mbaho Mwine , Yaya DaCosta , Marlene Forte , Chris Browning , Matt Angel , Elliott Gould , Katrina Rosita , LisaGay Hamilton , Heather Mazur , Reggie Lee , Shenita Moore , Kim Hawthorne , Mikal Vega , Mike McColl , Saul Huezo , Ryan W. Garcia , La’Charles Trask , Christine Horn , Shwayze , Jeff Francisco , David Clayton Rogers , Fiona Rene , Douglas Bennett , Clint Carmichael , Darien Sills-Evans , Adam J. Harrington Character(s) Mickey Haller , Lorna Crane , Dennis Cisco Wojciechowski , Izzy Letts , Maggie McPherson , Hayley Haller , Lisa Trammell , Detective Raymond Griggs , Andrea Freemann , Judge Teresa Medina , Teddy Vogul , Henry Dahl , Legal Siegel , Tanya Cruz , Judge Mary Holder , Carol Dubois , Angelo Soto , Bailiff , Janelle Simmons , Eli Wyms , Juror No. 7 , Jesús Menendez , Rene , Gary Furlong , Jo Giorgetti , Terrell Coleman , Alvin Aquino , Russell Lawson , Gloria Glory Days Dayton , Kaz , Mitchell Bondurant , Detective Howard O’Brien , Jeff Trammell Creator(s) David E. Kelley Seasons 3 Story By David E. Kelley Writers David E. Kelley Streaming Service(s) Netflix Directors David E. Kelley Expand

Garth Hudson, the last surviving member of The Band, dies at 87

From left, Garth Hudson, Robbie Robertson, Levon Helm, Richard Manuel and Rick Danko of The Band in 1971.Gijsbert Hanekroot / Redferns

Garth Hudson, the Band’s virtuoso keyboardist and all-around musician who drew from a unique palette of sounds and styles to add a conversational touch to such rock standards as “Up on Cripple Creek,” “The Weight” and “Rag Mama Rag,” has died at age 87.

Hudson was the eldest and last surviving member of the influential group that once backed Bob Dylan. His death was confirmed Tuesday by The Canadian Press, which cited Hudson’s friend, Jan Haust. Additional details were not immediately available. Hudson had been living in a nursing home in upstate New York.

A rustic figure with an expansive forehead and sprawling beard, Hudson was a classically trained performer and self-educated Greek chorus who spoke through piano, synthesizers, horns and his favored Lowrey organ. No matter the song, Hudson summoned just the right feeling or shading, whether the tipsy clavinet and wah-wah pedal on “Up on Cripple Creek,” the galloping piano on “Rag Mama Rag” or the melancholy saxophone on “It Makes No Difference.”

The only non-singer among five musicians celebrated for their camaraderie, texture and versatility, Hudson mostly loomed in the background, but he did have one showcase: “Chest Fever,” a Robbie Robertson composition for which he devised an introductory organ solo (“The Genetic Method”), an eclectic sampling of moods and melodies that segued into the song’s hard rock riff.

Robertson, the band’s guitarist and lead songwriter, died in 2023 after a long illness. Keyboardist-drummer Richard Manuel hung himself in 1986, bassist Rick Danko died in his sleep in 1999 and drummer Levon Helm died of cancer in 2012. The Band was inducted into the Rock and Roll Hall of Fame in 1994.

Formed in the early 1960s as a backing group for rocker Ronnie Hawkins, the Band was originally called The Hawks and featured the Arkansas-born Helm and four Canadians recruited by Helm and Hawkins: Hudson, Danko, Manuel and Robertson.

The Band mastered their craft through years of performing as unknowns — first behind Hawkins, then as Levon and the Hawks, then as the unsuspecting targets of outrage after hooking up with Dylan in the mid-1960s. All joined Dylan on his historic tours of 1965-66 (Helm departed midway), when he broke with his folk past and teamed with the Band for some of the most stirring and stormiest music of the time, enraging some old Dylan admirers but attracting many new ones. The group would rename itself the Band in part because so many people around Dylan simply referred to his backing musicians as “the band.”

By 1967, Dylan was in semi-seclusion, having allegedly broken his neck in a motorcycle accident, and he and the group settled in the artist community in Woodstock that two years later would become world famous thanks to the festival in nearby Bethel. With no album planned, they wrote and played spontaneously in an old pink house outside of town shared by Hudson, Danko and Manuel. Hudson was in charge of the tape machine as Dylan and The Band recorded more than 100 songs, for years available only as bootlegs, that became known as “The Basement Tapes.” Often cited as the foundation of “roots” music and “Americana,” the music varied from old folk, country and Appalachian songs to such new compositions as “Tears of Rage,” “I Shall Be Released” and “This Wheel’s on Fire.”

“There would be an informal discussion, before each recording,’” Hudson told the online publication Something Else! in 2014. “There would be ideas floating around, and the telling of stories. And then we’d go back to the songs.

“We looked for words, phrases and situations that were worth writing about. I think that Bob Dylan showed us discipline, and ageless concern about the quality of his art.”

Dylan resurfaced in late 1967 with the austere “John Wesley Harding,” and the Band debuted soon after with “Music from Big Pink,” its down home sound so radically different from the jams and psychedelic tricks then in fashion that artists from The Beatles to Eric Clapton to the Grateful Dead would cite its influence. The Band followed in 1969 with a self-titled album that many still consider its best and has often been ranked among the greatest rock albums of all time.

Future records included “Stage Fright,” “Cahoots” and “Northern Lights/Southern Cross,” a 1975 album that brought Hudson special praise for his work on the keyboards. A year later, Robertson decided he had tired of live performances, and the Band staged the all-star concert and Martin Scorsese film, “The Last Waltz,” featuring Dylan, Clapton, Neil Young and many others. Tension between Robertson and Helm, who would allege the film unduly elevated Robertson over the others, led to a full breakup before the documentary’s release in 1978.

Hudson played briefly with the English band the Call; appeared with various latter incarnations of the Band, usually featuring Danko, Hudson and Helm; assisted on solo albums by Robertson and Danko; and joined Danko and Helm for a performance of Pink Floyd’s “The Wall” at the Berlin Wall. Other session work included records by Van Morrison, Leonard Cohen and Emmylou Harris.

Hudson also organized his own projects, although his first solo effort, “The Sea to the North,” came out on the day of the Sept. 11, 2001, terrorist attacks. In 2005, he formed a 12-piece band called The Best!, with his wife on vocals. “Garth Hudson Presents: A Canadian Celebration of The Band” was a 2010 tribute featuring Neil Young, Bruce Cockburn and other Canadian musicians.

In recent years, Hudson struggled financially. He had sold his interest in the Band to Robertson and went bankrupt several times. He lost one home to foreclosure and saw many of his belongings put up for auction in 2013 when he fell behind on payments for storage. Hudson’s wife, Maud, died in 2022. They had a daughter, Tami Zoe Hill.

The son of musicians, Hudson was born in Windsor, Ontario in 1937 and received formal training at an early age. He was performing on stage and writing before he was even a teenager, although by his early 20s he had soured on classical music and was playing in a rock band, the Capers.

He was the last to join the Band and he worried that his parents would disapprove. The solution was to have Hawkins hire him as a “musical consultant” and pay him $10 extra a week.

“It was a job,” Hudson said of the Band in a 2002 interview with Maclean’s. “Play a stadium, play a theater. My job was to provide arrangements with pads underneath, pads and fills behind good poets. Same poems every night.”

Uma Thurman joins the cast of Dexter: Resurrection

The Bride is joining the Dexter universe. Showtime announced on Wednesday that Uma Thurman has joined the cast of Dexter: Resurrection, the upcoming drama series starring Michael C. Hall in the titular role of Dexter Morgan.

Thurman will play Charley, a former Special Ops officer who now works as Head of Security for billionaire Leon Prater. Per Paramount, “Charley has worked various high-level private security jobs before taking on her position as the resourceful and meticulous right-hand woman for Prater.”

Thurman rose to stardom in her Academy Award-nominated role of Mia Wallace in Quentin Tarantino’s Pulp Fiction. Thurman later became an action icon in the early 2000s as The Bride in Kill Bill: Volume 1 and 2. Thurman’s recent credits include Red, White and Royal Blue, Oh Canada, and The Kill Room.

Dexter: Resurrection also stars David Zayas as Detective Angel Batista, James Remar as Dexter’s father Harry Morgan, and Jack Alcott as Dexter’s son, Harrison Morgan.

Dexter: Resurrection is a sequel series to Dexter: New Blood, Showtime’s limited series from 2021 that picked up 10 years after the events of the Dexter series finale. Dexter: Resurrection is executive produced by showrunner Clyde Phillips. Hall, Scott Reynolds, Tony Hernandez, and Lilly Burns will executive produce, with Marcos Siega serving as producing director. Siega will direct six episodes of Resurrection, while Monica Raymund will direct four.

Dexter: Original Sin, a prequel series to Dexter as the titular character transitions from student to serial killer, is currently streaming on Paramount+ with Showtime.

Produced by Showtime Studios and Counterpart Studios, Dexter: Resurrection began production in New York earlier this month. The series will stream this summer on Paramount+ with Showtime.

Jules Feiffer, acclaimed cartoonist and writer, dies at 95

NEW YORK (AP) — Jules Feiffer, a Pulitzer Prize-winning cartoonist and writer whose prolific output ranged from a long-running comic strip to plays, screenplays and children’s books, died Friday. He was 95 and, true to his seemingly tireless form, published his last book just four months ago.

Feiffer’s wife, writer JZ Holden, said Tuesday that he died of congestive heart failure at their home in Richfield Springs, New York, and was surrounded by friends, the couple’s two cats and his recent artwork.

Holden said her husband had been ill for a couple of years, “but he was sharp and strong up until the very end. And funny.”

READ MORE: Garth Hudson, last surviving member of The Band, dies at 87

Artistically limber, Feiffer hopscotched among numerous forms of expression, chronicling the curiosity of childhood, urban angst and other societal currents. To each he brought a sharp wit and acute observations of the personal and political relations that defined his readers’ lives.

As Feiffer explained to the Chicago Tribune in 2002, his work dealt with “communication and the breakdown thereof, between men and women, parents and children, a government and its citizens, and the individual not dealing so well with authority.”

Feiffer won the United States’ most prominent awards in journalism and filmmaking, taking home a 1986 Pulitzer Prize for his cartoons and “Munro,” an animated short film he wrote, won a 1961 Academy Award. The Library of Congress held a retrospective of his work in 1996.

“My goal is to make people think, to make them feel and, along the way, to make them smile if not laugh,” Feiffer told the South Florida Sun Sentinel in 1998. “Humor seems to me one of the best ways of espousing ideas. It gets people to listen with their guard down.”

READ MORE: David Lynch, visionary filmmaker behind ‘Twin Peaks’ and ‘Mulholland Drive,’ dies at 78

Feiffer was born on Jan. 26, 1929, in the Bronx. From childhood on, he loved to draw.

As a young man, he attended the Pratt Institute, an art and design college based in Brooklyn, and worked for Will Eisner, creator of the popular comic book character The Spirit. Feiffer drew his first comic strip, “Clifford,” from the late 1940s until he was drafted into the Army in 1951, according to a biography on his former website. He served two years in the Signal Corps, according to the online biography.

After the Army, he returned to drawing cartoons and found his way to a then-new alternative weekly newspaper, The Village Voice. His work debuted in the paper in 1956.

The Voice grew into a lodestar of downtown and liberal New York, and Feiffer became one of its fixtures. His strip, called simply “Feiffer,” ran there for more than 40 years.

The Voice was a fitting venue for Feiffer’s feisty liberal sensibilities, and a showcase for a strip acclaimed for its spidery style and skewering satire of a gallery of New York archetypes.

“It’s hard to remember what hypocrisy looked like before Jules Feiffer sketched it,” Todd Gitlin, who was then a New York University journalism and sociology professor, wrote in Newsday in 1997. Gitlin died in 2022.

Feiffer quit the Voice amid a salary dispute in 1997, sparking an outcry from readers. His strip continued to be syndicated until he ended it in 2000.

But if “Feiffer” was retired, Feiffer himself was not. He had long since developed a roster of side projects.

He published novels, starting in 1963 with “Harry the Rat with Women.” He started writing plays, spurred by a sense of sociological upheaval that, as he later told Time magazine, he felt he couldn’t address “in six panels of a cartoon.”

His first play, 1967’s “Little Murders,” went on to win an Obie Award, a leading honor for Off-Broadway and Off-Off-Broadway productions.

He ultimately wrote over a dozen plays and screenplays, ranging from the 1980 film version of the classic comic “Popeye” to the tougher territory of “Carnal Knowledge,” a story of two college friends and their toxic relationships with women over 20 years. Feiffer wrote the stage and screen versions of “Carnal Knowledge,” which was made into a 1971 movie directed by Mike Nichols and starring Jack Nicholson, Art Garfunkel, Candice Bergen and Ann-Margret. Feiffer also contributed to the long-running erotic musical revue “Oh! Calcutta!”

But after disappointing reviews of his 1990 play “Elliot Loves,” Feiffer looked to the gentler realm of children’s literature.

“My kind of theater was about confronting grown-ups with truths they didn’t want to hear. But it seemed to me we’ve reached the point, at this particular time, where grown-ups knew all the bad news. … So I hunted around for people I could give good news to, and it seemed to me it should be the next generation,” Feiffer told National Public Radio in 1995.

Having illustrated Norton Juster’s inventive 1961 book “The Phantom Tollbooth,” Feiffer brought a wry wonder to bear on his own books for young readers, starting with 1993’s “The Man in the Ceiling.” A musical version premiered in 2017 at the Bay Street Theater in Sag Harbor, New York.

The theater threw a surprise 90th birthday party for Feiffer in February 2019, when he did an on-stage interview to accompany a screening of “Carnal Knowledge.”

In recent years, Feiffer also painted watercolors of his signature figures and taught humor-writing courses at several colleges, among other projects. He published a graphic novel for young readers, “Amazing Grapes,” last September.

His wife said he had great fun writing it, relishing the drawings and story.

“He was,” she said, “a 5-year-old living in a 95-year-old’s body.”

AP National Writer Hillel Italie contributed.

Billy Ray Cyrus melts down during ’embarrassing’ performance at…

Billy Ray Cyrus broke his fans’ achy breaky hearts at Donald Trump’s Liberty Inaugural Ball.

The singer, 63, took the stage in Washington D.C. on Monday hours after Trump, 78, was sworn in as the 47th president.

But Cyrus’ performance was deemed an “epic disaster” by fans after he had a huge meltdown over alleged technical difficulties.

The chaos began when Cyrus complained that his guitar wasn’t working while he performed his and Lil Nas X’s hit “Old Town Road.”

“Is my guitar still on? I think they cut me off. I don’t hear my guitar anymore,” Cyrus said to the stage crew.

“Check. Is anybody awake?” he asked. “I don’t hear it. Do y’all here this? Where’s everybody at? Check. Is anyone back there? Can someone turn my guitar back on? We’re gonna sing a little bit more.”

Cyrus grew more frustrated over the apparent malfunction with his guitar.

“Y’all want me to sing more or you just want me to get the hell off the stage? I don’t give a damn,” he said.

A technician came out on stage to try to fix the guitar, but Cyrus said the instrument was “dead.”

Miley Cyrus’ dad then handed the guitar over to the the technician and told fans to “just snap your fingers.”

He used a microphone to sing an a cappella version of “Achy Breaky Heart” as the audience awkwardly snapped along.

After his performance, the lights turned off but Cyrus didn’t immediately get off the stage. Instead, he awkwardly wandered around the stage before he was escorted away by someone.

Fans roasted Cyrus on social media for the cringeworthy incident.

“Oh my god! Billy Ray Cyrus’ performance at Donald Trump’s inaugural Liberty Ball is an epic disaster,” one fan wrote on X (formerly Twitter).

“It seems that Billy Ray Cyrus had a LOT more than just TECHNICAL ISSUES going on at the Liberty Ball just now,” another fan said.

So embarrassed for Billy Ray Cyrus right now..,” added a third person.

A different fan wrote, “That was truly a scary experience. Not sure if he was sick or drunk or both. Hope he is ok.”

The Post has reached out to Cyrus’ rep for comment.

Cyrus seemed to suffer a technical snafu on stage just hours after Carrie Underwood went through something similar at Trump’s inauguration ceremony.

The “American Idol” winner, 41, had to sing “America the Beautiful” a capella in the rotunda of the US Capitol because of a technical difficulty with the music.

As Underwood was told about the hiccup, she asked someone, “just sing?” She then added, “I can just sing it.”

Underwood told the guests “you know the words — help me out here,” as they joining her in singing the patriotic anthem.

After her performance, Underwood shook hands with former President Joe Biden, who mouthed “great job” to the country star, before she greeted Trump and Vice President JD Vance.

Other singers who have performed at Trump’s inauguration celebrations over the past few days include The Village People, Kid Rock, Jason Aldean, Nelly, country singer Lee Greenwood, and opera singer Christopher Macchio.

Ayo Edebiri Is Invited to John Malkovich’s Glamorous Nightmare in First ‘Opus’ Trailer

As the Sundance Film Festival nears its return to Park City and Salt Lake City, Utah, one of its biggest premieres has pulled back the curtain online. A24 just unveiled the first trailer for Opus, a new horror thriller starring Ayo Edebiri and John Malkovich that centers around a pop artist re-entering the limelight for the first time in years. It’s the indie outlet’s latest foray into the realm of scares after the smash hit breakout film Talk to Me by Danny and Michael Philippou. Marking the feature directorial debut of veteran GQ writer, editor, and Special Projects Director Mark Anthony Green, the film will appear as part of the event’s Midnight portion before coming to theaters on March 14.

Aside from some character posters and an image promoting its Sundance appearance, the trailer is the first proper look the studio has given to Opus. The Bear Emmy winner Edebiri leads the film as the “meek yet hungry” young journalist Ariel, who receives an exclusive invitation to the remote compound of Moretti (Malkovich), a deified pop icon making his grand reintroduction to the world after mysteriously vanishing 30 years ago. Once there and surrounded by the star’s most devout followers and fellow writers awaiting the “greatest album of modern times,” she realizes she’s involved in Moretti’s sinister plot. Promising a mix of dread, glamour, and a bit of humor, the movie sees the courtesy between Ariel and Moretti slowly fade against the backdrop of bumping pop musical numbers and the mysterious compound, with the journalist witnessing the full terror of the literal cult of personality around the star.

The footage welcomes Ariel into the eccentric Moretti’s world, which begins with strange requests like asking all guests to be shaved and devolves into bizarre performances, strange puppet shows, and ritualistic practices. By the end, she’s constantly looking over her shoulder and trying to avoid the creepy pop icon and his followers as he takes art and fame to a haunting level. The real-life star power joining Edebiri and Malkovich also gets to shine throughout the teaser. Opus will feature Prey star Amber Midthunder and Yellowjackets alum Juliette Lewis in key roles, while Murray Bartlett, Stephanie Suganami, Young Mazino, and Tatanka Means round out the supporting cast. Additionally, Grammy winners The Dream and Nile Rogers brought their pop expertise as they composed original songs and served as executive producers for the film.

‘Opus’ Leads a Promising Horror Lineup at Sundance

Doors will open for this year’s iteration of Sundance on Thursday, January 23, and plenty of horror will be on offer beyond Opus. Another buzzy title debuting during the Midnight section will be the Dev Patel-led Rabbit Trap, directed by Bryn Chainey and produced by Elijah Wood. The film is more based around magic, following a couple who, upon making a field recording of something never before heard by humans, encounter a strange child who disconnects them from the reality they once knew. Also among the first-time features is Michael Shanks’s magic-based body horror flick Together starring Dave Franco and Alison Brie. Dead Lover, Didn’t Die, and Touch Me round out a slate of creepy Midnight premieres to come over the next two weeks.

Opus makes its world premiere at Sundance on January 27 before going wide in theaters on March 14. Check out the trailer in the player above.

Opus

Not Rated

Horror

Release Date March 14, 2025

Director Mark Anthony Green

Cast Ayo Edibiri , John Malkovich , Young Mazino , Tatanka Means , Juliette Lewis , Amber Midthunder , Stephanie Suganami

Writers Mark Anthony Green

A$AP Rocky trial begins on charges he fired a gun at a former friend

LOS ANGELES (AP) — Jury selection is set to begin Tuesday in a trial against A$AP Rocky, who is charged with firing a gun at a former friend and could get a decades-long prison sentence if convicted.

The 36-year-old has pleaded not guilty to two felony counts of assault with a semiautomatic firearm, and his attorney has said he committed no crime.

The Grammy-nominated hip-hop star, fashion mogul and actor is the longtime partner of Rihanna, and the two have two toddler sons together. It’s not entirely clear whether Rihanna will appear to support him in court, but his attorney has suggested it’s unlikely.

Rocky has been named one of the celebrity chairs of the Met Gala in May, and has a major role in a Spike Lee-directed film with Denzel Washington to be released soon after.

But his life could be upended with a conviction that could lead to a sentence of up to 24 years if jurors find him guilty of shooting at his former firend in Hollywood in 2021.

Superior Court Judge Mark Arnold said he intends to seat a jury quickly, and is keeping strict limits on how long attorneys can question prospective jurors.

“I will let the jurors know that regardless of who a defendant is, whether they’re the richest person in the world or the poorest person, everybody is to be treated the same,” he said at a pretrial hearing.

Opening statements could come Wednesday. Arnold is allowing media cameras in court for the entire trial after a jury is selected.

In 2023, another judge ruled after a preliminary hearing that Rocky should stand trial for allegedly firing a gun at Terell Ephron, a childhood friend who testified that their relationship had soured and a feud came to a head on the night of Nov. 6, 2021. Ephron testified that bullets grazed his knuckles.

Jules Feiffer, cartoonist of acerbic wit and satire, dies at 95

The Pulitzer-winning writer found his voice in comics that provided a sardonic and sarcastic takedown of authority and conventional wisdom. He was also a playwright and screenwriter.

Jules Feiffer, the Pulitzer Prize-winning cartoonist, playwright, screenwriter and children’s book author who was one of the most humorously neurotic literary voices of his generation, died Jan. 17 at his home in Upstate New York. He was 95.

The cause was congestive heart failure, said his wife, JZ Holden.

Mr. Feiffer’s weekly comic strip “Feiffer” — initially called “Sick, Sick, Sick” — ran in the Village Voice from 1956 to 2000 and was syndicated to more than 100 newspapers.

In an era defined by the nuclear bomb, the Cold War, racial tensions and the sexual revolution, Mr. Feiffer added his nerve-racked perspective to an influential cultural stage occupied by humorists such as Woody Allen, Mort Sahl, Lenny Bruce and the team of Mike Nichols and Elaine May.

Mr. Feiffer found his voice in comics that provided a sardonic and sarcastic takedown of authority and conventional wisdom. In addition, he told the Los Angeles Times, his work explored “how people use language not to communicate, and the use of power in relationships.”

Later comic strips such as Garry Trudeau’s “Doonesbury” are indebted to Mr. Feiffer’s brand of acerbic wit and literate satire. “No other cartoon in strip format was dealing on a regular basis with themes as adult as sex, politics, psychiatry,” Trudeau once said.

In one strip for Playboy in 1957, Mr. Feiffer’s Superman was a neurotic, settling for an office job after the woman he saves questions his “compulsion to rescue” and his “exhibitionist tendencies.”

Mr. Feiffer’s characters brimmed with self-pity and self-absorption. They were, in their creator’s words, “so busy explaining themselves that they never shut up.”

He won the Pulitzer Prize for editorial cartooning in 1986. Unapologetically liberal in his political views, Mr. Feiffer was one of the first cartoonists to criticize the Vietnam War in a mainstream newspaper. He once drew President Lyndon B. Johnson justifying a bombing campaign to a child with a lollipop (“In the interest of freedom and in the pursuit of peace, we have today bombed … “).

In his 2010 memoir, “Backing Into Forward,” he credited his mother with inadvertently sharpening his political sensibilities.

Referring to the secretary of defense during the Vietnam War, Mr. Feiffer wrote, “The McNamara explanation — ‘We have access to information that you don’t have’ — reminded me of my mother’s answer when I asked her to give me a reason for an action or decision she couldn’t be bothered to explain or defend. The reason she gave that ended all discussion was ‘Because.’

“My government was, in a sense, telling me ‘Because.’ And it made me every bit as outraged as I was at eight or nine.”

“Munro,” his best-selling 1959 book about a 4-year-old boy who is mistakenly drafted into the Army, became an Academy Award-winning animated short film in 1961, with a script by Mr. Feiffer.

His best-known screenplay was “Carnal Knowledge,” the 1971 film directed by Nichols that follows the sexual exploits of two men from their lusty college years in the 1940s to their misogynistic middle age amid the sexual revolution. Jack Nicholson and Art Garfunkel played the two friends who are unable to connect — first emotionally, then physically — with women.

The film, which co-starred Ann-Margret (who received an Oscar nomination) and Candice Bergen, caused a sensation for its sexual frankness.

A Georgia theater manager was arrested and convicted for showing the movie after it was found to be obscene under state law. The U.S. Supreme Court unanimously ruled against the Georgia Supreme Court in the matter, finding “Carnal Knowledge” did not depict sexual conduct in a “patently offensive” way.

In the New York Times, film reviewer Vincent Canby called the movie “a series of slightly mad dialogues between two people … that almost always lead to new plateaus of psychic misunderstanding and emotional hurt.” The film, Canby added, “is merciless toward both its men and its women in order to reach some kind of understanding of them, of their capacities for self-delusion and for the casual infliction of pain.”

The film’s two male characters were based on characters from “Feiffer”: the cartoonist’s insecure alter ego, Bernard Mergendeiler, and his sexually confident friend Huey.

“It’s after midnight and she’s going to see me!” Bernard exclaims to Huey in a 1957 panel, adding worriedly: “How can you have any respect for someone like that?”

Arguing politics

Jules Ralph Feiffer, whose parents were Jewish immigrants from Poland, was born in the Bronx on Jan. 26, 1929. He was the middle of three children and the only son.

His taciturn father was a salesman who had little luck during the Depression. Mr. Feiffer described his mother, who supported the family selling fashion drawings to department stores, as an unaffectionate woman who dominated the household and “placed all her hopes and dreams on me.”

Gawky and timid as a child, Mr. Feiffer passed the time drawing and arguing politics with his older sister, Mimi, a party-line communist. (At the other end of the spectrum was Mr. Feiffer’s distant cousin Roy Cohn, chief counsel to Sen. Joseph R. McCarthy during the anti-communist witch hunts of the 1950s and the relative held up to Mr. Feiffer as a role model by one of his aunts.)

Growing up, Mr. Feiffer adored the comics of Will Eisner, creator of “The Spirit,” a popular crime-fighting strip. As a teen, Mr. Feiffer talked his way into apprenticing under Eisner for no pay. “Eisner found me useless as an artist, but he liked the way I wrote,” he later told the New Yorker.

Soon, Mr. Feiffer was writing entire episodes of “The Spirit” and drawing a back-page strip called “Clifford,” about the adventures of a little boy.

“The Army made a satirist out of me,” he later said. From the moment he was drafted in 1951, he began concocting a plan to fake a nervous breakdown to escape possible combat duty in Korea. Ultimately, he said he spent much of his time decorating helmets for the officers.

Discharged in 1953, Mr. Feiffer was unable to get his comic work published. He worked at various jobs, getting himself fired every six months so he could collect unemployment. He called it “my own personal National Endowment for the Arts subsidy, awarded by myself at six-month intervals for a period of three years.”

In 1956, he approached the Village Voice, a new weekly paper he had seen in the offices of the publishers who had been rejecting him, and offered to do a comic. He received no pay for it for the first eight years.

Mr. Feiffer originally called the strip “Sick, Sick, Sick” but changed the title to “Feiffer,” fearing that readers might think it was his humor that was sick and not society. His depictions of garrulous neurotics struck a chord, and collections of his cartoons — starting with “Sick, Sick, Sick: A Guide to Non-Confident Living” (1958) — became bestsellers. Hugh Hefner, a Feiffer fan, put the cartoonist on retainer at his magazine, Playboy.

Recurring “Feiffer” characters included the moody young woman in a black leotard who danced to the seasons or the new year, often to end up somehow thwarted: covered in a sudden snowfall or clutching a pistol in self-defense against the coming year. He told the New York Times the dancer was based on “the first girl who ever slept with me and spent the night.”

His marriages to Judy Sheftel and Jennifer Allen ended in divorce. In 2016, he wed Holden, a writer. In addition to his wife, survivors include a daughter from his first marriage, Kate Feiffer, who collaborated with her father on several children’s books; two daughters from his second marriage, actress Halley Feiffer and Julie Feiffer; and two granddaughters.

Mr. Feiffer was elected to the American Academy of Arts and Letters in 1995. He received the National Cartoonists Society’s Milton Caniff Lifetime Achievement Award in 2004.

Besides his strip “Feiffer,” Mr. Feiffer’s other work included the comic “Boom!” (1958), an early satire of the nuclear arms race. He also wrote what he called “novels-in-cartoons,” proto-graphic novels that heralded the blossoming of long-form comics such as Art Spiegelman’s “Maus” and Chris Ware’s “Jimmy Corrigan.” They included “Passionella, and Other Stories” (1959) and “Tantrum” (1979), the latter the story of a 42-year-old man who throws a fit that transforms him back into a toddler.

Mr. Feiffer’s movie scripts included a live-action version of “Popeye” (1980), starring Robin Williams in prosthetic forearms. Expensively filmed on an elaborate set in Malta, the movie — which culminated in Popeye’s fistfight with a giant octopus — was widely panned.

Working in theater, Mr. Feiffer contributed sketches — along with Kenneth Tynan, Samuel Beckett, John Lennon, Sam Shepard and Edna O’Brien — to the long-running, critically reviled erotic musical revue “Oh! Calcutta!,” which debuted in 1969.

Mr. Feiffer’s “Little Murders” (1967), a response to the John F. Kennedy assassination that depicts an urban America awash in random violence, closed on Broadway within a week. Revived successfully in London and then off-Broadway, it won an Obie Award and became a film in 1971 starring Elliott Gould.

His other plays included “Grown Ups” (1981), about a middle-aged New York Times reporter who can never quite live up to his Jewish parents’ expectations.

“Mr. Feiffer takes the most familiar tribal greetings — ‘So what’s new?’ or ‘When am I going to see my granddaughter?’ — and forces us to see the resentments and hurts that fester underneath,” theater critic Frank Rich wrote in the New York Times. “It’s when we see the gap that separates such lines from the truth that our laughter curdles.”

As “Feiffer” wound down, the cartoonist — who in 1961 illustrated the now-classic children’s novel “The Phantom Tollbooth” by his friend Norton Juster — successfully reinvented himself as a children’s book author and illustrator. “Bark, George” (1999) features a Feifferean puppy who is unable to communicate as commanded by his long-suffering mother.

In 2014, he published “Kill My Mother,” a well-received graphic novel that harked back to the noir scripts he had written half a century before for “The Spirit.”

Surveying his long, varied career, Mr. Feiffer wrote in his memoir that it took a new turn each time he was “backed into a corner,” rather than as a result of any conscious planning. “It’s a good thing I had no direction,” he concluded. “I might have given up.”

Garth Hudson, The Band’s quirky and beloved musical jackknife, dead at 87 | CBC News

Garth Hudson, the multi-instrumentalist wizard of The Band, the first Canadian group inducted into the Rock & Roll Hall of Fame, has died. He was 87.

Hudson, according to social media posts related to the group, had resided in an assisted living facility in recent years.

He was the last of the five members who would comprise The Band to join, entering the picture in their formative years as the group backed the Canadian bar-hopping outfit of Arkansas-born showman Ronnie Hawkins.

Leaving Hawkins for greener pastures in the United States, they would eventually back Bob Dylan on a raucous 1966 world tour — when they were called The Hawks — before launching their own recording career in 1968.

Hudson was the only one of the quintet who was classically trained. As told in subsequent years by Hawkins and The Band guitarist Robbie Robertson, who died in 2023, Hudson’s conservative parents had to be persuaded to let their son became a road musician.

The other musicians were undoubtedly glad his folks acquiesced, as over the course of The Band’s recording career, Hudson was the group’s musical jackknife, playing accordion, clavinet, piccolo, saxophone, melodica, piano and synthesizer.

Above all, Hudson was known for the sounds he coaxed from his Lowrey organ — from sentimental and wistful, to eerie and foreboding, to playful and circus-like. He was nicknamed “Honey Boy,” drummer Levon Helm wrote in his 1993 memoir This Wheel’s On Fire, for his ability to sweeten the band’s recordings.

“With Garth and that organ, we sounded like a rock-and-roll orchestra,” Helm wrote. “We felt so enriched it was ungodly. He had sounds no one else had.”

The group’s first two albums — Music From Big Pink and The Band — are considered classics, each ranking in the top 100 of Rolling Stone’s updated compilation of the top 500 albums of all time in 2023.

The Band reached the top 40 charts with songs Up on Cripple Creek and Don’t Do It, with The Night They Drove Old Dixie Down and The Weight inspiring several cover versions.

The Band were inducted into the Rock & Roll Hall of Fame in 1994, five years after receiving induction into the Canadian Music Hall of Fame at the Juno Awards.

Hudson was known as the quietest member of The Band, though he escaped the ravages of drug use that afflicted three of his bandmates.

He was also quirky — bandmates later recounted how at their communal “Big Pink” house in Woodstock, N.Y., he wouldn’t let others wash the dishes. Onstage, he often played shoeless, with a highlight of the band’s concerts his otherworldly intro to Chest Fever, inspired by Bach.

Hudson often played shoeless onstage, with a highlight of the group’s concerts his otherworldly intro to Chest Fever, inspired by Bach.

“He could’ve been playing with the Toronto Symphony Orchestra or Miles Davis, but he was with us and we were lucky to have him,” Robertson wrote in his 2016 book, Testimony.

The Band’s first incarnation came to a close symbolically with the star-studded concert in 1976, the subject of a revered Martin Scorsese-directed documentary, The Last Waltz, two years later.

Robertson moved on to pursue film scores and a solo career, while Hudson and Helm rejoined Rick Danko and Richard Manuel, the other two members of The Band.

Manuel died by suicide at a Florida hotel in March 1986, just hours after the group had played that night. Hudson reportedly moved the congregation to tears at the Stratford, Ont., funeral for Manuel with an instrumental version of I Shall Be Released, the Dylan song they played countless times in their heyday.

The remaining trio would release three mostly well-received albums as The Band in the 1990s.

Hudson on his own released independently Music for Our Lady Queen of the Angels in 1980 and The Sea to the North in 2001.

Meanwhile, he was often in demand for guest spots. He contributed to the albums of dozens of artists, a diverse list that included Neil Diamond, Poco, Marianne Faithfull and Norah Jones, as well as Canadian artists Leonard Cohen, Martha Wainwright and Doug Paisley.

Hudson rarely gave interviews, but in a 2002 article in the Globe and Mail, he gave a hint of his unique insight and wry humour.

“Different musical styles are just like different languages. I’m able to play a lot of instruments so I can learn the languages,” he said. “It’s all country music; it just depends on what country we’re talking about.”

In his later years, Hudson encountered financial struggles, declaring bankruptcy on more than one occasion. In February 2022, his wife of 43 years, Maud, died.

Born Eric Garth Hudson on Aug. 2, 1937 in Windsor, Ont., he grew up down the highway in London, Ont.

He was the only son of church-going parents who were both musically inclined, and Hudson studied classical music and played piano at their Anglican church and at his uncle’s funeral parlour.

He pursued music studies at Western University but didn’t graduate, and he began gigging in various bands in southwestern Ontario in 1956.

Hudson, in late 1961, joined the band known as The Hawks under the leadership of Ronnie Hawkins, who died in May 2022.

“With his dark hair, long forehead and pale skin, Garth looked jazz-musician cool, or like someone who hadn’t been out in broad daylight for ages. He played brilliantly, in a more complex way than anybody we ever jammed with,” Robertson wrote years later.

Leaving Hawkins, they were eventually introduced to Dylan in New York, with help from Mary Martin, a Canadian who worked in the music industry.

Joining the influential folksinger as he cranked up the volume and strapped on an electric guitar saw them endure a trial by fire, as some folk purists chafed at Dylan’s amplified rock music.

But then, in a rock music era marked by psychedelic excess and the emergence of the wailing guitar solo, The Band’s early recorded output offered a range of styles and rustic playing. High-profile musicians George Harrison and Eric Clapton said they were influenced by the group’s debut LP, as did up-and-comers like Elton John.

John told the BBC in 2019 that he and co-writer Bernie Taupin “freaked out when we heard it (Music From Big Pink), we never heard anything like this before. It was Americana done in a very soulful, funky, kind of laid-back way.”

The Band were a Time Magazine cover subject in 1970, a rarity for a rock group at the time, after the release of their self-titled second album.

Hudson “sprinkles each number with unexpected and attractive sounds that always seem to come as a predictable surprise,” said the writer of the article, Jay Cocks, who decades later co-wrote the screenplay with director James Mangold for the just-released Dylan biopic, A Complete Unknown.

The Band played a number of festivals, including Woodstock, and kept up a regular touring schedule until bowing out with their famed live show in San Francisco in 1976. By then, the group had mostly relocated to California, and Danko, Helm and Manuel were all grappling with substance or alcohol abuse.

The Band’s breakup also served as a cautionary tale, as Robertson’s business acumen and greater share of songwriting and publishing royalties put him in a significantly higher income bracket than the others.

Helm in particular became embittered about that, and he and Robertson never appeared together when The Band received their hall of fame honours over a decade later in the U.S. and Canada.

Hudson’s temperament was such that he was not known to be part of the squabbles, playing on solo albums by both Robertson and Helm.

Hudson and Robertson — the last survivors after Danko died in 1999 and Helm in 2012 — appeared together in 2014 as The Band were honoured on the Canadian Walk of Fame. Robertson died at age 80 in August 2023, after what his family described as a long illness.

At a tribute show in California to commemorate The Band in 2017, the Los Angeles Times described Hudson as requiring a cane to get around but otherwise demonstrating “that his musical abilities had been undiminished by time or physical infirmity.”

Carrie Underwood performs ‘America the Beautiful’ at Donald Trump’s inauguration

The Grammy-winning country star had confirmed her appearance at the ceremony on Jan. 13.

Carrie Underwood took to the stage to perform a stirring rendition of “America the Beautiful” after the official swearing-in of President Donald Trump at his inauguration on Jan. 20.

The Grammy-winning artist was joined by the Armed Forces Chorus and the United States Naval Academy Glee Club in performing the patriotic anthem.

The Inauguration Day performance took place inside the Capitol Rotunda after frigid temperatures in Washington prompted the ceremony to be moved inside from its traditional location on the West Front of the U.S. Capitol.

The country star confirmed on Jan. 13 that she would be performing at the 60th inaugural ceremony. She addressed her participation in a statement to TODAY.com that read, “I love our country and am honored to have been asked to sing at the Inauguration and to be a small part of this historic event.”

Underwood concluded by saying, “I am humbled to answer the call at a time when we must all come together in the spirit of unity and looking to the future.”

The Oklahoma-born singer first rose to fame on “American Idol.” She won Season Four of “American Idol,” beating out fellow competitor Bo Bice to take home the trophy in 2005.

Since then, Underwood has scored hits including “Before He Cheats” and “Jesus, Take The Wheel” and won eight Grammys, including for best new artist and best female vocal country performance.

Over the years, Underwood has been largely private about her political views. In a 2019 interview with The Guardian, Underwood said, “I feel like more people try to pin me places politically. I try to stay far out of politics if possible, at least in public, because nobody wins. It’s crazy. Everybody tries to sum everything up and put a bow on it, like it’s black and white. And it’s not like that.”

It’s the first inaugural performance for Underwood, who was joined at the swearing-in ceremony by opera tenor Christopher Macchio, who performed “O, America!,” and country singer Lee Greenwood.

Other musicians expected to perform throughout Inauguration Day include Kid Rock, Jason Aldean, Rascal Flatts, Gavin DeGraw and the Village People.