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Catch Mercury shining at its best on June 15 before it slips back into the sun’s glare

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Mercury will appear farthest from the sun in its current evening apparition on June 15. Read original article: Read More 

Do Aliens Exist? Steven Spielberg Believes They Do

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Almost 50 years ago, Steven Spielberg directed “Close Encounters of the Third Kind,” the story of an average man who discovers that humanity may not be alone in the universe. Over the decades, Spielberg has directed several movies about what would happen if humanity made contact with aliens. Would the aliens be kind like the title character in “E.T. the Extra Terrestrial”? Would they be cruel like the murderous aliens of “War of the Worlds”? And regardless of what the aliens were like, would we humans be ready to receive them?
Spielberg returns to the question of whether we’re alone in the universe, and what it might mean if we’re not, with his new film “Disclosure Day.” Today, he sits down with Rachel Abrams, a host of “The Daily,” to talk about the film, and about what he has learned over five decades of making movies about aliens.
 
On Today’s Episode
Steven Spielberg, director of “Disclosure Day.”
 
Background Reading
‘Disclosure Day’ Review: Spielberg Plays His Greatest Cosmic Hits
What Steven Spielberg Taught Me About Fear, Catharsis, and Being Human
 
Photo credit: Paolo Pellegrin/Magnum, for The New York Times
Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.  Read original article: Read More

Passive Dinosaur Programs for Summer Reading 2026!

We are inching closer to Summer Reading and there is so much to do to prepare for all the kids that are ready to Unearth a Story! One of the final touches that I am currently working on is our passive programs for the summer. Passive programs are a great way to engage kids any time your department is open. Here are some passive dinosaur programs that I will be implementing for this year’s summer reading program! Paleontologist ID Cards This summer, my Craft Table will become the Paleontology Lab! We will start our passive dinosaur programs with Paleontologist ID Cards. We are using Canva to create these cards. Printed on tan cardstock, the ID cards will include a box for the kids to draw themselves, as well as a spot to write their names and what dinosaurs they are specializing in. This is a simple craft to put together…
The post Passive Dinosaur Programs for Summer Reading 2026! appeared first on ALSC Blog.  Read original article: Read More

Former ‘60 Minutes’ Staffers Unload on Bari Weiss: ‘Everything She’s Touched Has Turned to S—’

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Jun 11, 2026 7:00am PT

Former ‘60 Minutes’ Staffers Unload on Bari Weiss: ‘Everything She’s Touched Has Turned to S—’

As Bari Weiss lays waste to “60 Minutes,” six former staffers sound off on the damage she’s inflicted upon the crown jewel of CBS News.

By Marlow Stern



On May 28, a half-dozen senior producers and correspondents at “60 Minutes,” the longest-running and highest-rated news program in the country, were unceremoniously shown the door. Correspondents Sharyn Alfonsi and Cecilia Vega, as well as executive producer Tanya Simon and executive editor Draggan Mihailovich, were among them.

The firings were carried out by Bari Weiss, the editor-in-chief of CBS News, who’d clashed with Alfonsi in December over her “60 Minutes” report “Inside CECOT,” which told the stories of Venezuelan migrants who’d suffered horrific abuse at an El Salvadoran prison after being deported there by the Trump administration.

Weiss pulled the piece hours before it was set to air, demanding it include the perspective of Stephen Miller or another high-ranking Trump official. In an email to her colleagues, Alfonsi said she’d already made multiple requests to officials for comment, and that Weiss’ move was “not an editorial decision, it was a political one.” She added, “If the administration’s refusal to participate becomes a valid reason to spike a story, we have effectively handed them a ‘kill switch’ for any reporting they find inconvenient.” 

Also on May 28, Weiss installed Nick Bilton, a tech columnist and reporter with no broadcast journalism experience, as Simon’s successor at the helm of “60 Minutes.” Weiss and Bilton had grown fond of each other while collaborating on numerous documentary projects for Netflix that never saw the light of day. 

Then, on June 1, Scott Pelley, a 37-year CBS newsman and the de facto face of the network, attended an all-hands meeting with Bilton and the rest of the news magazine’s staff (Weiss was noticeably absent). Frustrated by the firings and the lack of any explanation to staff — particularly about the ouster of Simon, the daughter of legendary “60 Minutes” correspondent Bob Simon — Pelley questioned Bilton’s credentials and accused Weiss of “murdering ‘60 Minutes.’ ”

The following day, Pelley was fired in a scathing letter from Bilton accusing him of “remarkable incivility and contempt.” That left “60 Minutes” with only three correspondents (down from seven) following the resignation of Anderson Cooper, a 20-year veteran of the program, in February. (A CBS News spokesperson says, “CBS News is not able to say why we parted ways with any one person due to HR and legal considerations.”) 

I spoke with six former “60 Minutes” staffers, including award-winning correspondents, producers and executives, about the chaos that’s unfolded there under Weiss, a former op-ed columnist and founder of The Free Press who had no broadcast journalism — and scant investigative reporting — experience prior to being given the keys to CBS News. 


The opening salvo came on July 1, 2025. On that day, CBS News’ parent company, Paramount Global, chose to settle what critics call a baseless $16 million lawsuit brought by President Trump against “60 Minutes” over an October 2024 interview with then-presidential candidate Kamala Harris that was lightly edited for broadcast. (Trump broke with decades-long tradition and refused to sit down for his own “60 Minutes” interview during the campaign.) 

The timing was curious, to say the least. Paramount had an $8 billion merger pending with David Ellison’s Skydance Media that required FCC approval, and FCC chairman Brendan Carr, an outspoken Trump loyalist, had opened up a “news distortion” inquiry into “60 Minutes” over the Harris interview.

Six days after the Trump settlement, the Paramount-Skydance merger was complete, and Ellison, a Trump ally, was in charge of CBS. One of his first big moves there was choosing not to renew the contract of “The Late Show” host Stephen Colbert, three days after Colbert called the Trump settlement “a big fat bribe”; the second was appointing Kenneth Weinstein, a Trump adviser and chair at the conservative think tank Hudson Institute, as CBS News’ ombudsman. 

“Trump filed a lawsuit that everybody laughed at — about editing — and you’d never think he could win that lawsuit in court, but he basically makes your lawyers impotent,” explains Lowell Bergman, the celebrated former “60 Minutes” producer. “He has a habit of filing lawsuits that he can’t win, and now that he’s the president of the United States, he has a lever and can win, so it’s a form of extortion.” 

Getty Images

Bergman joined “60 Minutes” in 1983 and, working with correspondent Mike Wallace, produced dozens of high-impact stories over his 14-year tenure — including an interview with tobacco-industry whistleblower Jeffrey Wigand that was dramatized in the 1999 film “The Insider.” (Bergman was played by Al Pacino.) He won a Pulitzer Prize with The New York Times in 2004 and teaches journalism at UC Berkeley. 

In a bizarre twist, Chris Wallace, the former Fox News anchor and son of Mike Wallace, is a senior adviser to RedBird Capital Partners, which provided $2 billion in financial backing for Skydance’s Paramount takeover. He declined to comment on the state of “60 Minutes,” writing, “As an adviser at RedBird Capital, which has an interest in Paramount, I don’t feel comfortable commenting on that.” When I mention this to Bergman, he laughs and says, “Sounds about right to me.”   

Bergman has a history with Trump too. Though he didn’t produce the segment, Bergman was there when Wallace conducted a sit-down interview with Trump on “60 Minutes” in 1985, which served as the real estate scion’s big coming-out party.

He recalls trying to give Wallace a tip about an alleged criminal complaint concerning Trump, Roy Cohn, the Genovese crime family and the delivery of cement during the construction of Trump Tower. While Bergman was talking to Wallace, he claims, a producer intervened and told him, “We’re not doing that kind of story.” 

Steve Kroft, who was a “60 Minutes” correspondent for 30 years until retiring in 2019, echoes Bergman’s assessment. He believes that Trump has had it out for the news magazine since the Harris piece, and that Ellison and Weiss haven’t demonstrated a desire to stand up to him.

Ellison is, after all, still seeking FCC approval of Paramount Skydance’s $111 billion acquisition of Warner Bros. Discovery.

Continue/Read Original Article: https://variety.com/2026/tv/features/60-minutes-staffers-bari-weiss-scott-pelley-trump-1236771125/

Time Magazine exalts Austin library on 25 American monuments list – AOL.com

By Brianna Caleri, Updated Thu, June 11, 2026 at 7:54 AM PDT

Austins beautiful Central Library combines form and function in a triumph for locals who can access downtown. | Photo by Leonid Furmansky
Austins beautiful Central Library combines form and function in a triumph for locals who can access downtown. | Photo by Leonid Furmansky

As Austin has grown, it’s seen its fair share of contentious buildings crop up downtown. It’s hard to find a legitimately popular downtown building, but the Austin Public Library (APL) has pulled it off with its Central location. The library is now featured glowingly on a poetic new Time Magazine list, “A Portrait of America in 25 Buildings and Monuments.”

The new Time list, published June 2 and celebrated by the library June 10, pays tribute the 250th anniversary of the United States through a series of landmarks — anything from buildings to common neighborhood structures — each chosen to express something American. The magazine tasked 25 “architects, urban planners, thinkers, and other experts,” it says, to choose a structure “that they believe says something special about the nation at this moment.”

Time has expressed love for the Austin Central Library before. It named the library one of the World’s Greatest Places when it was new in 2018. This time, it attributes the nomination to Eric Klinenberg, professor of sociology at New York University and author of Palaces for the People: How Social Infrastructure Can Help Fight Inequality, Polarization, and the Decline of Civic Life. Klinenberg looks at the Central Library through a similar lens and concludes it’s getting a lot right.

“This stunning building, a palace for the people set along the Colorado river in central Austin, is, like all public libraries, a gift that local residents gave to themselves, and one that gives back every day,” Klinenberg writes. He briefly mentions funding and turns his focus back to the social benefits.

“[T]he library serves as a civic hub, an antidote to social isolation, a play space, an ecological refuge, and, above all, a reminder that American communities are still capable of producing extraordinary public goods,” he writes. “It’s a model of the social infrastructure that Americans want and deserve, precisely what we need to rebuild an open society and democratic culture in this dark and dangerous moment.”

Austin Central Library interior | The Austin Central Library is worth visiting from an architectural perspective alone. | Photos by Leonid Furmansky
Austin Central Library interior | The Austin Central Library is worth visiting from an architectural perspective alone. | Photos by Leonid Furmansky

Klinenberg didn’t have the space to list the library amenities that support to these claims, but we do:


  • Civic hub: The Central Library helps Austinites get passports, organizes civic resources, and sets librarians up with people who need information on things like researching projects and filling out student aid applications. Two bus stops right outside the library and a parking garage below make it one of the easiest places to access downtown.
  • Antidote to social isolation: The whole building is full of cozy places to sit and face others. The library also schedules regular social events and maintains clubs like the Teen Zine Club. (It even has a zine collection that’s always on display.) A community bulletin board helps Austinites connect outside of the library.
  • Play space: Plenty of events at the library cater to kids, and the Innovation Lab is a fun and productive place to visit for folks who want to make digital music, edit photos, record podcasts, make 3D prints, and more. There is art all over the library, especially in the second floor gallery, and staff bring visitors on multi-floor art tours.
  • Ecological refuge: On the roof of the Central Library, visitors sit around a butterfly and pollinator garden full of native Texas plants and overlook Lady Bird Lake. According to the library, the largest rooftop solar installation in downtown Austin provides shade for the garden. A cabinet in the library also provides a hub for Austinites to share seeds by taking them home, growing plants, and harvesting more seeds to bring back and replenish the stash.
Read more: Time Magazine exalts Austin library on 25 American monuments list – AOL.com

Continue/Read Original Article: https://www.aol.com/news/time-magazine-exalts-austin-library-135901215.html

‘The Magnificent Seven’ Remake Confirms Big Change From Original Western Masterpiece – MovieWeb


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By Chris Yogerst, Published Jun 10, 2026, 10:25 AM EDT

Chris Yogerst is a writer at MovieWeb and regular contributor to The Hollywood Reporter. His work can also be found in the Los Angeles Times, Washington Post, Time, and the LA Review of Books. In addition to journalism, Yogerst is a historian and author of several books, including The Warner Brothers (2023) and Hollywood Hates Hitler (2020). He also writes Adventures in the Archive, a Substack exploring historical topics ranging well beyond film and TV.


All too often, the western as a genre is presumed to be a male-dominated space. In my recent book on The Man Who Shot Liberty Valance (1962), I explain that director John Ford felt the film’s main character was Hallie (Vera Miles) and not Tom (John Wayne) or Ranse (Jimmy Stewart). The source material was written by Dorothy Johnson. John Wayne, often reviled for his racist comments made in a 1970s Playboy interview, was regardless hailed by some prominent second-wave feminists who should, by definition, despise him. The Western, with its characters and personalities, is far more dynamic than people realize. The latest remake of The Magnificent Seven is about to remind us once again that the frontier isn’t just a boys’ town.

The iconic remake will introduce two original new female characters, continuing a tradition of strong women on the frontier by channeling Joan Crawford in Johnny Guitar or Barbara Stanwyck in The Furies. Not that anyone would mess with young Mattie in the Coen Brothers’ 2010 True Grit remake, either. Joanne Froggatt and Amy Forsyth will be joining the MGM+ series adapting The Magnificent Seven.

Previously confirmed cast members include Matt Dillon, Will Patton, Michael Ealy, and Danny Pino. This is the first adaptation since Antoine Fuqua’s 2016 film starring Denzel Washington and Ethan Hawke.

The classic story follows a group of mercenaries on the 1880s American frontier who are hired to protect a Quaker town from a gang hired by a diabolical land baron looking to seize their land. An underdog story of ultimate proportions, the hired hands grapple with their odds of survival. The series looks to question the necessity of violence while engaging themes of honor, sacrifice, redemption, and faith.

The new adaptation will deviate from the original Delmer Daves film by introducing several new characters. As Deadline reveals, Froggatt will play Harriet Talbot, who is described as:

“A sharp, unflinching, and unwilling to back down … Lost and with nowhere to turn, she happened upon a Quaker community that took her in without question. The community became her home and her faith. Wanting to marry and settle down, she is matched with Samuel in a Quaker community all the way out in Wyoming. Shortly after she arrives, and minutes after the ceremony, Samuel is killed in Skelton in an effort to scare them off their land. Harriet cannot stand idly by. She sets out to find protection, and it’s through her that Chris is drawn into the mission. Her strength isn’t in firepower. It’s in conviction.”

Joanne Froggatt as Anna Smith in Downton Abbey

Forsyth will play Katie “Deadeye” Dalton, who is:

“Wry, sarcastic, and emotionally guarded. Katie learned to shoot from
her father on the family’s farm. When a Wild West show came through,
she was recruited and given the moniker ‘Deadeye Dalton,’ the fastest
gun in the west. As their star attraction, she dutifully sent money
home — and during that stretch crossed paths with Vin (Ealy) in a
brief, vivid fling neither quite forgot. After years on the stage,
she finally made it back home to see her family, only to find the
house empty, with no sign of what had happened to them. Distraught,
she started drinking. The drinking got worse, and one night her aim
slipped, and she killed her co-star in front of a crowd. The years
since have been a slow drift from one dead end to the next, chasing
rumors of her brothers that go nowhere. Tired. Faded. Still dangerous
with a gun, but haunted.”

Amy Forsyth as Caprice Bauer in A Christmas Horror Story (2015)

The frontier is always ripe for new stories, reliably relevant, easily adaptable, and perpetually potent. There’s always something about the unknown. The unsettled (a loaded term) land. The beautiful landscapes are marred by dangerous terrain. The wilderness always resists being civilized. The Western has been questioning the nature of heroes, the problems of violence, and the role of the Alpha personality on the frontier. That’s why I was drawn to The Man Who Shot Liberty Valance in the first place. The story shows how the rugged individual, played by John Wayne, was no longer needed in a civilized society where an intellectual played by Jimmy Stewart could provide laws and learning.

As we enter America’s 250th anniversary, the time is ripe to investigate the frontier ethos that’s driven so much of our sense of empire, purpose, and identity for centuries. There’s no better way to tackle difficult questions than by sending them out on the great American frontier to be hashed out in the wild.

The Magnificent Seven series is written and produced by Tim Kring with producers Donald De Line, Lawrence Mirisch, Bruce Kaufman, and Matt Dillon.

Continue/Read Original Article: ‘The Magnificent Seven’ Remake Confirms Big Change From Original Western Masterpiece

America’s 250th birthday celebration is replacing history with toxic myth – Judith Levine – The Guardian

America’s 250th birthday celebration is replacing history with toxic myth

By Judith Levine

This year’s events will be a mélange of Trumpian egotism, Maga populism and Christian nationalism, Wed 10 Jun 2026 07.00 EDT

Musicians who dropped out of the Great American State Fair said they were tricked.

“I HAVE INFORMED MY AGENTS THAT I WILL NOT BE PERFORMING AT THE FREEDOM 250 EVENT,” wrote the rapper Young MC on Facebook of the first major celebration of the US’s 250th birthday. “The artists were never told about any political involvement with the event. And despite the claims by the organizers that the event is nonpartisan, SPIN magazine describes it as ‘Trump-backed.’” The country singer Martina McBride said that the organizers’ description of the event as nonpartisan “turned out to be misleading”.

After many of the acts withdrew, rather than perpetuate the charade of neutrality, the humiliated president decided to replace them all with what he called “the Number One Attraction anywhere in the World”: Donald J. Trump.

That makes sense, because the fair’s sponsor is not America250, the nonpartisan body set up by Congress a decade ago to oversee the commemoration of the semiquincentennial, or 250th anniversary, of the signing of the Declaration of Independence. It is an organization called Freedom 250, which is all but a wholly owned subsidiary of Maga.

Even had the organizers been more honest, the artists could easily have been confused. Since his first term, Trump has been horning in on the 2026 events, funding his pet projects through opaque and complex structures that confound donors, participants, Congress, the press and everyone else about who is paying for what.

The situation is not just another example of Trump’s impunity in using the US treasury as his personal piggy bank. It is emblematic of the ways in which the president is conflating the celebration of the nation’s founding with a celebration of himself – l’état c’est moi. It replaces substance with spectacle and history with myth. The heroes of the myth are a clutch of white men under the guiding hand of a Christian God. The villains are anyone who dares insert an inconvenient historical truth.

In 2016, Congress created the bipartisan US semiquincentennial commission to plan and coordinate activities, materials and financing of the 2026 commemoration. The commission’s first report, released at the end of 2019, outlined “a monumental initiative” that would engage all 350 million Americans and “recognize and include the ‘many’ Americans in our ‘one’ nation”.

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The heroes of the myth are a clutch of white men under the guiding hand of a Christian God. The villains are anyone who dares insert an inconvenient historical truth

The commission’s themes were anodyne – educate, engage, unite – but the Trump administration was more than ordinarily watchful for “wokeness”. African American historians marked 2019 as the 400th anniversary of the arrival of the first slave ship on US shores. In a special issue of the New York Times magazine that would become the bestselling 1619 Project, journalist Nikole Hannah-Jones posited that 1619, not 1776, was the true birth of the nation, establishing slavery and anti-Black racism as pillars of its existence forevermore. Then came 2020, the police murder of George Floyd, and an eruption of Black Lives Matter protests nationwide.

That Fourth of July at Mount Rushmore, Trump denounced BLM as “angry mobs” and decried a “leftwing cultural revolution … designed to overthrow the American Revolution [and] destroy [the US’s] very civilization”. In response to “a merciless campaign to wipe out our history, defame our heroes, erase our values, and indoctrinate our children”, he vowed to “set … history’s records straight”.

As a counterweight to the 1619 Project, the administration established its own, competing 1776 Commission, which released a report two days before Biden’s inauguration and 12 days after the failed insurrection at the Capitol. The report rehearsed the same themes as the 4 July speech and recommended teaching “enlightened patriotism”, and a history centered on the Great White Men and scant on the lives of enslaved or Indigenous people or women. The 1776 commission report was so wide of the truth and the education it proposed so biased that the American Historical Association called it an attempt at “government indoctrination of American students”.

Biden disbanded the 1776 commission and revoked the report on his first day in office. But its distorted spirit of 1776 has risen again.

Freedom 250 is thin on substance. But it is fat on income. With the interior department, in which it is nestled, having quietly instructed staff to use Freedom 250 as the “primary branding” on America 250 events, Freedom 250 has eclipsed the bipartisan semiquincentennial and siphoned off public funding and private donations.

According to Notus, as of April, America250 had received only $25m of its $100m appropriation; it’s tallied a $100m “funding shortfall” and a slimmer take in private donations than expected. Meanwhile, the park foundation “and by proxy Freedom 250” has been granted nearly $80m in federal funds for the semiquincentennial, 10 times its total going back to 2009. And this doesn’t count more than $100m the feds have squandered on Trump’s Washington “beautification”, $5m of which recently went to gilding four horse statues. Freedom 250 also offers incentives to donors that would be illegal from a government agency, such as a private reception hosted by Trump for $1m or a speaking slot at a Washington 4 July event for $2.5m.

The first big production was a North Korean-style military parade on the army’s 250th – and Trump’s 79th – birthday, 14 June 2025. To bankroll the $3m extravaganza, America250 turned to companies including Oracle, Coinbase, and Palantir, most already big donors with much to gain from a grateful president. Some of the cost was borne by the army, meaning the taxpayer.

Continue/Read Original Article: America’s 250th birthday celebration is replacing history with toxic myth | Judith Levine | The Guardian

Seth Rogen Knows the Secret to Marriage — and Being Rich in Hollywood

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The actor-writer-director-producer on successful relationships (platonic and romantic), Hollywood’s volatility and his role in normalizing weed.

Thoughts? Email us at theinterview@nytimes.com
Watch our show on YouTube: youtube.com/@TheInterviewPodcast
For transcripts and more, visit: nytimes.com/theinterview

Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify. You can also subscribe via your favorite podcast app here https://www.nytimes.com/activate-access/audio?source=podcatcher. For more podcasts and narrated articles, download The New York Times app at nytimes.com/app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.  Read original article: Read More