How Photography From the Vietnam War Changed America
How Photography From the Vietnam War Changed America
The images changed how the world saw Vietnam, but especially how Americans saw their country, soldiers and the war itself, which ended 50 years ago this month.
There are so many ways to describe what photography from the Vietnam War captured and revealed, but maybe it boils down to what Tim O'Brien shared in 'The Things They Carried.'
'I survived,' he wrote in one of the book's stories, 'but it's not a happy ending.'
The war, which formally concluded on April 30, 1975, still elicits grief for all that was burned into memory and reinforced on film.
The most memorable photographs of that era, with its grisly, muddy, cruel jungle war, were shot by a brave global crew with a wide range of political views and backgrounds.
Dickey Chapelle, the first female photojournalist to die in Vietnam, was a Midwesterner who could barely contain her anti-Communism. Tim Page was an irreverent dope-smoking Brit; Henri Huet was French and Vietnamese, and known for his humor and kindness.
Together, their images and those of many others changed how the world saw Vietnam, but especially how Americans saw their country, soldiers and war itself.
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Yahoo
14 hours ago
- Yahoo
Lowcountry playwright prepares for New York debut of her latest production
NEW YORK, N.Y. (WSAV) — When Abby Rosebrock was growing up in South Carolina, she had no idea how her formative years would impact her work as a playwright. 'I when I first started writing plays, I think I tried to write stories that felt more immediate to my experience. So I was writing about, like, actors in Brooklyn, but I soon figured out that the place that I know best, even though I haven't lived there in 20 years, is definitely the Southeast.' Now a New Yorker with several stage productions under her belt, she often returns to her southern roots for inspiration. One of her earliest plays, 'Blue Ridge,' is set at a halfway house in the Appalachian Mountains. The dialog, while pointed and direct, is written on the page to reflect the easy way Southerns speak. But make no mistake: Rosebrock's protagonists and antagonists are not simple southern caricatures. Especially the women. Rosebrock is an actor as well as a writer. When she began writing plays, she discovered her female characters were often forces to be reckoned with. 'That's how I started. I really just wanted better material to perform in scene study classes. Dialog just sort of comes naturally to me. It's sort of how I make sense of the world. I come from a family of very talkative women so I'm sort of obsessed with human speech and the poetry of the way people talk to each other day to day.' Rosebrock has a fondness for her male characters as well. 'I'd like to think my male characters, especially in more recent years, are a little more rounded than maybe they used to be. Theater is where human beings can sort of work out their demons and in community with other human beings. And that's what's fun and exciting about it.' The visceral response theater gives an audience is important to her too. 'I think we spend most of our days hiding from each other, especially in workplace settings. Americans work way too much and expect way too much of themselves in service of terrible corporations. And in order to fit into that structure, we're just constantly suppressing what's truest and most authentic about our experiences. With live theater, when you throw hundreds of people into a room to watch other human beings behaving authentically, people are sort of reminded of what life could be like if we weren't so enslaved to the systems that run most of our lives.' Rosebrock's newest play, 'Lowcountry,' will make its world premiere in New York this month. It centers around an out-of-work actress who returns to her rural hometown and makes a tenuous connection with a disgraced high school teacher. It shines a light on how people connect in the digital age. 'I wrote it after the pandemic, after I'd spent a really long time, more or less alone in my apartment. But I think I was coming out of a time that felt very sterile and hopeless and devoid of resources.' Photo gallery: rehearsals for Abby Rosebrock's newest play, Lowcountry, at The Atlantic Theater in New York. 'A really great thing about working on a brand-new play that's never been performed before is it's extremely collaborative. So your words are being shaped not just by your own instincts, but by actors who are telling you, 'I don't feel truthful when I'm saying this line' or 'I feel like my character might be dealing with this other thing that's not even being acknowledged right now.' And then you have a director who's guiding that entire process and sort of moderating conversations, not just with actors, but with the designers too. So it just feels like the most exciting thing in the world to have world-class actors weighing in on your script as it's sort of taking its initial shape.' 'Lowcountry' is Rosebrock's second work that has debuted at The Atlantic Theater Company. Founded by an ensemble of artists in 1965, it is known for fostering upcoming talent both on the stage and behind the scenes. 'It's a dream. It's definitely my artistic home and I feel totally overcome with emotion every time I come here to work because the energy is so special. The artistic director of the Atlantic has really believed in me and championed my work for several years now, and the first play I did here, 'Blue Ridge,' was just a wonderful experience from start to finish. It happened right after Covid and I wondered, 'Will I ever experience something that great again?'' She says The Atlantic is a space to experiment, 'to have bad ideas and to try your wildest visions to see if they work and get eyes on it from some of the best people in the business.' 'Lowcountry,' Abby Rosebrock's latest work, premieres at The Atlantic Theater in New York on June 5. It runs through July 13. Get your tickets here. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Yahoo
17 hours ago
- Yahoo
Breaking Baz: ‘Bring Her Back' Star Billy Barratt Says He Performed Best In The Horror Pic After Being Locked Alone In A Room Without His Phone
EXCLUSIVE: Billy Barratt, star of Danny and Michael Philippou's grippingly intense, dark and twisted Bring Her Back, was able to get into the mood for horror by being locked alone in a room, he reveals. Brit actor Barratt, 17, who also plays Casper Morrow, one of the few humans able to communicate with the alien invaders in the Apple TV+ drama Invasion, tells Deadline: 'There were moments where Danny would basically lock me in a room by myself, and he goes, 'Just try and get in character.' He shut the door, I'm not allowed to leave. I ended up just sitting there with no phone, no nothing — which is great, by the way. I just sat there for ages, and then when I came back outside of that door, back into the scene … you just feel like you are there are in it.' More from Deadline Horror Twins Danny & Michael Philippou On The Evil That Lies Beneath In Their Latest 'Bring Her Back' – Crew Call Podcast 'Bring Her Back' Review: Sally Hawkins Gaslights Kids & Channels Grief Into Terror In The Philippous' Trauma-Soaked Sophomore Feature 'Lilo & Stitch' Still Rich With $60M-$64M Second Weekend, 'Mission Impossible 8' Near $27M, 'Karate Kid: Legends' Looks To Punch $21M+ - Box Office Update It was funny at first, but then he found it freaky and scary. However, he adds, being shut away for half-hour stretches at a time was useful. 'Seeing the effect it had actually helped me so much, not just in the script but in future projects as well. So thank you, Danny,' he says with gratitude. Bring Her Back is a horror film underpinned by a solid tale involving siblings Andy and Piper, who is vision-impaired, played by Barratt and Sora Wong, respectively. Following the death of their father, they're fostered by Laura, a seemingly — at first glance, at least — kindly, grieving mother whose daughter has died, played by two-time Oscar nominee Sally Hawkins. 'It's more emotion than just jump scares and gory things,' Barratt says with a dramatic shiver. This isn't a spoiler, because it's in all the trailers, but Hawkins scares the living daylights out of those kids – and the audience. There's a third kid involved in the story called Oliver, played with macabre relish by Jonah Wren Phillips. I saw the A24 picture on a recent morning at a screening kindly set up by Sony at its HQ in Paddington, London, and it left me shaken for the rest of the day — and night. Hawkins fully immerses herself in her role. Barratt recalls chatting to her at the wrap party. 'She said to me, 'We should meet up in London because I haven't actually got to meet you as me yet properly.' And I was like, 'Oh, OK. Cool. Right. So you were really Laura in that!'' He makes clear that the actress wasn't 'terrifying' the whole time. 'It only clicked for me when she said that. And I was like, 'Oh, so you were fully immersed the whole time?'' It can be 'quite handy' to stay in character all day, he says, and go the full Daniel Day-Lewis. There were three weeks of pre-production in Adelaide, Australia, the Philippous' home state, which he says, 'actors at my level aren't usually involved in.' Ordinarily, 'you just sort of show up on the first day, they've done their pre-production, and then you just start. Here, everyone felt so involved. Me especially. It actually helped me and Sora to have that sort of brother-sister relationship, which is hard to get until you actually hang out with them. Those first three weeks of pre-production were fun for sure, because it felt like the whole thing was a great big icebreaker.' Barratt studied acting and music at Sylvia Young's drama school in London, and he was cast in several TV shows, films and one musical. That was with Kelsey Grammer in the musical Big Fish, which I happened to have caught. His breakthrough came when he was 12 in director Nick Holt and writer Sean Buckley's Responsible Child , the 2019 Kudos and BBC TV drama that won him the International Emmy for Best Actor, followed by two seasons of Invasion. He's already filmed a third season, possibly coming to screens later this year. There's a genuine brother-and-sister warmth between the Andy and Piper characters in Bring Her Back — and plenty of sibling bickering too. He's always holding her hand, and the relationship doesn't seem at all feigned. 'And also the fact that I'm not sure how much she could see,' Barratt tells me, because like Piper, Sora is partially blind, though she could see more than her character. 'Anywhere we'd go,' he gently adds, 'we'd end up just sort of linking arms. And so I explained to her what I could see, what was going on, and just sort of paint an image for her. Andy's whole thing is he wants to make the world look like a better place for his little sister.' Hawkins' Laura does a bunch of things that I can't spoil here, though as we discuss them, the word that Barratt and I kept repeating was 'weird.' I'd go so far to say, wonderfully weird. Maybe terrifyingly weird is more appropriate. And as Barratt points out, 'Piper cannot see what's going on.' It's a whole mind game and such great writing from Danny Philippou and Michael Hinzman, who wrote Talk to Me. Barrett didn't meet with any psychologists or social workers whilst preparing for the film, but he tells me that he was introduced to Miranda Harcourt, the distinguished dramaturg and acting coach who often works with the likes of Nicole Kidman. 'She helped me and Sora … and also just how to approach certain scenes and just gave options and different exercises to do before a scene to get you real wound up,' he explains. He says that the crew 'were also my therapy.' How so, I ask. 'Because anytime that it was like a sad scene or a really happy scene or whatever, they would match the vibe on set all day. And it was just so a 'We are one' sort of thing.'' For instance, if he had to do a really sad scene, 'everyone would be really quiet for the whole day.' Reviewing Barratt's performances from Responsible Child, through two seasons of Invasion and now Bring Her Back, there is a discernible deeper progression in his acting. I mean, he's growing up. He's not a little kid anymore; he's gained confidence in front of the camera as he's gotten older. It's not something that he's noticed himself, though he notes that there's 'definitely a feeling of being more comfortable on set' that first day when you don't know anyone. 'It's nerve-wracking, and all you can really think about is the scene, but then at the same time, are they going to like it? Am I doing the right thing? There's still time to pull me out of the movie. But that's just what goes through my mind, at least.' Reflecting on Invasion, he points out that he's been on the set with his castmates since he was 13, 'and I'm turning 18 next month.' Shaking his head, he adds, 'It's just been a mad trip, a mad drive, especially through Covid and everything.' There were stops and starts during the pandemic, though there was a period where they had to stop shooting 'for ages.' But when they resumed 'we'd all grown up by that point and all the growth spurts had happened.' The plus factor is that he made lifelong friends through his involvement with Invasion. He took Cassius, his younger brother, to the set while shooting the final episode of Season 2. 'He was acting a little bit before this and then stopped. And then when I took him to that set, he was so amazed by all the lights and the lasers. It was a mad thing to see. He was like, 'I want to start acting again.' There's video on YouTube of the 2020 International Emmy ceremony done remotely. Barratt's at home with his family, and when he's announced as the winner, he turns to Cassius, now 13, and says, 'Man, I love you,' rubs his brother's head affectionately and says, 'That'll be you next.' It's a telling moment. Also in Bring Her Back there are aforementioned moments with Wong, and in certain scenes in Invasion, there's a sort of inherent caring gene that he has that comes through the screen. The matter is not something he's, thought about or is aware of, obviously, but Barratt acknowledges there's something in what I'm suggesting. 'I think that's what freaks me out when I'm watching myself back. Is it too much like me or have I actually got the character down or have I just half-assed that? Because I'm seeing parts of me in there. But then I also think on the flip side of that, I think it's quite important to have a little bit of you in there because that's what makes it natural.' During the Bring Her Back shoot, he says that he saw a lot of his brother in Sora because they're a similar age 'and they have fights and that sort of thing.' He adds: 'It's just siblings, there's a real deep love in it. I definitely saw a lot of my brother in Sora's character.' We spent a long time chatting, and it's clear, at least to me, that Barratt's in it for the long haul. 'I'd love to be involved in every aspect of a film from the moment it started right up to when it comes out,' he says. 'I think there's moments that I miss because as an actor it's just not your job to be involved in those certain scenarios. And I wish I could be involved in that. And I look at some really big actors who will sit next to the director and have a say in what happens. And I don't know if that's because they're able to produce as well or whatever. 'I am not like, massive. You say to anyone: 'What's his name?' I dunno,' he shrugs. 'I'm definitely new. I'm definitely starting, even though I've been doing it for about 11 years now, almost. I'm a new actor, I guess.' Every actor arrives in some shape or from, I suggest. Leonardo DiCaprio didn't arrive fully formed, nor did Timothée Chalamet or Tom Cruise. Taking issue, Barratt argues that 'Leonardo DiCaprio did come fully formed. I love him. And I think every single film I've seen him in from when he was younger than me in these films like Basketball Diaries or What's Eating Gilbert Grape he's just incredible in all of it. I just think there's just some people that have just got it straight away, and I don't class myself with one of those people, I'm still learning, for sure. And I think that's what I mean when I say an 'actor at my level' — someone that doesn't understand a lot of it but really wants to. Wants to be involved in all of it.' We order French fries, a Coke for him and more piping-hot tea for me. Making Responsible Child, about a 12-year-old boy accused of helping to kill his abusive stepfather who was tried in court the same as an adult in England and Wales, opened his eyes to the power of film. After it came out, he realized 'how much of an impact' it had had, with changes made in how police and courts handle such cases. He remembers reading about it and thinking: 'Oh, shit! It's not just sitting down and watching something on Netflix. It can change people's lives.' Certainly, Responsible Child hold is one of those films that stay with you. There are a bunch of movies that have stayed with him too. Like David Fincher's Fight Club, Martin Scorsese's Shutter Island and Christopher Nolan's Inception. He's a big fan of Sofia Coppola's Lost in Translation as well. And Michael Curtiz's Casablanca! He likes Francis Coppola's The Godfather, and now — having watched the Paramount+ series The Offer, about producer Albert S. Ruddy's experience of making The Godfather — he wants to see the whole trilogy. He'd like to work with the Philippou brothers again and admires what he calls their 'genius' way of working. They'd work a full day in the studio and then home and be up until the early hours editing the footage of the day and 'be back at 7 in the morning.' They shot with the same crew and used the same studio they filmed Talk to Me in. It was once an insane asylum. The Babadook was shot there. Apparently, he regales, the studio's haunted on one particular floor. 'We went up to have a little look around,' he recalls, 'This one room was so scary, and there was a pile of dead bees. A lot of bees bang in the center of the film. And people had told stories of cleaners quitting and a security guard going up there and in his ear he could hear whispering. He left and never came back. I would never come back. That's terrifying,' he says, pausing to add, 'a great place to shoot a horror movie.' Season 3 of Invasion was shot in Canada, with Barratt's scenes being shot before and after working on Bring Her Back. 'My hair was really long, and then I went to shoot Invasion, they cut my hair really short. And then I went back out to Canada, and my hair was still short. So then they a wig. But the wig, it just didn't look like it did before. I don't blame anyone for that. I just think it just didn't fit me correctly. It just wasn't right. I've actually watched it back on the cameras, and it looked good. But me actually walking around, it just didn't work.' He's not allowed to give anything away about Season 3 of Invasion, but he does let slip that … Oh, no! I realize that it's way too much of a spoiler to impart. Whatever happens to his Casper Morrow in Invasion, Billy Barratt's in for a long and fruitful career. 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Politico
17 hours ago
- Politico
The conversation begins
Presented by With help from Eli Okun and Bethany Irvine Good Sunday morning. This is Zack Stanton, struggling to believe it's already June. Get in touch. WHAT TRUMP IS POSTING: Last night, President Donald Trump shared a post on Truth Social from an account with 986 followers alleging that Joe Biden was 'executed in 2020,' and replaced with 'clones' and 'robotic engineered soulless mindless entities.' WHAT ERNST IS POSTING: At a town hall Friday, Sen. Joni Ernst (R-Iowa) was answering a question about cuts to Medicaid in the House GOP-passed reconciliation bill when an audience member interrupted her to shout that 'people will die' if because of the changes. Ernst replied that 'we all are going to die' — creating the sort of viral clip that travelled beyond the reaches of the internet to land on the front page of the Des Moines Register. (Watch the exchange, in case you missed it.) Now comes a sarcastic 'apology' video from Ernst. 'I made an incorrect assumption that everyone in the auditorium understood that yes, we are all going to perish from this earth,' Ernst said in a video she shared yesterday on Instagram — and which appears to have been filmed in a cemetery. 'So I apologize. And I'm really, really glad that I did not have to bring up the subject of the Tooth Fairy as well. But for those that would like to see eternal and everlasting life, I encourage you to embrace my lord and savior, Jesus Christ.' More from the Des Moines Register's Stephen Gruber-Miller Speaking of Medicaid … DRIVING THE DAY THE CONVERSATION: When it comes to the ways of Washington, Mehmet Oz is still a novice. That's a position at once new and familiar: Prior to entering politics, he was a famous doctor on TV and, before that, a celebrated heart surgeon in Manhattan. To put a fine point on it: It's been a long time since he's been a rookie in his chosen career. The thrill of the new: 'It is exhilarating to learn new things, especially if you think you can help,' Oz tells Playbook's Dasha Burns in the debut episode of 'The Conversation,' POLITICO's new Sunday show you can watch now on YouTube. Oz thinks he can help: That's partly why he took the job as administrator of the Centers for Medicare and Medicaid Services. 'No one wants to come work in government and do nothing,' he tells Dasha. 'Why would you take that job?' As in medicine, so too in government: Good intentions don't always lead to good outcomes. 'Sometimes, stuff breaks when you try to make a difference,' says Oz. 'I've told the team this multiple times: If we get everything right, we didn't take enough chances.' The stakes are incredibly high. Oz's remit puts him in charge of programs that provide health care for about half of all Americans. Were Medicare or Medicaid to 'break,' it could affect millions of lives. That's the fear voiced by critics of the reconciliation bill, which makes major changes to Medicaid. Opponents of the legislation cite the nonpartisan Congressional Budget Office estimate that 7.6 million people will go uninsured if the policy is enacted. It's not just Democrats: Sen. Josh Hawley (R-Mo.) torched the Medicaid provisions of the bill in a high-profile NYT op-ed a few weeks back. 'If Congress cuts funding for Medicaid benefits, Missouri workers and their children will lose their health care,' he wrote. 'And hospitals will close. It's that simple.' Oz has heard Hawley's critique. 'We're not cutting Medicaid,' Oz insists. 'There is no proposal I've seen … that doesn't increase spending on Medicaid. … We want to take care of folks who are not owning a big part of the economic pie of America. That stated, you have to make the system viable. I'm trying to protect — I'm trying to save Medicaid.' Singing from the same hymnal: 'There are no Medicaid cuts in the 'big beautiful bill,' we're not cutting Medicaid. What we're doing is strengthening the program,' Speaker Mike Johnson said this morning on NBC's 'Meet the Press.' 'We're reducing fraud, waste and abuse … What we're doing here is an important and frankly heroic thing, to preserve the program so that it doesn't become insolvent.' One such change: Oz sees new work requirements as a crucial step in that quest. 'I don't have to get a job. I just have to try to get a job,' Oz says. 'I can volunteer, or some other charitable endeavor. I go get an education or I can take care of someone in the household that needs me — a child. If you're willing to do any of those things, you can keep your health insurance.' Watch the full episode on YouTube: The criticism: On 'Meet the Press,' Sen. Raphael Warnock (D-Ga.) pushed back on that framing. 'I recently released a study in Georgia that shows that this work-reporting requirement — because that's what we're talking about: not work requirement, [a] work-reporting requirement — is very good at kicking people off of their health care,' Warnock said. 'It's not good at incentivizing work at all. There's something wrong here about this kind of view of poor people, of working-class people that somehow they don't want to go to work. We have seen this failed experiment in Georgia.' As some advocates raise concerns about the administrative effort that will result from the requirement — the paperwork, the processing, the verification — and the likelihood that will mean some Medicaid recipients will lose coverage at least for a time, Oz says CMS has the resources right now to handle that new workload. How Oz sees it: 'This is where I do think we have an obligation, all of us in government, to do a better job,' Oz says. 'If the reason not to do something that we all think we should do is we don't think we're capable or competent to do it, that's a problem.' As for the criticism directed his way … Oz says he can take it. 'At this point in my life, I'm mostly a thick skin with some hair on top.' Like and subscribe to 'The Conversation' on YouTube … or listen to the podcast SUNDAY BEST … — OMB Director Russ Vought on impoundment, on CNN's 'State of the Union': 'We're certainly not taking impoundment off the table. We're not in love with the law. It's a law that came after 200 years of precedent and history at the lowest moment of the executive branch. But even the very Impoundment Control Act — notice it's not called the Impoundment Elimination Act.' — World Food Programme Executive Director Cindy McCain on the Trump administration's false claims that no one has died from their foreign aid cuts, on ABC's 'This Week': 'I'm not going to even pretend to understand what's going on inside the U.S. government at this particular point. I know what I see on the ground, not just in Gaza but around the world. There's places like Sudan, the DRC Congo, other places — South Sudan, etc. — they're in just as much trouble as [Gaza]. We need to get aid in, in Gaza, and we need to get it in now to avoid this catastrophe.' — National Economic Council Director Kevin Hassett on trade deal negotiations, on 'This Week': 'I expected that we were going to probably see one perhaps as early as last week. And I think that one of the things that's happened is that the trade team has been focused 100 percent like a laser beam on the China matter to make sure that there are no supply disruptions, because these licenses are coming a little slower than we would like. And so we've been focused like a laser beam on that last week, and the presidents, we expect, will discuss the matter this week. Once that thing's resolved, then we're going to take deals into the Oval that [USTR] Jamieson Greer and [Commerce Secretary] Howard Lutnick had negotiated.' — Lutnick on the court ruling against Trump's tariffs, on 'Fox News Sunday': 'The president is going to win like he always does, but rest assured, tariffs are not going away. He has so many other authorities that even in the weird and unusual circumstance where this was taken away, we just bring on another or another or another. Congress has given this authority to the president, and he's going to use it.' — Treasury Secretary Scott Bessent on scheduling a conversation between Trump and Chinese President Xi Jinping, on CBS' 'Face the Nation': 'I believe we'll see something very soon.' TOP-EDS: A roundup of the week's must-read opinion pieces. 9 THINGS FOR YOUR RADAR 1. HOUSTON, WE HAVE A PROBLEM: Trump announced that he'll yank Jared Isaacman's nomination as NASA administrator, right before he was set to be confirmed by the Senate, as Semafor's Burgess Everett and Shelby Talcott scooped. The entrepreneur and Elon Musk ally was doomed by a loyalty test, as Trump decided to ax the nomination after finding out Isaacman had previously donated to Democrats, NYT's Jonathan Swan and colleagues report. 2. THE REMAKING OF GOVERNMENT: It's not just the big consultants. The Trump administration is now looking at lower-profile technology services contracts with the federal government for potential cuts, WSJ's Chip Cutter scooped. The GSA has asked Dell, CDW and other firms to make a case for why their contracts should be retained, as the administration eyes IT and other tech products for potential savings. The bureau: Director Kash Patel has begun to put his stamp on the FBI, from forced ousters and demotions to an intensive focus on immigration to polygraph tests to find leakers, NYT's Adam Goldman reports. The changes have unleashed 'fear and uncertainty' among employees that Patel and Deputy Director Dan Bongino are politicizing and weaponizing the FBI. And they 'have obliterated decades of experience in national security and criminal matters.' The FBI didn't comment, but Bongino was defiant and unapologetic on X. The cuts: Across the country, huge federal cuts have eroded state and local public health departments, so 'Americans are losing a vast array of people and programs dedicated to keeping them healthy,' AP's Laura Ungar and Michelle Smith report. 'Together, public health leaders said, the cuts are reducing the entire system to a shadow of what it once was, threatening to undermine even routine work.' HHS' heavy cuts to the National Institute for Occupational Safety and Health may force the end of safety trainings for fishermen, loggers and other risky jobs as early as next month, Reuters' Leah Douglas reports. And Trump's budget request would decimate a landmark ecological program, NYT's Rebecca Dzombak reports. 3. WALL STREET GETS A WIN: 'Trump administration prepares to ease big bank rules,' by POLITICO's Michael Stratford: 'Trump-appointed regulators are nearing completion of a proposal that would relax rules on how much of a capital cushion the nation's largest banks must have to absorb potential losses and remain solvent during periods of economic stress. … [It] could be released in the coming months.' 4. IMMIGRATION FILES: The Trump administration's new effort to force undocumented immigrants to register with the government has started to yield criminal charges for people who fail to do so, WaPo's Jeremy Roebuck and Marianne LeVine scooped. But the novel use of a little-known 1940 statute to throw immigrants in jail has faced outright skepticism from some federal judges, who chided prosecutors for going after people who had little chance to even know they had to register. The threat to legal immigrants: As Trump's crackdown has extended beyond undocumented people, more than half a million Haitians, Cubans, Venezuelans and others who entered legally are suddenly vulnerable to deportation after last week's Supreme Court green light, NYT's Hamed Aleaziz writes. The government already has their personal info, and some could quickly be subject to expedited removal outside of immigration courts. Terrified Haitians are trying to figure out what's next, with some hiding at home and others considering Canada, NYT's Sarah Mervosh and Mark Bonamo report. 5. MIDDLE EAST LATEST: Hamas responded to the latest U.S. proposal for a ceasefire and hostage release with Israel, but a deal still looks distant as special envoy Steve Witkoff decried the militant group's answer as 'totally unacceptable,' per Bloomberg. The situation on the ground continued to worsen as an Israeli tank started shooting at Palestinian crowds at a food aid distribution site, with Gaza officials saying dozens were killed, per NBC. … Witkoff also gave Iran an initial framework proposal for a nuclear deal, via Oman, even as a new report revealed that Tehran has massively stepped up its uranium supply, per the NYT. 6. CHILLING EFFECT: 'Trump's law firm sanctions, harshly rejected in court, still have impact,' by WaPo's Mark Berman: 'Lawyers say both the sanctions and the negotiated deals have had a chilling effect, with some firms declining to work on issues counter to the administration's goals, including on immigration.' 7. FOR YOUR RADAR: 'Discrimination cases unravel as Trump scraps core civil rights tenet,' by WaPo's Julian Mark and Laura Meckler: 'The review includes cases and reform agreements forged after years-long investigations that the administration says lacked justification. Civil rights experts estimate that dozens of discrimination cases involving banks, landlords, private employers and school districts could face similar action. … At the center of this effort is 'disparate impact analysis,' which holds that neutral policies can have discriminatory outcomes even if there was no intent to discriminate.' 8. OAN'S RED LINE: 'MAGA outlet's Pentagon correspondent criticized Hegseth. And then she was fired, she says,' by CNN's Brian Stelter: 'A self-proclaimed 'MAGA girl,' [Gabrielle] Cuccia positioned herself as a proudly conservative voice among the normally nonpartisan Pentagon press corps. But she grew perturbed by [Defense Secretary Pete] Hegseth's actions against the press.' Two days after criticizing him on Substack, 'I was asked to turn in my Pentagon badge to my bureau chief,' she said. OAN didn't respond for comment. 9. IN THE WILDERNESS: Could South Carolina lose its brief hold on the early slot in Democrats' presidential primary calendar? From Columbia, POLITICO's Brakkton Booker reports that its association with Biden — who gave South Carolina top billing after it saved his 2020 campaign — could open the door for New Hampshire, Nevada or other Southern states. One potential contender, Minnesota Gov. Tim Walz, told California Dems yesterday that the party must 'find some goddamn guts to fight for working people,' saying Democrats share some blame for Republican control of D.C., POLITICO's Blake Jones reports from Anaheim. TALK OF THE TOWN AB Hernandez, a transgender high school athlete whose presence at a state competition led to Donald Trump threatening California's federal funding, won and shared multiple gold medals. IN MEMORIAM — 'Stanley Fischer, Who Spread the Macroeconomic Gospel, Dies at 81,' by Bloomberg's Laurence Arnold and Alisa Odenheimer: He 'served as vice chairman of the US Federal Reserve from 2014 to 2017 following eight years as governor of the Bank of Israel.' PLAYBOOK METRO SECTION — 'Army says Trump's military parade could cause $16 million in damage to Washington streets,' by NBC's Courtney Kube and colleagues: 'The Army is preparing for the potential harm to Washington streets with several measures it hopes will avert damage. These include using 1-inch-thick steel plates, some as long as 20 feet, at places along the parade route where the tanks must turn and where those turns could cause the most damage to the streets.' WEEKEND WEDDING — Christopher LaCivita Jr., public affairs director and lobbyist at Checkmate Government Relations, and Sheridan Conner, an occupational therapist, got married Saturday in Powhatan County, Virginia. They met at Virginia Tech in 2019. Pic … SPOTTED: Chris and Catherine LaCivita, Terry and Marci Nelson, Skyler and Claire Zunk, Ben and Clare Cassidy, Victoria LaCivita, Chris Gustafson, Ches McDowell, A.J. Fabrizio and Travis Smith. WELCOME TO THE WORLD — Sean McMinn, data/graphics editor at POLITICO, and Nicole McMinn, a biomedical engineer at Walter Reed National Military Medical Center, welcomed Rosemary on Thursday. HAPPY BIRTHDAY: Rep. Lucy McBath (D-Ga.) … Addisu Demissie … FT's Ed Luce … CBS' Olivia Gazis … AP's Bill Barrow … Richard Sant of Lockheed Martin … Karen Tramontano … Leslie Harris … Google's Sasha Moss … U.S. Commission on Civil Rights' Irena Vidulović … The Spectator's Amber Athey … former Rep. Gregg Harper (R-Miss.) … Sean Kennedy of the National Restaurant Association … Advoc8's Jeremy Rose … Matt Winkler … Melissa Hockstad … Jim Innocenzi … Danielle O'Byrne … Diane Zeleny … Christopher Minakowski … Percipient Strategies' Tyler Ross … Terrance Green … Jose Nunez … Heath Knakmuhs of the U.S. Chamber … Kay Coles James … Teamsters' Kate Yeager … Mark Green … Elizabeth Rojas Levi of ERL Group … Constance Boozer ... Elizabeth Glidden … Alex Seitz-Wald … POLITICO's Rahul Sharma Rampa … Alex Stoddard … Dan Bartlett of Walmart Did someone forward this email to you? Sign up here. Send Playbookers tips to playbook@ or text us on Signal here. Playbook couldn't happen without our editor Zack Stanton, deputy Garrett Ross and Playbook Podcast producer Callan Tansill-Suddath.
