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Police officers stand near a body covered by a tarp outside of Feather River Adventist School after a shooting Wednesday, Dec. 4, 2024, in Oroville, Calif. (Michael Weber/The Chico Enterprise-Record via AP) Police officers stand near a body covered by a tarp outside of Feather River Adventist School after a shooting Wednesday, Dec. 4, 2024, in Oroville, Calif. (Michael Weber/The Chico Enterprise-Record via AP) Emergency personnel state outside the Feather River Adventist School after a shooting Wednesday, Dec. 4, 2024, in Oroville, Calif. (Michael Weber/The Chico Enterprise-Record via AP) Police tape blocks a road outside the Feather River Adventist School after a shooting Wednesday, Dec. 4, 2024, in Oroville, Calif. (Michael Weber/The Chico Enterprise-Record via AP) Police officers stand near a body covered by a tarp outside of Feather River Adventist School after a shooting Wednesday, Dec. 4, 2024, in Oroville, Calif. (Michael Weber/The Chico Enterprise-Record via AP) PALERMO, Calif. (AP) — Two children were wounded in a shooting Wednesday at a small religious K-8 school in Northern California and the shooter died from a suspected self-inflicted gunshot, sheriff’s officials said. The children’s conditions were not immediately known. The shooting occurred Wednesday afternoon at the Feather River School of Seventh-Day Adventists, a private, K-8 school in Palermo, a community of 5,500 people about 65 miles (104 km) north of Sacramento. Related Articles National News | Abandoned mines in the US pose dangers to people and property when land gives way National News | Dog food recalled in 7 states for salmonella risk after puppy litter gets sick, FDA says National News | White House says at least 8 US telecom firms, dozens of nations impacted by China hacking campaign National News | Powell: Fed’s independence from politics is vital to its interest rate decisions National News | United Healthcare CEO kept a low public profile. Then he was shot to death in New York Butte County Sheriff Kory L. Honea said the 911 calls reported “an individual on campus who had fired shots at students,” and said that the shooter did not appear to have a connection to the school. The motive was not immediately known, he continued. One student was flown to a nearby hospital, Honea said. Authorities rushed students to the Oroville Church of the Nazarene to be reunited with their families, the sheriff’s office said. The school has been open since 1965 and caters to fewer than three dozen children, according to its website.
NEW YORK (AP) — Brian Thompson led one of the biggest health insurers in the U.S. but was unknown to millions of people his decisions affected. Then Wednesday's targeted fatal shooting of the UnitedHealthcare CEO on a midtown Manhattan sidewalk thrust the executive and his business into the national spotlight. Thompson, who was 50, had worked at the giant UnitedHealth Group Inc for 20 years and run the insurance arm since 2021 after running its Medicare and retirement business. As CEO, Thompson led a firm that provides health coverage to more than 49 million Americans — more than the population of Spain. United is the largest provider of Medicare Advantage plans, the privately run versions of the U.S. government’s Medicare program for people age 65 and older. The company also sells individual insurance and administers health-insurance coverage for thousands of employers and state-and federally funded Medicaid programs. The business run by Thompson brought in $281 billion in revenue last year, making it the largest subsidiary of the Minnetonka, Minnesota-based UnitedHealth Group. His $10.2 million annual pay package, including salary, bonus and stock options awards, made him one of the company's highest-paid executives. The University of Iowa graduate began his career as a certified public accountant at PwC and had little name recognition beyond the health care industry. Even to investors who own its stock, the parent company's face belonged to CEO Andrew Witty, a knighted British triathlete who has testified before Congress. When Thompson did occasionally draw attention, it was because of his role in shaping the way Americans get health care. At an investor meeting last year, he outlined his company's shift to “value-based care,” paying doctors and other caregivers to keep patients healthy rather than focusing on treating them once sick. “Health care should be easier for people,” Thompson said at the time. “We are cognizant of the challenges. But navigating a future through value-based care unlocks a situation where the ... family doesn’t have to make the decisions on their own.” Thompson also drew attention in 2021 when the insurer, like its competitors, was widely criticized for a plan to start denying payment for what it deemed non-critical visits to hospital emergency rooms. “Patients are not medical experts and should not be expected to self-diagnose during what they believe is a medical emergency,” the chief executive of the American Hospital Association wrote in an open letter addressed to Thompson. “Threatening patients with a financial penalty for making the wrong decision could have a chilling effect on seeking emergency care.” United Healthcare responded by delaying rollout of the change. Thompson, who lived in a Minneapolis suburb and was the married father of two sons in high school, was set to speak at an investor meeting in a midtown New York hotel. He was on his own and about to enter the building when he was shot in the back by a masked assailant who fled on foot before pedaling an e-bike into Central Park a few blocks away, the New York Police Department said. Chief of Detectives Joseph Kenny said investigators were looking at Thompson's social media accounts and interviewing employees and family members. “Didn’t seem like he had any issues at all,” Kenny said. "He did not have a security detail.” AP reporters Michael R. Sisak and Steve Karnowski contributed to this report. Murphy reported from Indianapolis. Copyright 2024 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission. We're always interested in hearing about news in our community. Let us know what's going on! Get the latest in local public safety news with this weekly email.
Hulu Schedule December 9-15 2024: New TV Shows & Movies Being Added By December 13, Friday brings both No Way Up and A Sudden Case of Christmas to the platform. No Way Up is a thriller movie that revolves around a group of plane crash survivors, who after their commercial flight crashes into the Pacific Ocean, struggle to survive as their air supply slowly runs out and they are preyed upon by sharks. A Sudden Case of Christmas is a family comedy following an American couple who bring their 10-year-old daughter to her grandfather’s hotel in The Dolomites, Italy in August. The family usually visits on Christmas, making Claire realize that her parents are breaking up. This leads to Claire colluding with her grandfather to plan a series of activities to reunite her parents and make them patch things up. Also dropping on Hulu this week are the first two seasons of MILF Manor. This is a reality TV series focusing on eight confident women who depart their homes to find love at an exotic location. New Hulu releases for December 9-15 2024 Below are all the new TV shows and movies being added to Hulu from December 9-15 2024. For more Hulu content, . Abdul Naushad is a Contributing SEO Writer. He has previously written over a 100 articles for Sportskeeda. In his spare time, he likes to play video games, watch movies and aimlessly browse and watch different kinds of YouTube videos whether they be gaming reviews, movie explanations or even funny sketches and skits. Share articleLONDON — A woman who claimed mixed martial arts fighter Conor McGregor "brutally raped and battered" her in a Dublin hotel penthouse was awarded nearly 250,000 Euros ($257,000) on Friday by a civil court jury in Ireland. Nikita Hand said the Dec. 9, 2018, assault after a night of partying left her heavily bruised and suffering from post-traumatic stress disorder. McGregor testified that he never forced the woman to do anything against her will and said she fabricated the allegations after the two had consensual sex. His lawyer had called Hand a gold digger. The fighter, once the face of the Ultimate Fighting Championship but now past his prime, shook his head as the jury of eight women and four men found him liable for assault after deliberating about six hours in the High Court in Dublin. He was mobbed by cameras as he left court but did not comment. He later said on the social platform X that he would appeal the verdict and the "modest award." Hand's voice cracked and her hands trembled as she read a statement outside the courthouse, saying she would never forget what happened to her but would now be able to move on with her life. She thanked her family, partner, friends, jurors, the judge and all the supporters that had reached out to her online, but particularly her daughter. "She has given me so much strength and courage over the last six years throughout this nightmare to keep on pushing forward for justice," she said. "I want to show (her) and every other girl and boy that you can stand up for yourself if something happens to you, no matter who the person is, and justice will be served." The Associated Press generally does not name alleged victims of sexual violence unless they come forward publicly, as Hand has done. Under Irish law, she did not have the anonymity she would have been granted in a criminal proceeding and was named publicly throughout the trial. Her lawyer told jurors that McGregor was angry about a fight he had lost in Las Vegas two months earlier and took it out on his client. "He's not a man, he's a coward," attorney John Gordon said in his closing speech. "A devious coward and you should treat him for what he is." Gordon said his client never pretended to be a saint and was only looking to have fun when she sent McGregor a message through Instagram after attending a Christmas party. He said Hand knew McGregor socially and that they had grown up in the same area. She said he picked her and a friend up in a car and shared cocaine with them, which McGregor admitted in court, on the way to the Beacon Hotel. Hand said she told McGregor she didn't want to have sex with him and that she was menstruating. She said she told him "no" as he started kissing her but he eventually pinned her to a bed and she couldn't move. McGregor put her in a chokehold and later told her, "now you know how I felt in the octagon where I tapped out three times," referring to a UFC match when he had to admit defeat, she said. Hand had to take several breaks in emotional testimony over three days. She said McGregor threatened to kill her during the encounter and she feared she would never see her young daughter again. Eventually, he let go of her. "I remember saying I was sorry, as I felt that I did something wrong and I wanted to reassure him that I wouldn't tell anyone so he wouldn't hurt me again," she testified. She said she then let him do what he wanted and he had sex with her. A paramedic who examined Hand the next day testified that she had never before seen someone with that intensity of bruising. A doctor told jurors Hand had multiple injuries. Hand said the trauma of the attack had left her unable to work as a hairdresser, she fell behind on her mortgage and had to move out of her house. Police investigated the woman's complaint but prosecutors declined to bring charges, saying there was insufficient evidence and a conviction was unlikely. McGregor, in his post on X, said he was disappointed jurors didn't see all the evidence prosecutors had reviewed. He testified that the two had athletic and vigorous sex, but that it was not rough. He said "she never said 'no' or stopped" and testified that everything she said was a lie. "It is a full blown lie among many lies," he said when asked about the chokehold allegation. "How anyone could believe that me, as a prideful person, would highlight my shortcomings." McGregor's lawyer told jurors they had to set aside their animus toward the fighter. "You may have an active dislike of him, some of you may even loathe him – there is no point pretending that the situation might be otherwise," attorney Remy Farrell said. "I'm not asking you to invite him to Sunday brunch." The defense said the woman never told investigators McGregor threatened her life. They also showed surveillance video in court that they said appeared to show the woman kiss McGregor's arm and hug him after they left the hotel room. Farrell said she looked "happy, happy, happy." McGregor said he was "beyond petrified" when first questioned by police and read them a prepared statement. On the advice of his lawyer, he refused to answer more than 100 follow-up questions. The jury ruled against Hand in a case she brought against one of McGregor's friends, James Lawrence, whom she accused of having sex with her in the hotel without consent. Get local news delivered to your inbox!
Your black plastic kitchen utensils aren’t so toxic after all. But you should still toss them, group saysIn Adam J. Graves and Suchitra Mattai’s Anuja , resilience in the face of hardship is the central heartbeat. The short film, doubling as both a heartwarming tribute to sisterhood and as a social awareness campaign about the effects of unchecked child labor, focuses on Anuja (Sajda Pathan), a young girl who lives with her older sister, Palak (Ananya Shanbhag), in Delhi, India as they live in poverty working long hours at a garment factory. One day, when a social worker (Gulshan Walia) arrives at the factory to expose the overseer for working Anuja illegally, he proposes that the youngster take part in an exam that will get her into a boarding school to better her chances of escaping her station. The two sisters are then tasked to raise money for the participation fee while Anuja decides the fate of her future. Fresh off of Academy Award voting precursor wins for best live-action short at the HollyShorts Film Festival in Los Angeles and the grand prize winner at the New York International Short Film Festival, the short film has also garnered support from Indian filmmakers Mindy Kaling and Guneet Monga Kapoor . Below, Graves talks to Deadline about his inspirations, working with young actors and raising awareness about the plights of child labor. DEADLINE : You have a varied background, from your PhD in philosophy to your various studies within South Asian culture and language. You also are a teacher. I’m curious how your expertise helped shape you as a filmmaker and come up with the origins of Anuja. ADAM J. GRAVES: I did my undergraduate degree in South Asian studies and wrote a master’s thesis on Abhinavagupta, the 12th-century Kashmir Shaivism philosopher who wrote in the domain of Indian Hindu philosophy known as Tantra. But it’s not [the same as the] new age Tantrism today. His work had very little to do with that. I spent about five or six years of my life going back and forth between India and I studied at Banaras Hindu University. I was always fascinated with Indian culture and literature, especially philosophy. And so, I knew that I wanted to film in India. It’s such a visually beautiful place. The energy and the culture are so rich. My wife is of South Asian descent. She played a large role in shaping this project and inspiring it, quite frankly. Her family’s history is rather complicated. Her ancestors go back to a place called Gorakhpur in northern India. They were brought by the British to Guyana as indentured laborers after the British abolished slavery. They turned to indentured servitude, and because of that family history, we’ve always been interested and concerned with labor issues. So that was the origins of the project, just bringing these two things together, wanting to shoot in India, and also having a concern with labor issues. And we were coming out of the pandemic, and everybody was talking about supply chains. But they were talking about the consumer end of supply chains. And we’re like, “Well, what’s happening on the other end? Not just here, but what’s going on where in terms of the production?” We came across a statistic that one in 10 kids, globally, is engaged in child labor, which was shocking to us because that seemed like an incredibly high number, 160 million kids. And we thought, “Well, how many films, really, can we think of off the top of our head that deal with those kids or with kids living in that context?” And we couldn’t think of that many. So, we thought this would be an interesting way to anchor the story. Let me just say that I feel that it’s an incredible privilege to be able to make film. And if you can, if you have the opportunity, then why not use the lens as a window that you can provide people into another world and provide people an experience that will allow them to empathize with people who don’t maybe have it as well off as some of us. Principally, I feel a film has to be a work of art that speaks to some of the universal aspects of human existence. DEADLINE : While your short film does examine the life of child labor, it also has levity and this balance between resilience and joy amongst the struggle. Anuja has her sister and even strangers who care about her future and safety. Why was it important to add this layer to the film? GRAVES: Two things happened. One, while we were doing research for the film and we were meeting with the children who were either working or formally working, it was just so evident to us, early on, that we had to pay tribute to the joy that these kids were able to find in really difficult circumstances. The kind of energy, creativity, and resilience was palpable when we met with these kids, so we wanted to make sure that we built that into the film and become part of the story. It wasn’t just a doom and gloom story about kids who had it tough, but it was also a story that highlights the resilience and the spirit of these children. Secondly, we wanted to make sure the film was something these kids would enjoy. I mean, they kind of became the audience for us as we were kind of crafting this story. We wanted to make sure that it wasn’t just going to be a film. We knew that we were going to share it with them. And we want it to be a gift to them in some way, something that they would watch and enjoy. And that meant it had to be more than just a dark, dramatic portrait of life in a factory. DEADLINE : You worked with Salaam Baalak Trust, which is also where you ended up finding the lead actress. What was the collaboration process like? GRAVES: It developed organically while we were researching. We were working with a number of nonprofits actually in and around Delhi. And the Salaam Baalak Trust’s mission seemed to resonate with what we were trying to do with the film. I think that has to do with the fact that it’s a nonprofit founded by the director Mira Nair’s family. Mira Nair is a towering figure in global cinema. She’s of Indian origin, but she’s lived in Uganda, New York, and everywhere else. So, I don’t want to say she’s an Indian filmmaker because she’s a person of the world. But she made a movie, Salaam Bombay! , about street children in Bombay, in what is now Mumbai. And after her mother saw the film, she was inspired to start a nonprofit. So, with the help of Mira, they established this organization that provides a home and educational opportunities for street children. Maybe I’m speculating, but I think because a film inspired this nonprofit, that organization recognized that art, especially performing arts, can be a really important vehicle for cultivating a kid’s sense of self-worth and confidence. So, they have a really robust theater program within this orphanage. So, when we were developing the film, they understood right away what we were trying to do. On the other hand, some of the other organizations thought we were trying to make a documentary about them. And because they have a theater program, they had a lot of kids who they wanted to submit. We felt early on that, “OK, we have to try. We know it’s going to be difficult, but we have to try to cast directly from the community.” Then the Salaam Baalak Trust was an organization that was open. Their kids were excited to be featured in a film. So, when we were casting, we looked at self-tapes from all over India, especially a lot from Mumbai and the film industry, kids who already had a film background. But we also received a lot from the Salaam Baalak Trust and from a couple of other nonprofits. They’re also located in the Paharganj, one of two neighborhoods that are up against each other in Old Delhi. I knew I wanted to film there, and one of the factories we filmed was just north of there. The movie theater we wanted to film in was north of there as well. They helped us with everything from locations to research. Ideally, we want to use the film as a tool to raise awareness about child labor, but also, hopefully, gets money for the Salaam Baalak Trust. They do great work. DEADLINE : Talk about casting Sajda Pathan and Ananya Shanbhag as sisters. They are so great onscreen. GRAVES: We were so lucky, Sajda. She lives at the Salaam Baalak Trust. But just not long before she was in the film, less than a year before, she was living on the streets with her older sister. She acted before she was cast in Anuja , so I can’t take credit for having discovered her or anything, but her own life experience parallels in really interesting ways that of the character of the film. And that’s pure accident. We didn’t write the script for her. But she was living without parental support on the streets and had an older sister. So, I think partly because she has an older sister, she could connect with Ananya. Ananya has a younger sibling, so when they met, they just immediately clicked. We didn’t do much in the way of rehearsals because, in my very limited experience working with child actors, sometimes the more you rehearse, the less life there is in the performance. And I think that can be true for children actors or adult actors. So, what we did is we tried to get them together. We all stayed in a hotel together, like a motel/hotel down in Paharganj and in close quarters. Sajda was staying with a social worker, and Ananya had her father along on set. We spent every moment of the day together for about three days before we started shooting. We played games, we had ice cream, and we had fun. They enjoyed each other’s company, and just very quickly became super tight. And you could see that. DEADLINE : Mindy Kaling and Guneet Monga Kapoor joined as producers on Anuja . That must have been very affirming. What do you think people are resonating with? GRAVES: These are two of my favorite people in the world, not just because they’re on board. We’ve specifically pursued them because [of what] we saw in them, their own causes, and the kinds of work they do. So, Guneet, for example, The Lunchbox is one of my favorite all-time films, an early feature film she’d worked on. And, of course, The Elephant Whisperers ... she consistently makes incredible work. It meant a lot to us to have such a towering figure within Indian cinema endorse the film and come on board and get behind it. Mindy herself has done so much for raising awareness of and foregrounding stories of women and girls. She’s also a towering figure, not just in the entertainment arts industry world but also among the Indian diaspora community. And so having her vouch for the film and having it resonate with her so much is really important. I think the thing that’s incredibly satisfying for every filmmaker who finds an audience is the sense that it somehow captures something universal, so you don’t have to come from this background to somehow be inspired by it or recognize yourself in it. We were trying to capture something about the universal features of childhood, and I think that’s one of the things that Mindy saw there, and that’s really heartwarming for us to have her on board. So, we’re super flattered, honored, and excited to see where it goes from here. DEADLINE : You’re in the conversation for the Oscars. What’s going through your mind, and what would you like people to consider? GRAVES: The two leads of the film, Sajda and Ananya, are the heart and soul of this project. I think anybody who watches films knows. Our cinematographer, Akash Raje, is incredible. I’m proud of all aspects of the film. But the heart and soul are these two incredibly gifted young actresses who gave us everything they got. And I’m just so proud of the fact that their performances are finally getting an audience, and they’re being seen. And my dream—and this is the thing that I try not to fantasize too much about—is to bring Sajda to the Oscars. I’ll tell you a silly story. When I was flying over for production, I was in LAX. I wanted to bring something for Sajda, a gift for the two actresses. But I was sick right before the trip, so I didn’t have much chance to shop. So, when I got to the airport, I wanted to bring them something from America that would be more interesting to them instead of picking something up at the Indian airport. I went into the gift shop and found a hat and sweater for Ananya, but they didn’t have anything in Sajda’s size because she’s so small. So, I found this Oscar replica statue. Of course, she had no idea what it was at the time when I gave it to her, so we had to explain it to her. But before we shot the film, I have a photo of her with this plastic Oscar, and the fact that we are now in this position talking about the real Oscar is really surreal. [This interview has been edited for length and clarity]