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During a rally Wednesday, Alaska Democratic Senate candidate Mary Peltola dismissed a New York Times report alleging her campaign took part in an effort to peel votes away from incumbent Republican Sen. Dan Sullivan to a same-named rival, calling the story a "distraction" used to sell papers.
"This is just another distraction," Peltola said in a video shared on X by local Alaskan writer Matt Tunseth. "It's another diversion. Every day, it’s some new, you know, ‘Look over here moment.’ Not Dan Sullivan, registered Republican, incumbent, voted for this war in Iran 14 times. Lisa Murkowski quit voting for that war in Iran six months ago, and he’s doubling and tripling down."
The New York Times published an investigation Wednesday that described a covert operation, internally dubbed the "ballot composition project," to recruit spoiler candidates with the same name as Sullivan.
DEM BUCKS PARTY OVER ALLEGED ALASKA VOTE-SIPHONING EFFORT: 'NEITHER PARTY SHOULD BE DOING IT'
According to the report, a Peltola staffer was directed since 2025 to comb through state voter rolls to compile a list of Alaskans named Dan Sullivan.
The operation allegedly involved aides from the Democratic Senatorial Campaign Committee (DSCC), top campaign advisors, party lawyers and an operative who traveled across the state under assumed names.
"The plan worked. This spring, a retired teacher from a tiny fishing village along the Alaska Panhandle, reachable only by air and sea, announced his candidacy for Senate. His name was Dan J. Sullivan," the Times reported.
At the rally, however, Peltola dismissed the report, claiming that it was made to "get subscriptions."
"And this is not somebody who’s working in our best interest. And anybody who’s working in our best interest isn’t going to talk about the nonsense. This is all stuff to sell newspapers. This is all stuff to get subscriptions. Nobody at The New York Times cares about affordability in Alaska," Peltola said.
Fox News Digital reached out to the Peltola campaign and The New York Times for comment but did not immediately hear back.
Sen. Sullivan campaign spokesperson Nate Adams told Fox News Digital, "Instead of admitting she has been caught red-handed in a scheme to manipulate and deceive Alaska voters, Mary Peltola's response is to attack the media outlets she has been lying to for months."
Elisa Rios, Peltola’s former campaign manager who was fired in August, told the Times that while Peltola was not directly involved in orchestrating the project, she was "definitely aware."
In a previous statement to Fox News, the DSCC said it was not involved with the other Sullivan campaign.
TRUMP SAYS 'WE ARE LOOKING INTO' OTHER DAN SULLIVAN ON ALASKA BALLOT, WARNS ABOUT GOVERNOR'S RACE
"Republicans have a long history of recruiting and propping up candidates in an attempt to boost their own campaigns, including recruiting a prisoner with a New York address to run against Mary Peltola and spending nearly half a million dollars to secure a spot on the ballot in Alaska for an Arizona resident in the Senate race this cycle," a DSCC spokesperson said.
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In a statement to The New York Times, Peltola’s campaign said, "The Alaskans for Mary campaign has no involvement with either Sullivan campaign and did not recruit any candidates into the race."
EXCLUSIVE — CBS News editor-in-chief Bari Weiss faced "significant resistance" from staff at Thursday's 9 a.m. meeting about the growing Alaska ballot controversy, network insiders told Fox News Digital.
"This is a scandal," Weiss declared to staff.
According to multiple sources on the call, several CBS News staffers pushed back at Weiss' enthusiasm over the bombshell New York Times report alleging Democrats schemed to find a Dan Sullivan to run against incumbent Republican Sen. Dan Sullivan, in hopes of aiding Democratic opponent Mary Peltola.
DEM STRATEGIST SHRUGS OFF ALASKA BALLOT SCANDAL ON MS NOW, INSISTS 'THIS STUFF HAPPENS ALL THE TIME'
Many on the call shrugged it off as routine politics and said Republicans have also engaged in similar scheming.
When Weiss asked for other examples of ballot confusion, "Face the Nation" moderator Margaret Brennan reportedly pointed to New Hampshire Senate candidate John Sununu, suggesting that midterm voters might confuse him with his brother, former Gov. Chris Sununu.
ALASKA'S GOVERNOR ODERS INVESTIGATION AFTER NYT REPORT ON ALLEGED DEM-LINKED SENATE ELECTION SCHEME
CBS News political correspondent Ed O'Keefe also insisted that such tactics are nothing new. Earlier that morning, during his appearance on "CBS Mornings," O'Keefe stressed to viewers that what happened in Alaska "could be a dirty trick, but it's not illegal," adding that "this has happened before, kind of." He pointed to the 2016 Alaska Senate race when former Anchorage mayor Dan Sullivan — no relation to the U.S. Senator of the same name — briefly ran against incumbent Sen. Lisa Murkowski in the GOP primary, hoping "name recognition" of the other sitting senator would help his own candidacy.
A separate CBS staffer on the call pushed back against the notion that colleagues like Brennan and O'Keefe were trying to downplay the scandal, telling Fox News Digital they were providing context to the story being discussed.
The staffer also said the meeting was never contentious and that it was a "healthy, good conversation."
Still, Weiss called the uproar in Alaska a "great story" that the network should follow and urged staff to push for stories like the one The New York Times broke, calling it a "learning moment."
A spokesperson for CBS News declined to comment.
Republicans have long been suspicious about the candidacy of Daniel J. Sullivan Jr., a retired teacher who is among four Senate candidates listed on Alaska's rank-choice ballot. The Department of Justice filed a lawsuit against the state of Alaska seeking to block certification of the election results if the incumbent senator loses and votes cast for the other Sullivan could have changed the outcome.
On Wednesday, The New York Times alleged his candidacy was no coincidence.
"In the summer of 2025, a staffer for Mary Peltola, the Alaska Democrat who was eyeing a run for Senate, received unusual instructions from top campaign aides: Find as many people named Dan Sullivan in Alaska as you can," the Times began its report Wednesday.
"The staffer complied, combing through voter records to produce a list of Dan Sullivans from across the state. ... [I]f the Peltola campaign or its allies could track down and persuade another Dan Sullivan to run for Senate, the confusion could cost the senator crucial votes on the state’s unusual, four-person ballot. The plan worked," the report said.
SEN DAN SULLIVAN BRANDS PELTOLA'S ALLEGED BALLOT SCHEME A 'SCANDAL AT THE HIGHEST ORDER'
According to Peltola's former campaign manager, Elisa Rios, Peltola was not directly involved in the scheme but was "definitely aware."
Peltola's campaign has denied involvement in his candidacy.
"But The Times has found, based on interviews and text messages, along with documents prepared for a potential lawsuit against the campaign, that not only did Ms. Peltola’s team work with people trying to recruit Mr. Sullivan to run for Senate, but the effort was much broader," the Times reported. "The group worked to coax other would-be spoilers into the race, to dilute the incumbent’s support and help catapult the Democrat to victory."
Peltola called the Times report a "distraction" and "stuff to sell newspapers." However, Republican Alaska Gov. Mike Dunleavy has ordered an investigation into whether any crimes or civil violations were committed.
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O filme “Karl Marx, Luanda”, do artista angolano Kiluanji Kia Henda, vai ter estreia mundial no Festival Internacional de Cinema de Roterdão, em janeiro, nos Países Baixos, revelou hoje a organização.
Em “Karl Marx, Luanda”, Kiluanji Kia Henda imagina um país que “renova o seu compromisso com o comunismo” e conta “uma história de amor com viagens no tempo”, que combina “ficção científica africana com ‘western spaghetti’”, como descreveu o festival.
O filme tem coprodução entre Angola e Portugal (pela Wonder Maria Filmes) e representa um regresso de Kiluanji Kia Henda ao festival de Roterdão, onde apresentou em 2021 a performance “Red Light Square – history is a bitch project: Kinaxixi”, sobre o Largo de Kinaxixi, em Luanda, um projeto desenvolvido em residência no Porto.
Artista multidisciplinar nascido em 1979, Kiluanji Kia Henda aborda, através da arte, a memória coletiva, os espaços públicos e a sociedade. Tem refletido sobre o pós-colonialismo em várias exposições e criações, com trabalhos como “Redefining the power”, sobre os movimentos pela retirada de monumentos, que têm emergido na América, na Europa e também em África.
Em 2012 recebeu o Prémio Nacional de Arte e Cultura, em Angola, e, em 2017 o Frieze Artist Award, atribuído pela feira de arte londrina com o mesmo nome, dedicado a jovens emergentes.
Já marcou presença em iniciativas como a Bienal de São Paulo, e foi selecionado para exposições no Centre George Pompidou, em Paris, em 2020, na Tate Modern, em Londres, em 2018, e no Guggenheim de Bilbau, em 2015, o mesmo ano em que fez parte de uma mostra no Smithsonian, em Washington.
É ainda autor do Memorial de Homenagem às Pessoas Escravizadas, para ser instalado na zona da Ribeira das Naus, em Lisboa.
O filme “Karl Marx, Luanda” é um dos primeiros títulos a ser anunciado para a 56.ª edição do festival de cinema de Roterdão, marcada de 28 de janeiro a 07 de fevereiro de 2027.
Charles Barkley did not appreciate seeing LeBron James practicing his golf swing on the court during the middle of the national anthem ahead of his Philadelphia 76ers debut earlier this month.
President Donald Trump blasted James after the incident, calling him a "total disgrace," and while Barkley made it a point to say he doesn't care what the President has to say about anything, the two see eye to eye when it comes to James disrespecting the anthem.
"I don’t pay what President Trump says any attention, first and foremost, at all," Barkley began when asked about the moment on SiriusXM NBA Radio. "But I thought that was very disrespectful, practicing your golf swing in the middle of the anthem. I always stand for the anthem. I just think it’s important. We live in the greatest country ever where you can always protest, but I think you have to be very careful with the anthem."
This is not the first time James has decided that the middle of the national anthem was an opportune time to work on his golf swing.
Last Christmas, while playing for the Los Angeles Lakers, James got in a few practice swings ahead of his team's eventual loss to the Houston Rockets.
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While Barkley mentioned always being allowed to protest, it doesn't appear that James was protesting anything in this instance, but instead simply not being able to stand still and disrespecting the anthem in the process.
"I look at it, I'm supporting the troops when I stand for the national anthem," Barkley continued. "I'm standing there for free speech, so even though I believe in free speech, I think you have to be very careful with the anthem. I always stand for the anthem. I think it's important, and I think it's significant."
James' faux golf swings in the middle of the anthem have understandably drawn attention and criticism, but perhaps the most disrespectful stunt he's pulled during 'The Star-Spangled Banner' came back in 2023.
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As a late arrival to his courtside seats at USC to watch his son, Bronny James, play for the Trojans, LeBron made his entrance during the middle of the anthem, with a hat on, and sat in his seat while the rest of the arena was standing and showing respect to the United States.
Coro peint et multiplie les portraits de sa sœur, qui s'est noyée. Sa douleur ne s'éloigne pas. Pour s'apaiser, elle roule en voiture la nuit. Un soir, elle tombe en panne d'essence et part chercher de l'aide. Elle est proche d'un grand domaine nommé Béthanie — le nom du village où habitaient les plus proches amis de Jésus selon l'Évangile. Ses habitantes lui proposent de l'accueillir pour la nuit — une simple escale avant de régler le problème le lendemain. Pourtant Coro ne repartira pas. D'heure en heure, dans cette maison perdue au milieu d'une végétation à l'opulence suffocante, bruissante de vies animales, elle devient le jouet d'une assemblée de femmes : Tresa, Catina, les jumelles Rebeca et Magdalena, Gloria, Missa Tita — une infirme en fauteuil roulant à qui l'on doit baiser la main. Il y a aussi Adel, une jeune fille sauvage, elle-même séquestrée, dont les parents semblent s'être volatilisés. Coro finit par mettre des mots sur ce qu'elle vit : « Je dois partir. Je ne me sens pas bien. Elles sont en train de me droguer. » Elles, les femmes cloîtrées. Diaboliques, méthodiques.
De bêtes et d'oiseaux est le premier roman de Pilar Adón à être traduit en français (1). La Madrilène, née en 1971, poétesse et romancière (Les Éphémères, Les Filles de Sara), est également éditrice et traductrice de littérature anglaise. On lui doit notamment la traduction en espagnol (Algo del otro mundo) de Something Special, la longue (et unique) nouvelle de la fabuleuse Iris Murdoch. Adón est publiée ici dans la collection « Les hallucinés ». C'est pertinent, car l'atmosphère de son histoire est véritablement troublante.
Cette communauté qui cerne et admoneste Coro constitue « une légion d'expertes dans l'art de la lutte ». Et la lutte est sévère. La tactique des habitantes de la maison consiste à ne pas répondre à ses demandes, tout en la plongeant dans des rites quotidiens — les repas, les tâches ménagères, les leçons d'Adel, la promenade au lac. Les dialogues sont obsédants, tout se joue dans une mécanique du ressassement, du décalage, de la rétention, du mensonge. Cela rend folle Coro, qui, seule contre elles toutes, perd son équilibre (quand elle ne perd pas tout simplement connaissance) et ne sait plus quoi tenter pour s'extraire de cet encerclement qui la dévitalise lentement et sûrement. Un homme fait son apparition, qui se dit le propriétaire et demande aux femmes cloîtrées de quitter les lieux. Elles le congédient, il fait demi-tour — impossible de résister longtemps au venin de ces « expertes », qui de surcroît portent toutes un couteau à la ceinture.
Et il y a les odeurs, les robes, les chênes, les racines, la pierre et l'eau, les feuilles, les vipères, les moineaux, le silence et les bruits soudains. La matière organique donne le tempo, flux permanent qui confère au livre son étrangeté, à la croisée des poèmes d'Emily Dickinson, du roman gothique anglo-saxon et du thriller dystopique (comme La Servante écarlate). Des affinités qui ne rendent pas tout à fait compte de la singularité du texte, incisif, géométrique, à l'écoute des paradoxes : « Tout est temporaire et, pour autant, la somme des caractères transitoires fait que la vie se maintient dans la continuité. »
Traduit de l'espagnol par Michelle Ortuno, Éditions du Typhon, Marseille, 2026, 236 pages, 23 euros.
(1) Certaines de ses nouvelles ont été traduites. Par exemple, El fumigador (le désinsectiseur), dans le numéro 2 de la revue Kanyar.
« J'ai pris, du premier au dernier jour, Nadja pour un génie libre. » En 1928, André Breton, chef de file du mouvement surréaliste, publie Nadja (1), un « récit autobiographique » mêlant souvenirs et réflexions avant l'entrée en scène de Nadja, « venant en sens inverse ». Du 4 au 13 octobre 1926, ils marchent, échangent. La liberté d'esprit de cette femme de 23 ans, qui affirmait : « On ne m'atteint pas », sa sensibilité, sa disponibilité face à l'irruption de l'insolite et du merveilleux incarnent pour Breton l'idéal d'un surréalisme affranchi des normes. « André ? André ?… Tu écriras un roman sur moi » : la liaison devient lésion, Nadja s'enfonce dans la folie. Le 21 mars 1927, elle est internée. Breton écrit entre août et décembre de la même année.
« Que de mensonges André » ; « D'ailleurs vous ne ressentez plus et c'est dans les autres que vous continuez à récolter ». Réunis pour la première fois, ces 51 lettres et textes adressés par Nadja à Breton (2), du 22 octobre 1926 au 25 février 1927, font entendre, dans cette correspondance à sens unique, les lettres de Breton ayant disparu, ses mots à elle. « Comment encore ai-je pu lire ce compte rendu… entrevoir ce portrait dénaturé de moi-même sans me révolter ni même pleurer… »
« Nadja n'est pas un roman, c'est l'évocation authentique d'une destinée hors série », prévient la quatrième de couverture de l'édition revue, complétée et remaniée par Breton en 1963. Il y a près de vingt ans, Hester Albach, écrivaine néerlandaise, avait enquêté. Ses sources : archives, témoignages familiaux, correspondances accessibles (3). Nadja s'appelle Léona Delcourt. Née en 1902 près de Lille, elle a une fille, vit dans la précarité, se prostitue parfois, cherche à Paris son indépendance et rêve de théâtre. Elle entretient avec Breton une relation qui ne se limite pas aux neuf jours racontés dans Nadja, mais s'étend sur plusieurs mois. Le récit de Breton reconstruit, sélectionne, réorganise leur histoire. La réédition de 1963 supprime notamment l'épisode de la nuit passée à l'Hôtel Le Prince de Galles, à Saint-Germain-en‑Laye. Nadja n'en est que plus insaisissable.
Ella Balaert veut, elle aussi, retrouver « la femme cachée dans le mythe » (4). Elle désigne Breton comme « celui qui s'est collé à ta bouche, telle une sangsue, pour en aspirer les images et les mots utiles à son texte, pour en avaler jusqu'à ton âme. Je ne sais pas ce que tu attendais, mais ce n'est pas là l'image que tu as de toi ; ce n'est pas l'image que tu croyais que Breton avait de toi ». Deux réalités se confrontent : celle de Breton, qui transforme Léona en figure poétique propre au surréalisme ; et celle de Léona, faite de besoins et de désirs, de peur et de souffrance. « La beauté sera convulsive ou ne sera pas », écrit Breton. Mais, à mesure que la figure de Nadja se désincarne, le corps de Léona n'est plus que douleur. « Dans ton corps convulsif, tordu de souffrance, d'effroi et de faim, la beauté n'y sera plus jamais », répond Balaert.
En 1941, Léona meurt à l'asile de Bailleul, victime, comme tant d'autres patients, de la famine qui frappe les hôpitaux psychiatriques sous le régime de Vichy, tandis que Breton se réfugie aux États-Unis. Deux trajectoires désormais irréconciliables : l'exil et la poursuite d'une œuvre d'un côté ; l'enfermement psychiatrique puis la mort par cachexie de l'autre. Le mythe s'estompe. L'histoire de Nadja se réécrit. En filigrane, celle de Breton aussi. « J'ai confiance en l'avenir qui me fermera les yeux », écrivait-elle le 25 février 1927.
(1) André Breton, Nadja, Gallimard, Paris, 1928 ; édition revue en 1963, Folio.
(2) Olivier Wagner, Nadja. Lettres à André Breton, suivies d'autres textes et d'un choix de dessins, Gallimard, Paris, 2026, 176 pages, 22 euros.
(3) Hester Albach, Léona, héroïne du surréalisme, Actes Sud, Arles, 2009.
(4) Ella Balaert, Léona D. La femme cachée dans le mythe de Nadja, Éditions des femmes - Antoinette Fouque, Paris, 2026, 240 pages, 18 euros.
Em 2026, o LEFFEST – Lisboa Film Festival celebra uma data redonda: 20 edições e uma longa história marcada por retrospetivas, estreias mundiais e filmes estreados ou premiados ao longo do ano nos principais festivais internacionais.
O festival decorre de 6 a 15 de novembro e dissemina a programação por cinco salas da cidade. Aos espaços habituais do Cinema Medeia Nimas, Cinema São Jorge, Teatro do Bairro e Culturgest junta-se, nesta edição, o Cinema NOS Vasco da Gama, no Parque das Nações. Se, nos tempos que correm, ir à sala de cinema pode ser considerada uma opção de nicho, a inclusão de uma sala da NOS num recinto comercial vem demonstrar que, afinal, pode não ser bem assim.
A programação, como sempre, é eclética. Não se pretende agradar a todos, antes exibir obras cinematográficas que, na perspetiva de quem programa – o produtor Paulo Branco – merecem a atenção do público. Na Seleção Oficial, estão 11 filmes em competição. Entre eles, “Mariage au goût d”orange”, do francês Christophe Honoré, “Os Christophers”, do norte-americano Steven Soderbergh, e “Scherzetto”, do italiano Mario Martone. O romeno Radu Jude também faz parte da lista, com o “Diário de uma Criada de Quarto”, numa reinterpretação do clássico de Octave Mirbeau, assim como o mexicano Fernando Eimbcke, que traz ao LEFFEST a obra “Moscas”, reconhecida no Festival de Berlim.
Em competição estarão, também, a cineasta alemã Valeska Grisebach com “The Dreamed Adventure”, galardoada em Cannes, a austríaca Sandra Wollner com “Everytime”, distinguida na secção Un Certain Regard, e o russo Kantemir Balagov com “Butterfly Jam”. A representação latino-americana fica a cargo de “La perra”, da chilena Dominga Sotomayor, enquadrada na secção Quinzena dos Cineastas. A fechar a competição estará “Notre Salut”, do belga Emmanuel Marre, e “Ela Olhava Sem Nada Ver”, que leva a assinatura da atriz e realizadora francesa Fanny Ardant.
O LEFFEST não é feito apenas de competição entre cinematografias. Também acolhe antestreias fora de concurso e produções premiadas no circuito dos festivais ao longo do ano. Destaque para “Soudain”, de Ryusuke Hamaguchi, cujas intérpretes foram distinguidas em Cannes, “Bajañí”, do espanhol Fernando Trueba, “Coward”, do belga Lukas Dhont, “Fatherland”, do polaco Paweł Pawlikowski, e “Ink”, do britânico Danny Boyle, que abriu o Festival de Veneza.
O premiado e deliciosamente controverso cineasta dinamarquês Lars von Trier será objeto de uma retrospetiva praticamente integral da sua filmografia. E não será a única. Kelly Reichardt, Sophie Letourneur e o português Tiago Guedes, todos com presença confirmada em Lisboa, também verão as suas obras exibidas no LEFFEST, a que se soma o ciclo dedicado ao realizador sul-coreano Lee Chang-dong.
O júri da Seleção Oficial é presidido pelo realizador canadiano David Cronenberg, que estará em Lisboa para falar sobre o seu filme “M. Butterfly”, de 1993, numa conversa aberta ao público com a atriz Barbara Sukowa. Numa extensa lista de presenças o LEFFEST já anunciou que Abel Ferrara e Béatrice Dalle estarão na apresentação de “Salò, ou os 120 Dias de Sodoma”, de Pier Paolo Pasolini.
Frédéric Bonnaud, diretor-geral da Cinemateca Francesa, é outra das presenças confirmadas. A ele caberá falar sobre o filme “The Stranger”, de Orson Welles. Já a exibição de “My Brother’s Wedding” será acompanhada por Charles Burnett, figura central do movimento L.A. Rebellion. O cineasta britânico Mike Leigh marcará presença à distância para apresentar “Tender Loving Care”.
Como já é habitual, o LEFFEST propõe um programa que ultrapassa os limites da sala de cinema, criando pontes com outras artes e disciplinas. Consulte aqui tudo o que vai acontecer nos dez dias do festival.
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