Judge Weighs Request to Withhold Investigation Records in Deaths of Gene Hackman and Wife

Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)
Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)
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Judge Weighs Request to Withhold Investigation Records in Deaths of Gene Hackman and Wife

Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)
Gene Hackman poses during the 60th annual Golden Globe Awards in Beverly Hills, California, US, January 19, 2003. (Reuters)

A New Mexico court is weighing whether to block the disclosure of an array of records from an investigation into the deaths of actor Gene Hackman and his wife, Betsy Arakawa, at the request of the couple’s estate.

Santa Fe-based Judge Matthew Wilson scheduled a hearing Monday to consider a request from estate representative Julia Peters to seal photos, video and documents to protect the family’s constitutional right to privacy. The court put a temporary hold on the release of records pending the hearing.

The partially mummified remains of Hackman and Arakawa were found in their Santa Fe home on Feb. 26, when maintenance and security workers showed up at the home and alerted police. Authorities have confirmed Hackman, 95, died of heart disease with complications from Alzheimer’s disease about a week after his wife's death. Hackman may have been unaware Arakawa, 65, was dead.

Her cause of death was listed as hantavirus pulmonary syndrome, which is a rare, rodent-borne disease.

New Mexico’s open records law blocks public access to sensitive images, including depictions of dead bodies. Experts also say some medical information is not considered public record under the state Inspection of Public Records Act.

Peters has emphasized the possibly shocking nature of photographs and video in the investigation and potential for their dissemination by media in the bid to block them from being released.

The Hackman family estate's lawsuit also seeks to block the release of autopsy reports by the Office of the Medical Investigator and death investigation reports by the Santa Fe County Sheriff’s Office.

The bulk of death investigations by law enforcement and autopsy reports by medical investigators are typically considered public records under state law in the spirit of ensuring government transparency and accountability.

Authorities unraveled the mysterious circumstances of the couple's deaths and described their conclusions at a March 7 news conference without releasing most related written and photographic records.

One of the couple’s three dogs, a kelpie mix named Zinna, also was found dead in a crate in a bathroom closet near Arakawa. Two other dogs survived.

The written request to seal the records notes the couple placed “a significant value on their privacy and took affirmative vigilant steps” to safeguard it during their lives, including after they moved to Santa Fe and Hackman retired. The state capital is known as a refuge for celebrities, artists and authors.

Arakawa had no children, while Hackman is survived by three children from a previous marriage. Privacy likely also will play a role as the couple’s estate is settled. According to probate court documents, Hackman signed an updated will in 2005 leaving his estate to his wife, while the will she signed that same year directed her estate to him. With both of them dying, management of the estate is in Peters' hands.

A request is pending to appoint a trustee to administer assets in two trusts associated with the estate. Without trust documents being made public, it’s unclear who the beneficiaries are and how the assets will be divided.

Attorneys who specialize in estate planning in New Mexico say it’s possible more details could come out if there were any legal disputes over the assets. Even then, they said, the parties likely would ask the court to seal the documents.



Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
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Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)

It’s a bird, it’s a plane, it’s a ... a purple and orange shape-shifting chemical compound?

Writer-director James Gunn’s “Superman” was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind “Guardians of the Galaxy” and “The Suicide Squad,” has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.

But you don’t get more mainstream than Superman. And let’s face it, unless Christopher Reeve is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.

In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (Rachel Brosnahan) and Lex Luthor (Nicholas Hoult) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (Anthony Carrigan).

Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in “Superman.” But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like Chris Pratt’s Star-Lord in “Guardians of the Galaxy.” And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.

The heavy lift of “Superman” is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.

Not everything works in “Superman.” For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found Zack Snyder’s previous administration painfully ponderous, this “Superman,” at least, has a pulse.

It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s “Superman” is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.

We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.

Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.

Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.

She and Kent are already an item in “Superman.” When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if “Superman” ought to have been “Lois,” instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.

That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.

The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn's juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that's Krypto's cue to fly back into the movie and run amok.

Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien" by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, “Superman” is an immigrant story.

Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect “Superman” something quite rare in the assembly line-style of superhero moviemaking today: human.