Ex-prosecutor: US Judge Planned to Renege on Polanski Deal

Director Roman Polanski appears at an international film festival, where he promoted his film, "Based on a True Story," in Krakow, Poland, on May 2, 2018. (AP)
Director Roman Polanski appears at an international film festival, where he promoted his film, "Based on a True Story," in Krakow, Poland, on May 2, 2018. (AP)
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Ex-prosecutor: US Judge Planned to Renege on Polanski Deal

Director Roman Polanski appears at an international film festival, where he promoted his film, "Based on a True Story," in Krakow, Poland, on May 2, 2018. (AP)
Director Roman Polanski appears at an international film festival, where he promoted his film, "Based on a True Story," in Krakow, Poland, on May 2, 2018. (AP)

A Los Angeles judge privately told lawyers he would renege on a plea deal and imprison Roman Polanski for having sex with a teenage girl in 1977, a former prosecutor testified, setting the stage for the renowned director to flee the US as a fugitive.

A previously sealed transcript obtained late Sunday by The Associated Press late Sunday of testimony by retired Deputy District Attorney Roger Gunson supports Polanski’s claim that he fled on the eve of sentencing in 1978 because he didn’t think he was getting a fair deal.

Gunson said during closed-door testimony in 2010 that he wasn't surprised Polanski fled after the judge had broken several promises made to his defense lawyer.

"The judge had promised him on two occasions ... something that he reneged on," Gunson said. "So it wasn’t surprising to me that, when he was told he was going to be sent off to state prison ... that he could not or would not trust the judge."

Defense lawyer Harland Braun said Friday - in expectation of the transcript's release - that the development would renew his effort to have Polanski sentenced in absentia, which would end his status as a fugitive from justice.

Braun has unsuccessfully tried that before with prosecutors asserting and judges agreeing that Polanski needs to show up in Los Angeles Superior Court to resolve the matter.

Release of the transcript, which was ordered by a California appeals court Wednesday after Los Angeles District Attorney George Gascón dropped longstanding objections his predecessors made to its release, may support Polanski's claims that he was going to be railroaded by a corrupt judge.

The legal saga has played on both sides of the Atlantic as a recurring scene over four decades of a life marred by tragedy and also triumph.

As a child, Polanski escaped the Krakow Ghetto during the Holocaust. His wife, Sharon Tate, was among the seven people murdered in 1969 by followers of Charles Manson.

Polanski, 88, who was nominated for Oscars for 1974′s "Chinatown" and 1979′s "Tess," won the best director statuette for "The Pianist" in 2003. But he wasn't able to accept it because he faces arrest in the US.

France, Switzerland and Poland rejected bids to extradite him back to the United States and he continues to be feted in Europe, winning praise and working with major actors. The Academy of Motion Picture Arts and Sciences, however, expelled him from its membership in 2018 after the "MeToo" movement spurred a reckoning about sexual misconduct.

Polanski’s 13-year-old victim testified before a grand jury that during a photo shoot at Jack Nicholson’s house in March 1977 when the actor wasn’t home, Polanski gave her champagne and part of a sedative, then forced her to have sex. The girl said she didn’t fight him because she was afraid of him but her mother later called the police.

When the girl refused to testify in court, Polanski pleaded guilty to unlawful sex with a minor in exchange for prosecutors dropping drug, rape and sodomy charges.

Polanski has argued that there was judicial misconduct in his case. In 2010, a Los Angeles court took sealed testimony from Gunson about his recollections of promises made to the director by the judge in 1977.

Polanski’s lawyers, who were in the room during Gunson's testimony but couldn't use it in court, have long sought to unseal that transcript to help their case.

Judge Laurence Rittenband, now deceased, had been swayed by publicity in the case and changed his mind several times about the punishment Polanski should face, Braun said.

After a report by probation officials that Polanski should serve no time behind bars, Rittenband sent the director for a further 90-day evaluation in state prison.

After 42 days of evaluation in prison, Polanski was released with a recommendation he only serve probation, Braun said.

But the judge then privately told lawyers he had to be tougher because of criticism in the news media. He said he would send Polanski to prison for a longer term but would then get him released within 120 days, which was possible under sentencing rules.

"Roman says, ‘How can I trust the judge that’s lied twice?’ So he takes off to Europe," Braun said.

Gunson acknowledged during his testimony that the judge had discretion to sentence Polanski to any term because there had been no agreed-upon sentence. But he felt Rittenband had broken promises to Polanski.

The victim, Samantha Geimer, has long advocated that the case be dismissed or that Polanski be sentenced in absentia. She went so far as as to travel from her home in Hawaii to Los Angeles five years ago to urge a judge to end "a 40-year sentence which has been imposed on the victim of a crime as well as the perpetrator."

"I implore you to consider taking action to finally bring this matter to a close as an act of mercy to myself and my family," Geimer said.

The Associated Press does not typically name victims of sex abuse, but Geimer went public years ago and wrote a memoir titled "The Girl: A Life in the Shadow of Roman Polanski." The cover features a photo shot by Polanski.

Polanski agreed to pay Geimer over $600,000 to settle a lawsuit in 1993.

Geimer, who has pressed for investigation of judicial misconduct, asked that the transcript be unsealed and in a letter last month and urged the DA’s office to take a fresh look at the case.

Prosecutors have consistently objected to releasing the material but relented earlier this week to honor Geimer’s wishes and be transparent with the public.

"This case has been described by the courts as ‘one of the longest-running sagas in California criminal justice history,’" Gascón said in a statement. "For years, this office has fought the release of information that the victim and public have a right to know."

However, the DA did not indicate that Polanski would be able to avoid a court appearance. The press release said Polanski remains a fugitive and should surrender to the court for sentencing.



Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
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Movie Review: Stephen Curry's Animated Basketball Movie 'GOAT' Is a Disappointing Air Ball

 Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)
Stephen Curry attends a premiere for the film "GOAT", in Los Angeles, California, US, February 6, 2026. (Reuters)

You'd expect an animated basketball movie with four-time NBA champion Stephen Curry in the producer's chair to be an easy lay-up. So why is “GOAT” such a brick?

Despite a wondrously textured, kinetic world and some interesting oddball characters, the movie is undone by a predictable, saccharine script. It’s as easy to see the steps coming as a Curry three-pointer arching into the net.

The movie has the kind of lazy, thin writing that feels like it all could have derived from a Hollywood happy hour gettogether: “Bro, bro. Wait. What if the GOAT was an actual goat?”

It centers on Will Harris, a goat with dreams of becoming a great baller, voiced by “Stranger Things” star Caleb McLaughlin. Undersized and an orphan — again with the orphans, guys? — Will is a delivery driver for a diner and late on his rent. He's a great outside shooter but a liability in the paint, unless he learns, that is.

He lives in Vineland — a hectic urban landscape with graffiti and living vines that choke the playgrounds — and is a rabid supporter of the local franchise, the Thorns. His idol is veteran Jett Fillmore, a leopard who's the league's all-time leading scorer, nicely voiced by Gabrielle Union. The Thorns are a bit of a mess, despite Jett's brilliance.

The game here is called roarball, a high-intensity, co-ed, multi-animal, full-contact sport derived from basketball with a hollow ball that has small holes. It's a “Mad Max” sport — ultraviolent, unofficiated and the dangers lurk not just from the beefy opponents but from the arena itself. The championship award is called the Claw.

The best part of the movie may be the environments for the other arenas — lava in one, a swamp with stalagmites and stalactites in another, plus an ice-bound one and another with desert sandstorms and rocks. Homefield advantage is a big thing in this league.

There seem to be only two kinds of points scored here — blazing windmills, cutting tomahawks and spectacular alley-oop dunks or slow-mo threes from so far downtown they might as well be in a different zip code. No mid-range jumpers, bro.

This universe is divided into “bigs” and “smalls” — rhinos, bears and giraffes on one side, gerbils and capybara on the other — and Will is deemed a small. “Smalls can’t ball,” he is told, condescendingly.

But Will — thanks to a viral video — improbably gets signed to the Thorns by the team's owner (a cynical warthog voiced wonderfully by Jenifer Lewis). It's seen as a shameless publicity stunt that no one wants, especially Jett, who needs a winning season after being taunted by “All stats, no Claw.”

Now, predictably, in Aaron Buchsbaum and Teddy Riley script, comes the bulk of the movie, giving a steady “The Karate Kid” or “Air Bud” vibe as it charts Will's steady rise to honored teammate and franchise future, despite Jett insisting she's not ready to go: “I’m the GOAT. I’m not passing the torch.”

The lessons are good — the importance of teamwork and believing in yourself — but the testosterone-fueled violence on the courts is WWE extreme. There are unnecessary plugs for Mercedes and Under Armor, and hollow slogans like “Dream big” and “Roots run deep.”

Some of the most interesting characters end up on the Thorns, a fragile, somewhat broken team that includes a rhino (voiced by David Harbour), a delicate ostrich (Nicola Coughlan), a gonzo Komodo dragon (Nick Kroll) and a desultory giraffe (Curry).

The Komodo dragon, named Modo, is the best of the bunch, an insane, unpredictable creature full of electricity. “If Modo was any more of a snack, he’d eat himself,” he declares. Could he get his own movie?

Directed by “Bob’s Burgers” veteran Tyree Dillihay and Adam Rosette, “GOAT” is targeted to Gen Alpha, leveraging cellphone screens and online likes, virality and diss tracks. It's not as funny as it thinks it is and tiresome in its overly familiar redemption arc.

Another potential basketball GOAT — Michael Jordan — gave us a clunker of a live-action- animated basketball movie in “Space Jam” exactly 30 years ago and “GOAT,” while not as bad as that mess, is an air ball none the same.


Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
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Music World Mourns Ghana's Ebo Taylor, Founding Father of Highlife

Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP
Ebo Taylor, who kept performing into his 80s, was instrumental in introducing Ghanaian highlife to international listeners. Nipah Dennis / AFP

Tributes have been pouring in from across Ghana and the world since the death of Ghanaian highlife legend Ebo Taylor.

A guitarist, composer and bandleader who died on Saturday, Taylor's six-decade career played a key role in shaping modern popular music in West Africa, said AFP.

Often described as one of the founding fathers of contemporary highlife, Taylor died a day after the launch of a music festival bearing his name in the capital, Accra, and just a month after celebrating his 90th birthday.

Highlife, a genre blending traditional African rhythms with jazz and Caribbean influences, was recently added to UNESCO's Intangible Cultural Heritage list.

"The world has lost a giant. A colossus of African music," a statement shared on his official page said. "Your light will never fade."

The Los Angeles-based collective Jazz Is Dead called him a pioneer of highlife and Afrobeat, while Ghanaian dancehall star Stonebwoy and American producer Adrian Younge, who his worked with Jay Z and Kendrick Lamar, also paid tribute to his legacy.

Nigerian writer and poet Dami Ajayi described him as a "highlife maestro" and a "fantastic guitarist".

- 'Uncle Ebo' -

Taylor's influence extended far beyond Ghana, with elements of his music appearing in the soul, jazz, hip-hop and Afrobeat genres that dominate the African and global charts today.

Born Deroy Taylor in Cape Coast in 1936, he began performing in the 1950s, as highlife was establishing itself as the dominant sound in Ghana in the years following independence.

Known for intricate guitar lines and rich horn arrangements, he played with leading bands including the Stargazers and the Broadway Dance Band.

In the early 1960s, he travelled to London to study music, where he worked alongside other African musicians, including Nigerian Afrobeat pioneer Fela Kuti.

The exchange of ideas between the two would later be seen as formative to the development of Afrobeat, a political cocktail blending highlife with funk, jazz and soul.

Back in Ghana, Taylor became one of the country's most sought-after arrangers and producers, working with stars such as Pat Thomas and CK Mann while leading his own bands.

His compositions -- including "Love & Death", "Heaven", "Odofo Nyi Akyiri Biara" and "Appia Kwa Bridge" -- gained renewed international attention decades later as DJs, collectors and record labels reissued his music. His grooves were sampled by hip-hop and R&B artists and helped introduce new global audiences to Ghanaian highlife.

Taylor continued touring into his 70s and 80s, performing across Europe and the United States as part of a late-career renaissance that cemented his status as a cult figure among younger musicians.

Many fans affectionately referred to him as "Uncle Ebo", reflecting both his longevity and mentorship of younger artists.

For many, he remained a symbol of highlife's golden era and of a generation that carried Ghanaian music onto the world stage.


'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
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'Send Help' Repeats as N.America Box Office Champ

Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)
Canadian actor Rachel McAdams and US actor Dylan O'Brien pose upon arrival on the red carpet for the UK premiere of the film 'Send Help' in central London on January 29, 2026. (Photo by CARLOS JASSO / AFP)

Horror flick "Send Help" showed staying power, leading the North American box office for a second straight week with $10 million in ticket sales, industry estimates showed Sunday.

The 20th Century flick stars Rachel McAdams and Dylan O'Brien as a woman and her boss trying to survive on a deserted island after their plane crashes.
It marks a return to the genre for director Sam Raimi, who first made his name in the 1980s with the "Evil Dead" films.

Debuting in second place at $7.2 million was rom-com "Solo Mio" starring comedian Kevin James as a groom left at the altar in Italy, Exhibitor Relations reported.

"This is an excellent opening for a romantic comedy made on a micro-budget of $4 million," said analyst David A. Gross of Franchise Entertainment Research, noting that critics and audiences have embraced the Angel Studios film.

Post-apocalyptic Sci-fi thriller "Iron Lung" -- a video game adaptation written, directed and financed by YouTube star Mark Fischbach, known by his pseudonym Markiplier -- finished in third place at $6.7 million, AFP reported.

"Stray Kids: The Dominate Experience," a concert film for the K-pop boy band Stray Kids filmed at SoFi Stadium in Los Angeles, opened in fourth place at $5.6 million.

And in fifth place at $4.5 million was Luc Besson's English-language adaptation of "Dracula," which was released in select countries outside the United States last year.

Gross called it a "weak opening for a horror remake," noting the film's total production cost of $50 million and its modest $30 million take abroad so far.

Rounding out the top 10 are:
"Zootopia 2" ($4 million)
"The Strangers: Chapter 3" ($3.5 million)
"Avatar: Fire and Ash" ($3.5 million)
"Shelter" ($2.4 million)
"Melania" ($2.38 million)