Alec Baldwin's Criminal Case Hinges on Wild West Revolver

An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.
An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.
TT

Alec Baldwin's Criminal Case Hinges on Wild West Revolver

An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.
An undated photo of the reproduction 1873 long Colt .45 Single Action Army revolver actor Alec Baldwin was using on the New Mexico set of western movie "Rust" in 2021. Santa Fe County Sheriff's Office/Handout via REUTERS.

A Colt .45 "Peacemaker" revolver, a symbol of the American Wild West, is at the center of actor Alec Baldwin's fight to avoid criminal prosecution for the 2021 fatal shooting of "Rust" cinematographer Halyna Hutchins on a New Mexico movie set.
Baldwin's 15-month battle with New Mexico state prosecutors is heading towards a July 10 climax when the actor is scheduled to face trial for involuntary manslaughter over Hollywood's first on-set shooting with a live-round in modern times.
The movie's weapons handler Hannah Gutierrez was sentenced to 18 months imprisonment on Monday for Hutchins' death. Baldwin's legal team is trying to have his indictment thrown out. His lawyers could seek a plea bargain if that fails.
But should the charge hold, Baldwin's trial is likely to focus on whether he pulled the trigger of his reproduction 1873 Colt .45 after he said he was directed - either by director Joel Souza or Hutchins - to point it at the cinematographer, according to different statements he made to the police and then to media.
Baldwin argues that Hutchins died due to a breakdown in film industry firearms safety protocol, which as an actor he was not responsible for. According to Reuters, he said it was not his job to inspect the gun and that he did not pull the trigger after Gutierrez mistakenly loaded a live round instead of an inert dummy.
Firearms and legal experts do not expect a Santa Fe, New Mexico, jury to necessarily see it that way.
In the Southwest United States, where gun ownership is routine, there is a cultural norm to check whether a weapon is loaded and never point it at someone and pull the trigger, according to Ashley Hlebinsky, executive director of the University of Wyoming Firearms Research Center.
Some local jurors may not differentiate between handling a gun on a movie set or in real life. Persuading jury members, especially gun owners, that the revolver went off on its own could be a hard sell, said the firearms historian.
Still, Hlebinsky sees a possible path to acquittal for Baldwin: namely, the argument his lawyers laid out in their motion to dismiss that the gun was modified to make it "easier to fire without pulling the trigger." That motion is now being considered by a judge.
"The defense just have to put doubt into the head of the jury," said Hlebinksy, who has acted as a firearms expert in court cases on single action Colt .45-type revolvers similar to the "Rust" weapon. "I think they can definitely do that."
CONFLICTING ACCOUNTS
It was six weeks after the Oct. 21, 2021 shooting that Baldwin said in an ABC News interview with George Stephanopoulos that he did not pull the trigger of the Italian-made gun.
Days later, the actor told a New Mexico workplace safety inspector that the Pietta reproduction Colt Single Action Army revolver had no mechanical defect.
Baldwin's statement that the gun "went off" on its own, and his comment that it worked properly, are part of New Mexico state prosecutor Kari Morrissey's assertion that the "30 Rock" actor has "lied with impunity" about details of the shooting.
"They're going to have to walk back from that statement a bit," trial lawyer Neama Rahmani said of Baldwin's legal team.
The former federal prosecutor expected the actor's lawyers to frame the incident as "an accidental discharge," a term meaning the gun fired due to mechanical failure.
He said it was an unusual though not unheard of legal position, most often employed in cases where a defendant was seeking to reduce a charge from murder to manslaughter.
According to Baldwin's lawyers, someone filed down the full-cock notch of the long Colt .45 after it was supplied brand new to the production, to make it easier to fire.
Lucien Haag, an independent gun expert hired by the state, testified at Gutierrez's trial that the full-cock notch was worn down and broken off by FBI testing, rather than filing.
FBI tests of the gun found it was in normal working condition when it arrived at their lab in Quantico, Virginia, after the shooting. An investigator had to hit the hammer with a mallet to make it fire without pulling the trigger, the blows damaging the hammer and trigger, according to the FBI.
Baldwin risks jeopardizing his credibility if he changes his story on the trigger, said lawyer Kate Mangels. She expected him to continue to blame others for firearm safety failures as prosecutors accuse him of negligence, both as an actor and the film's most powerful producer.
"At this juncture it would be difficult for Baldwin's defense team to change course," said Mangels, a partner at entertainment law firm Kinsella Holley Iser Kump Steinsapir.
Hlebinsky, the firearms expert, said movie-set armorers she knows, who have seen pictures of the hammer on Baldwin's gun, are uncertain whether the full cock notch was worn down by mallet blows or filing. She expected Baldwin's legal team to find a firearms expert to testify it was the latter.
"I don't think anyone can say 100% what happened," she said of the gun.



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)
TT

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
TT

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)
TT

'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)