Entertainment

The inner workings of the Department of Homeland Security under President Donald Trump are being laid bare in a forthcoming book, revealing a dysfunctional environment shaped by alleged romantic entanglements and a relentless pursuit of the president’s mass deportation agenda. Julia Ainsley’s Undue Process: The Inside Story of Trump’s Mass Deportation Program, set for release in early May, paints a picture of an agency grappling with internal power struggles and a shifting mission, moving away from its post-9/11 focus on counterterrorism towards aggressive immigration enforcement.

At the center of the reported turmoil is the relationship between then-Secretary Kristi Noem and Corey Lewandowski, her advisor and enforcer. While both have publicly denied a romantic connection, the book details how their alleged affair was widely discussed within Washington political and media circles, eventually making its way into reports from outlets like the Wall Street Journal. Ainsley quotes unnamed officials describing the relationship as “common knowledge,” with one Customs and Border Protection official stating, “They don’t hide it.”

The dynamic reportedly created a tense atmosphere within DHS. Officials were hesitant to voice concerns or challenge Lewandowski, fearing retribution from Noem. “She would ask, ‘Why is everyone so quiet?’ when it was plain to see people were afraid to speak up in front of Corey,” one CBP official told Ainsley. The book suggests Lewandowski wielded significant influence over agency operations, impacting everything from contractor selection to the types of detention facilities constructed.

Lewandowski’s involvement extended to the controversial creation of migrant detention centers, including the “Alligator Alcatraz” facility in the Florida Everglades and a compound in Guantánamo Bay. Ainsley reports that Lewandowski favored these austere, cost-cutting measures over proposals for more traditional detention facilities, pushing for a cheaper solution to house the large number of immigrants Trump aimed to deport. This aligns with reporting from earlier this year indicating funding allocated to Homeland Security – nearly $170 billion, almost double its annual budget – was being used to power ICE operations and the largest domestic deportation operation in American history.

The White House initially attempted to limit Lewandowski’s formal role within DHS, vetoing his appointment as Noem’s chief of staff due to the widespread rumors surrounding their relationship. Stephen Miller, Trump’s deputy chief of staff and a key architect of the administration’s immigration policies, reportedly found the alleged infidelity personally objectionable, even advising a CBP official to “stay away from Corey.” However, Lewandowski was ultimately brought on as a “special government employee,” a designation that ostensibly limits government work to 130 days a year, a restriction Ainsley claims he largely disregarded.

Ainsley’s reporting highlights a broader shift in priorities within DHS under Trump. The agency, originally established to protect the country from terrorist attacks, was increasingly focused on fulfilling the president’s campaign promise of mass deportations. This transition was accompanied by a change in culture, with Noem reportedly undergoing a physical transformation to align with a specific “MAGA aesthetic,” including dental surgery and cosmetic enhancements. She also embraced a theatrical approach, famously appearing at an ICE briefing in New York City in a Kevlar vest while Trace Adkins’ “Hot Mama” played, earning her the nickname “ICE Barbie.”

The book also reveals that Trump reportedly considered Noem as a potential running mate in 2024, but her name was removed from consideration after she disclosed shooting her family dog in a memoir. However, Ainsley reports that Trump actually viewed this detail as a positive, believing it demonstrated a willingness to make tough decisions – a quality he valued in his homeland security secretary.

Undue Process suggests that Lewandowski’s influence within DHS was largely unchecked, with officials fearing repercussions for questioning his authority. He reportedly insisted on signing off on any expenditure over $100,000, a significant increase from the previous threshold of $25 million, prompting complaints from contractors. The book portrays Lewandowski as a figure who, like a “cockroach,” had become immune to attempts to remove him from the agency.

The revelations in Ainsley’s book offer a glimpse into the complex dynamics and internal conflicts that characterized the Department of Homeland Security during the Trump administration, as it navigated the politically charged landscape of immigration enforcement and the president’s ambitious deportation agenda. The book’s release is expected to further fuel debate about the policies and practices implemented during that period, and the impact they had on both the agency and the individuals caught in its crosshairs.

Selin Demiratar, best known to international audiences for her role as İdil Ertürk in the Turkish television series Adanalı, has re-emerged into public view after a period of relative seclusion. The actress, who stepped away from acting following her marriage in 2020, was recently spotted at an Istanbul shopping mall, sparking conversation about her current life and potential return to the screen.

Demiratar first gained prominence with her role in the drama series Acı Hayat, followed by appearances in Adanalı, Şüphe and Huzur Sokağı. Her decision to leave acting after marrying businessman Mehmet Ali Çebi signaled a desire for a quieter life, a sentiment she reinforced in previous statements. She previously stated she was content with “a peaceful life with my husband, my cats, and my dogs.”

The actress’s recent appearance has generated considerable interest, not only due to her continued striking appearance – observers commenting that she “hasn’t aged a bit” – but also because of a subtle shift in her outlook. Demiratar revealed she has qualified for Turkey’s EYT (early retirement) system, a program designed to allow individuals who began working at a young age to retire earlier. This detail, coupled with her previous statements about enjoying a more relaxed pace of life, initially suggested a firm commitment to her post-acting life.

However, recent reports indicate Demiratar may be considering a return to the entertainment industry. According to sources, she is currently evaluating potential projects. “I am in talks about work. If a project resonates with me, I will be on screen,” she reportedly said, signaling a potential willingness to revisit her former career. This news has understandably excited her fans, who have long admired her performances.

Demiratar’s career trajectory reflects a broader trend within the Turkish entertainment industry, where actors sometimes choose to step away from the demanding schedules of television and film production to pursue other interests or prioritize family life. The intense production pace of Turkish dramas, known for their long seasons and frequent episodes, can be particularly challenging. Her initial departure was framed as a conscious choice to prioritize personal well-being and her new marriage.

The actress’s social media presence, maintained under the handle @slndmrtr on Instagram, offers glimpses into her current life. With over 173,000 followers, she shares occasional updates and photos, often featuring her friendships with fellow celebrities like Hadise and Seda Bakan. This continued engagement with the public suggests a desire to remain connected, even while maintaining a degree of privacy.

The possibility of Demiratar’s return to acting comes at a time when the Turkish television landscape is constantly evolving. Streaming platforms are gaining prominence, offering new opportunities for actors and creators. The demand for compelling Turkish content remains high, both domestically and internationally. A well-chosen project could allow Demiratar to leverage her established fanbase while exploring new creative avenues.

While no specific projects have been announced, Demiratar’s willingness to consider offers suggests a potential shift in her priorities. Her initial focus on a quiet life away from the cameras appears to be tempered by a continued passion for the industry and a desire to engage with her audience. The coming months will likely reveal whether she decides to once again grace the screen, and if so, what kind of role she will choose to take on.

The actress’s story resonates with a wider conversation about work-life balance and the choices women make in balancing career aspirations with personal fulfillment. Her initial decision to step away from acting was met with understanding and respect, and any potential return will likely be viewed through a similar lens – as a personal choice driven by her own desires and priorities.

For now, fans will be watching with anticipation, hoping to see Selin Demiratar once again embody a compelling character and bring her talent to a new generation of viewers. The actress’s journey, from rising star to private citizen and potentially back again, is a testament to the dynamic nature of the entertainment industry and the evolving paths of those who choose to navigate it.

The relationship between BBC Radio 3 and veteran classical music critic Norman Lebrecht has ended following a public dispute with pianist Yuja Wang. Wang accused Lebrecht of “derogatory misogynistic bullying” after receiving an email from him questioning her commitment to a scheduled interview.

The exchange began when Lebrecht emailed Wang, expressing his “surprise and disappointment” that she continued to postpone an interview they had agreed to a year prior. According to Wang’s post on Instagram, Lebrecht’s email stated, “I thought you were a serious person who stood by her commitments. I may have to revise that opinion.”

Wang responded publicly on Instagram, sharing a screenshot of Lebrecht’s email and writing, “@normanlebrecht this derogatory misogynistic bullying need [sic] to stop. We are human beings who grow with nourishing energy, not characters for you to abuse.”

Sam Jackson, controller of BBC Radio 3, swiftly responded to Wang’s post. “When we saw the social media post we took action – we have spoken to Norman Lebrecht and we will no longer be working with him at BBC Radio 3,” Jackson stated. Lebrecht had presented “lebrecht.live” on Radio 3 since 2000 and “The Lebrecht Interview” from 2006 to 2016, with a recent revival in 2024.

Lebrecht, who also runs the classical music blog Slipped Disc, offered his own account of the situation. He acknowledged sending the email to Wang after repeated postponements of the interview, stating he felt he had been “a tad sharp” but denied any intent to bully or engage in misogyny. “She published the email, the BBC took a view and pulled my next series. I apologised to Sam Jackson and the BBC for any unintended embarrassment,” he said.

The BBC confirmed that Lebrecht was not under contract for any future shows at the time of the incident, but discussions regarding potential guests were underway. The swiftness of the BBC’s decision underscores the sensitivity surrounding accusations of bullying and misogyny, particularly in the public sphere.

This isn’t the first time Lebrecht’s commentary has sparked controversy. His blog, Slipped Disc, is known for its often-provocative takes on the classical music world and he has a long history as a journalist for publications including the Telegraph and the Evening Standard. He is also the author of several books.

The incident comes as Wang prepares for a performance with the London Symphony Orchestra on March 1st, 2026. A representative for Wang stated she had no further comment on the matter.

The fallout raises questions about the boundaries of critical commentary and the power dynamics between journalists and artists. Wang’s public response, utilizing the reach of social media, highlights a growing trend of artists directly confronting perceived mistreatment. While Lebrecht maintains his email was simply a frustrated inquiry, the BBC’s decision suggests a zero-tolerance policy for behavior perceived as bullying, even if unintentional.

The situation also echoes a broader conversation within the entertainment industry regarding accountability and the treatment of artists. The #MeToo movement and subsequent discussions have brought increased scrutiny to power imbalances and abusive behavior, prompting organizations and individuals to re-evaluate their standards of conduct.

Beyond the immediate consequences for Lebrecht, the incident is likely to fuel further debate about the role of critics in the digital age. The ease with which artists can now directly address their audiences bypasses traditional media gatekeepers, potentially leading to more frequent and public confrontations. This shift could reshape the relationship between artists and critics, demanding greater sensitivity and accountability from all parties involved.

The timing of this dispute is also notable, occurring amidst ongoing discussions about gender equality and representation within the classical music world. Wang, as one of the most prominent and internationally recognized pianists of her generation, carries significant cultural weight. Her decision to publicly challenge Lebrecht’s behavior sends a clear message about the standards of respect she expects and the broader expectations for a more inclusive and equitable industry.