Trump Administration to Cut $600 Million in Health Funding From Four States; The New York Times, February 9, 2026

Apoorva Mandavilli , The New York Times; Trump Administration to Cut $600 Million in Health Funding From Four States

The states, all led by Democrats, used the grants to support a wide variety of functions, including H.I.V. prevention and surveillance.

"The Trump administration plans to rescind $600 million in public health funds from four states led by Democrats because it finds the grants “inconsistent with agency priorities,” according to documents reviewed by The New York Times.

The programs slated to be cut are in California, Colorado, Illinois and Minnesota. They include grants to state and local public health departments as well as to some nongovernmental organizations. A list of the cuts was shared with relevant congressional committees on Monday.

The funds are administered through the Centers for Disease Control and Prevention. They include grants given to states for a variety of purposes, including hiring staffs, modernizing data systems and managing disease outbreaks. Some programs are aimed at the needs of specific communities.

Some of the cuts will be finalized this week and others over the coming weeks, totaling roughly $600 million. The figure was first reported by The New York Post."

The Children of Dilley; ProPublica, February 9, 2026

Mica Rosenberg, ProPublica; The Children of Dilley: 

ProPublica went inside the immigrant detention center for families in Dilley, Texas. Children held there told us about the anguish of being ripped from their lives in the United States and the fear of what comes next.

"Dilley, run by private prison firm CoreCivic, is located some 72 miles south of San Antonio and nearly 2,000 miles away from Ariana’s home. It is a sprawling collection of trailers and dormitories, almost the same color as the dusty landscape, surrounded by a tall fence. It first opened during the Obama administration to hold an influx of families crossing the border. Former President Joe Biden stopped holding families there in 2021, arguing America shouldn’t be in the business of detaining children.

But quickly after returning to office, President Donald Trump resumed family detentions as part of his mass deportation campaign. Federal courts and overwhelming public outrage had put an end to Trump’s first-term policy of separating children from parents when immigrant families were detained crossing the border. Trump officials said Dilley was a place where immigrant families would be detained together.

As the second Trump administration’s crackdown both slowed border crossings to record lows and ramped up a blitz of immigration arrests all across the country, the population inside Dilley shifted. The administration began sending parents and children who had been living in the country long enough to lay down roots and to build networks of relatives, friends and supporters willing to speak up against their detention.

If the administration believed that putting children in Dilley wouldn’t stir the same outcry as separating them from their parents, it was mistaken. The photo of 5-year-old Liam Conejo Ramos from Ecuador, who was detained with his father in Minneapolis while wearing a Spider-Man backpack and a blue bunny hat, went viral on social media and triggered widespread condemnation and a protest by the detainees.

Weeks before that, I had begun speaking to parents and children at Dilley, along with their relatives on the outside. I also spoke to people who worked inside the center or visited it regularly to give religious or legal services. I had asked Immigration and Customs Enforcement officials for permission to visit but got a range of responses. One spokesperson denied my request, another said he doubted I could get formal approval and suggested I could try showing up there as a visitor. So I did.

Since early December, I’ve spoken, in person and via phone and video calls, to more than two dozen detainees, half of them kids detained at Dilley — all of whose parents gave me their’ consent. I asked parents whether their children would be open to writing to me about their experiences. More than three dozen kids responded; some just drew pictures, others wrote in perfect cursive. Some letters were full of age-appropriate misspellings."

What you can get for free in and around Pittsburgh - all with a library card; WPXI.com News Staff, February 6, 2026

WPXI.com News Staff; What you can get for free in and around Pittsburgh - all with a library card

"There’s a card in your wallet that is so powerful, it can get you plenty of things for free—everything from free tickets to shows to a ladder for home repairs. All available if you have a library card.

The Carnegie Library of Pittsburgh offers a “Library of Things” to help residents save on household expenses and entertainment. These programs allow patrons to check out physical objects and experience passes with the same ease as borrowing a book.

Andrew Medlar, president of the Carnegie Library of Pittsburgh, discussed the financial impact of utilizing library resources. “There are so many things that the library provides. How could anyone know all of them except your friendly librarian?” Medlar said. He estimated that a person utilizing a library card could save “hundreds, if not thousands of dollars.”"

Health Advice From A.I. Chatbots Is Frequently Wrong, Study Shows; The New York Times, February 9, 2026

Teddy Rosenbluth, The New York Times; Health Advice From A.I. Chatbots Is Frequently Wrong, Study Shows

"A new study published Monday provided a sobering look at whether A.I. chatbots, which have fast become a major source of health information, are, in fact, good at providing medical advice to the general public.

The experiment found that the chatbots were no better than Google — already a flawed source of health information — at guiding users toward the correct diagnoses or helping them determine what they should do next. And the technology posed unique risks, sometimes presenting false information or dramatically changing its advice depending on slight changes in the wording of the questions.

None of the models evaluated in experiment were “ready for deployment in direct patient care,” the researchers concluded in the paper, which is the first randomized study of its kind."

At the Oregon Ethics Bowl, students make room for gray areas in a world of hot takes; The Oregonian, Oregon Live, February 9, 2026

Julia Silverman | The Oregonian/OregonLive; At the Oregon Ethics Bowl, students make room for gray areas in a world of hot takes

"We live in a world of snap judgments, rage-baiting and fleeting internet memes designed to hold our attention for 10 seconds or less.

But on a rainy Saturday inside classrooms at Lincoln High School in Southwest Portland, all of that was at bay — at least for a few hours.

Instead, several dozen middle and high school teams from the Portland metro area who have been studying the same set of ethical quandaries for months gathered to unpack them in Oregon’s annual Ethics Bowl competition."

Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright; Webinar, National Press Foundation: Thursday, February 19, 2026 12 PM - 1 PM EST

 Webinar, National Press Foundation: Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright 

"Generative AI is one of the biggest technological and cultural stories of our time – and one of the hardest to explain. As AI companies train models on news articles, books, images and music, reporters face tough questions about permission, transparency and fair use. Should AI companies pay when creative works are used to train their AI models? Where’s the line between innovation and theft?

The National Press Foundation will host a webinar to help journalists make sense of the evolving AI licensing landscape and report on it with clarity and confidence. We’ll unpack what “AI licensing” really means, how early one-off deals are turning into structured revenue-sharing systems, and why recent agreements in media and entertainment could shift the conversation from conflict to cooperation.

Join NPF and a panel of experts for a free online briefing from 12-1 p.m. ET, Feb. 19, 2026. The practical, forward-looking discussion examines how trust, creativity, and innovation can coexist as this new era unfolds and will equip journalists with plain-language explanations, real-world examples, and story angles that help readers understand why AI licensing matters to culture, innovation and the creative ecosystem they rely on every day."

Russian figure skater changes Olympic music over copyright; Associated Press via ESPN, February 8, 2026

 Associated Press via ESPN; Russian figure skater changes Olympic music over copyright

"Russian figure skater Petr Gumennik has been forced to change his short program music two days before the men's program at the Milan Cortina Olympics after joining a growing list of figure skaters dealing with copyright issues.

Gumennik, who is participating as a neutral athlete at the Winter Games, had been working all season to music from "Perfume: The Story of a Murderer," a psychological thriller film. But the 23-year-old Russian national champion learned in the past few days that he did not have proper permission to perform to the music, leaving him in limbo as the Winter Games began.

Given such a tight timeframe, Gumennik was unable to get clearance for his music from last season, which came from the space opera film "Dune." So he pivoted to "Waltz 1805" by Edgar Hakobyan, for which Gumennik was able to get permission."

MLK III accuses National Park Service of ‘sanitizing’ history; The Hill, February 6, 2026

SOPHIE BRAMS , The Hill; MLK III accuses National Park Service of ‘sanitizing’ history

 "Martin Luther King III, the son of civil rights advocate the Rev. Martin Luther King Jr., accused the National Park Service on Thursday of “sanitizing history” amid reported changes at a Mississippi house museum commemorating civil rights activist Medgar Evers.

Evers, the Magnolia State’s first NAACP field secretary, was assassinated at the age of 37 in the driveway of his home in Jackson, Miss., by white supremacist Byron De La Beckwith on June 12, 1963.

Beckwith was a member of the Ku Klux Klan and the White Citizens’ Council, the latter of which was referenced as a “racist and segregationist” group in original visitors’ brochures at the Medgar and Myrlie Evers Home National Monument.

Mississippi Today reported Thursday that the National Park Service (NPS) removed those brochures from the museum and planned to edit them to no longer call Evers’s killer “a racist,” citing NPS officials who did not want to be named. Edits also reportedly included eliminating a reference to the late activist lying in a pool of blood after he was shot.

The brochures were returned hours later, with officials citing “outdated” information as the reason for their removal, according to the outlet. But news of the changes still caught the attention of civil rights advocates and congressional lawmakers."

US figure skater Amber Glenn faces backlash over politics and copyright issues; AP via ABC News, February 9, 2026

 DAVE SKRETTA AP sports writer via ABC News; US figure skater Amber Glenn faces backlash over politics and copyright issues

"On the same day Amber Glenn won Olympic gold as part of the team event, and stepped away from social media due to backlash over her comments on politics and the LGBTQ+ community, the American figure skater ended up with another headache.

Canadian artist Seb McKinnon, who produces music under the name CLANN, took to social media late Sunday to object to the use of his song “The Return,” which Glenn had used in her free skate — and has been using for the past two years without issue.

“So just found out an Olympic figure skater used one of my songs without permission for their routine. It aired all over the world ... what? Is that usual practice for the Olympics?” McKinnon posted to X, shortly after the team competition had ended.

Figure skaters are required to obtain permission for the music they use, but that process is hardly straightforward.

Sometimes the label or record producer owns the copyright, other times the artist themselves, and often there are multiple parties involved. Skaters sometimes will piece together different cuts of music, too. Throw in third-party companies such as ClicknClear that try to smooth out the permission process, and the entire copyright issue becomes murky and nuanced."

The New Fabio Is Claude; The New York Times, February 8, 2026

 Alexandra Alter , The New York Times; The New Fabio Is Claude

The romance industry, always at the vanguard of technological change, is rapidly adapting to A.I. Not everyone is on board.

"A longtime romance novelist who has been published by Harlequin and Mills & Boon, Ms. Hart was always a fast writer. Working on her own, she released 10 to 12 books a year under five pen names, on top of ghostwriting. But with the help of A.I., Ms. Hart can publish books at an astonishing rate. Last year, she produced more than 200 romance novels in a range of subgenres, from dark mafia romances to sweet teen stories, and self-published them on Amazon. None were huge blockbusters, but collectively, they sold around 50,000 copies, earning Ms. Hart six figures...

Ms. Hart has become an A.I. evangelist. Through her author-coaching business, Plot Prose, she’s taught more than 1,600 people how to produce a novel with artificial intelligence, she said. She’s rolling out her proprietary A.I. writing program, which can generate a book based on an outline in less than an hour, and costs between $80 and $250 a month.

But when it comes to her current pen names, Ms. Hart doesn’t disclose her use of A.I., because there’s still a strong stigma around the technology, she said. Coral Hart is one of her early, now retired pseudonyms, and it’s the name she uses to teach A.I.-assisted writing; she requested anonymity because she still uses her real name for some publishing and coaching projects. She fears that revealing her A.I. use would damage her business for that work.

But she predicts attitudes will soon change, and is adding three new pen names that will be openly A.I.-assisted, she said.

The way Ms. Hart sees it, romance writers must either embrace artificial intelligence, or get left behind...

The writer Elizabeth Ann West, one of Future Fiction’s founders, who came up with the plot of “Bridesmaids and Bourbon,” believes the audience would be bigger if the books weren’t labeled as A.I. The novels, which are available on Amazon, come with a disclaimer on their product page: “This story was produced using author‑directed AI tools.”

“If you hide that there’s A.I., it sells just fine,” she said."

As goes the Washington Post: US democracy takes another hit under Trump; The Guardian, February 8, 2026

Ed Pilkington and Jeremy Barr, The Guardian; As goes the Washington Post: US democracy takes another hit under Trump

Jeff Bezos’s axing of more than 300 jobs at the storied newspaper has renewed fears about the resilience of America’s democracy to withstand Trump’s attacks

"The email landed in Lizzie Johnson’s in-tray in Ukraine just before 4pm local time. It came at a tough time for the reporter: Russia had been repeatedly striking the country’s power grid, and just days before she had been forced to work out of her car without heat, power or running water, writing in pencil because pen ink freezes too readily.

“Difficult news,” was the subject line. The body text said: “Your position is eliminated as part of today’s organizational changes,” explaining that it was necessary to get rid of her to meet the “evolving needs of our business”.

Johnson’s response may go down in the annals of American media history. “I was just laid off by The Washington Post in the middle of a warzone,” she wrote on X. “I have no words.”

The Washington Post’s Ukraine correspondent may have been rendered speechless over Wednesday’s move by Jeff Bezos, the Amazon billionaire and Post owner, to cut more than 300 newsroom jobs. The bloodletting, which has raised renewed fears about the resilience of America’s democracy to withstand Donald Trump’s attacks, swept away the paper’s entire sports department, much of its culture and local staff and all of its journalists in such arid news zones as Ukraine and the Middle East.

Others, though, managed to find their tongues. “It’s a bad day,” said Don Graham, son of the Post’s legendary Watergate-era owner Katharine Graham, breaking the silence he has maintained since selling the paper to Bezos for $250m in 2013.

“I am crushed,” was the lament of Bob Woodward, one-half of the paper’s double act with Carl Bernstein that exposed Watergate.

“This ranks among the darkest days in the history of one of the world’s greatest news organizations,” said Marty Baron, the Post’s lionised former executive editor. Not one to mince his words, Baron castigated Bezos for his “sickening efforts to curry favor with President Trump”, saying it left an especially “ugly stain” on the paper’s standing...

The cumulative malaise that is descending over US media leaves the country’s democratic institutions vulnerable to attack. It can’t be exclusively blamed for Trump’s excesses.

There are plenty of other willing accomplices and capitulators, including universities like Columbia, corporate law firms and the gung-ho conservative activists who now control the supreme court.

But from Trump’s perspective, a media on its knees surely helps. The results are present everywhere you look.

Trump is unleashed, unchained. He feels so comfortable in his regal skin that he can berate a respected female CNN reporter questioning him on the Epstein files for never smiling.

He can peddle unashamedly in racism, posting a video depicting the first Black president and his first lady as monkeys.

He can send a masked paramilitary into the streets of Minneapolis, resulting in Americans getting killed for exercising their first amendment rights. And when the polls for November’s midterm elections look challenging for him, he can prepare for another blitzkrieg on the very foundations of American democracy: the ballot box.

There’s a paradox in all this. Many of the democratic norms that Trump is obliterating – take for example his destruction of the norm of Department of Justice independence in his persecution of his political opponents – were laid down in the 1970s in the wake of the Watergate scandal.

That’s the same Watergate scandal that was brought into the light by that pair of courageous reporters at a newspaper called the Washington Post."

Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement; Vice, February 4, 2026

 Lauren Boisvert, Vice; Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement

"Legal issues have escalated for Australian punks Amyl & The Sniffers, and right after they announced upcoming tour dates. L.A. courts scheduled a hearing for February 13, 2026, regarding a copyright lawsuit and a restraining order filed last year. The issue allegedly began in June 2024, involving L.A.-based photographer Jamie Nelson.

In December 2025, Nelson filed a civil harassment restraining order petition against Amy Taylor, vocalist of Amyl & The Sniffers. Courts in L.A. did not grant the temporary restraining order. But they did schedule the hearing at this time.

Nelson is cited as the creator and copyright holder of a series of photographs taken of Taylor. The series, titled “Champagne Problems”, appeared in the July 2025 issue of Vogue Portugal.The problem arises for both parties in the subsequent use of these photos beyond their initial purpose.

Essentially, Nelson is accusing Taylor of violating copyright on her photos. Allegedly, a third party related to Taylor distributed them without permission. Prior to this, Taylor accused Nelson of exploiting her image for profit and self-advertisement. Allegedly, she sold fine art prints of the photos. Both parties have taken legal action."

Baltimore ponders the ethics of saving parking spots as snow lingers; WYPR, February 3, 2026

Scott Maucione , WYPR; Baltimore ponders the ethics of saving parking spots as snow lingers

"During a snow storm, parking can verge on a moral crisis. What if the person taking a spot or reserving a spot has a broken leg or is eight and a half months pregnant, or just needs to make a quick trip to the store.

But much like the Wild West, it’s vigilante justice in the world of frozen city streets.

Emily Heleba waited all week to shovel her car out. Now half way through the job, she has no hopes she’ll actually be able to keep the spot.

“I've seen a lot of stories of people who do that, and then their neighbors come out and throw their chairs out and steal the spot anyway,” Heleba said.

So, until the snow melts, the parking wars will continue."

Now We Know What All Those People Got From Epstein; The New York Times, February 7, 2026

Molly Jong-Fast, The New York Times ; Now We Know What All Those People Got From Epstein

"Many of the people revealed as knowing him well had previously claimed they hardly knew him, and all of them are now claiming they certainly didn’t know him well enough to witness the pedophilia. Now they are disgraced by their connection, and often, out of a job.

Many people stuck with him even after he had gone to jail in 2008 in Florida for sex crimes, and in some cases even after he landed in jail again in 2019 on sex-trafficking charges. Back then, the plight of the victims often seemed to be an afterthought. That’s most likely because whatever they received from him in the past — access to career-enhancing people, access to young girls and an endless supply of freebies — might still be on offer. This is the nature of the Epstein files: It’s the record of what a global class of very privileged, accomplished and self-important people want to get gifted.

Sometimes it was a Prada bag. Other times it was a flight on Mr. Epstein’s jet, or a weekend at his island. Sometimes it was a donation to a charity or school. Or a job for their kid working on a Woody Allen film, or a shortcut for Mr. Allen’s own kid to get intoBard. Sometimes it was a “tall, Swedish blonde.” Other times it was a young woman who might be a “a little freaked by the age difference.”...

There are many terrible secrets buried in the Epstein files, which mix the mundane and the horrific, the thirsty and the criminal, and perhaps that’s the most upsetting part of all of this. Casually wrapped up together with a bow are canceled men and sex trafficking and media advice from Michael Wolff. Being a convicted sex offender did not make Mr. Epstein an outcast, not when he seemed to have something to offer. His transactional amorality actually seemed to add to his appeal to people who were convinced that the rules didn’t apply to them."

The world heard JD Vance being booed at the Olympics. Except for viewers in the US; The Guardian, February 7, 2026

Bryan Armen Graham  , The Guardian; The world heard JD Vance being booed at the Olympics. Except for viewers in the US

"The modern Olympics sell themselves on a simple premise: the whole world, watching the same moment, at the same time. On Friday night in Milan, that illusion fractured in real time.

When Team USA entered the San Siro during the parade of nations, the speed skater Erin Jackson led the delegation into a wall of cheers. Moments later, when cameras cut to US vice-president JD Vance and second lady Usha Vance, large sections of the crowd responded with boos. Not subtle ones, but audible and sustained ones. Canadian viewers heard them. Journalists seated in the press tribunes in the upper deck, myself included, clearly heard them. But as I quickly realized from a groupchat with friends back home, American viewers watching NBC did not.

On its own, the situation might once have passed unnoticed. But the defining feature of the modern sports media landscape is that no single broadcaster controls the moment any more. CBC carried it. The BBC liveblogged it. Fans clipped it. Within minutes, multiple versions of the same happening were circulating online – some with boos, some without – turning what might once have been a routine production call into a case study in information asymmetry.

For its part, NBC has denied editing the crowd audio, although it is difficult to resolve why the boos so audible in the stadium and on other broadcasts were absent for US viewers. But in a broader sense, it is becoming harder, not easier, to curate reality when the rest of the world is holding up its own camera angles. And that raises an uncomfortable question as the United States moves toward hosting two of the largest sporting events on the planet: the 2026 men’s World Cup and the 2028 Los Angeles Olympics.

If a US administration figure is booed at the Olympics in Los Angeles, or a World Cup match in New Jersey or Dallas, will American domestic broadcasts simply mute or avoid mentioning the crowd audio? If so, what happens when the world feed, or a foreign broadcaster, shows something else entirely? What happens when 40,000 phones in the stadium upload their own version in real time?

The risk is not just that viewers will see through it. It is that attempts to manage the narrative will make American broadcasters look less credible, not more. Because the audience now assumes there is always another angle. Every time a broadcaster makes that trade – credibility for insulation – it is a trade audiences eventually notice."

State Department will delete X posts from before Trump returned to office; NPR, February 7, 2026

Shannon Bond, Stephen Fowler, NPR; State Department will delete X posts from before Trump returned to office

"The State Department is removing all posts on its public accounts on the social media platform X made before President Trump returned to office on Jan. 20, 2025.

The posts will be internally archived but will no longer be on public view, the State Department confirmed to NPR. Staff members were told that anyone wanting to see older posts will have to file a Freedom of Information Act request, according to a State Department employee who asked to remain anonymous for fear of retaliation by the Trump administration. That would differ from how the U.S. government typically handles archiving the public online footprint of previous administrations.

The move comes as the Trump administration has removed wide swaths of information from government websites that conflict with the president's views, including environmental and health data and references to women, people of color and members of the LGBTQ+ community. The government has also taken down signs at national parks mentioning slavery and references to Trump's impeachments and presidency at the National Portrait Gallery.

The White House has also launched a revisionist history account of the Jan. 6, 2021, attack on the U.S. Capitol and has replaced the government's coronavirus resource sites with a page titled "Lab Leak: The True Origins of Covid-19."

The removal of State Department X posts from public view appears to be less about ideological differences with past statements and more about control of future messaging. The directive will see the removal of posts from Trump's first term as well as those under then-Presidents Joe Biden and Barack Obama.

In response to NPR's questions about the removals, an unnamed State Department spokesperson said the goal "is to limit confusion on U.S government policy and to speak with one voice to advance the President, Secretary, and Administration's goals and messaging. It will preserve history while promoting the present." The spokesperson said the department's X accounts "are one of our most powerful tools for advancing the America First goals and messaging of the President, Secretary, and Administration, both to our fellow Americans and audiences around the world.""