Business
Clues From D.C. Plane Crash Suggest Multiple Failures in Aviation Safety
Clues emerging from the moments before the deadly collision Wednesday night between an Army helicopter and an American Airlines passenger jet suggest that multiple layers of the country’s aviation safety apparatus failed, according to flight recordings, a preliminary internal report from the Federal Aviation Administration, interviews with current and former air traffic controllers and others briefed on the matter.
The helicopter flew outside its approved flight path. The American Airlines pilots most likely did not see the helicopter close by as they made a turn toward the runway. And the air traffic controller, who was juggling two jobs at the same time, was unable to keep the helicopter and the plane separated.
An F.A.A. spokesman said the agency could not comment on the ongoing investigation, which is being led by the National Transportation Safety Board. Crash investigators will spend the next several months reviewing flight data, recordings from inside the cockpits, weather patterns, as well as interviewing controllers and others involved to try to figure out what went wrong.
But the catastrophe already appeared to confirm what pilots, air traffic controllers and safety experts had been warning for years: Growing holes in the aviation system could lead to the kind of crash that left 67 people dead in the Potomac River in Washington.
Even before an official cause is determined, there were signs Wednesday that pilots and air traffic controllers at Reagan National were not operating under optimal conditions.
The duties of handling air traffic control for helicopters and for planes at Reagan National on Wednesday night were combined before the deadly crash. That left only one person to handle both roles, according to a person briefed on the staffing and the report.
Typically one person handles both helicopter and plane duties after 9:30 p.m., when traffic at Reagan begins to lessen. But the supervisor combined those duties sometime before 9:30, and allowed one air traffic controller to leave, according to the person, who was not authorized to speak publicly about the investigation into the crash. The crash occurred just before 9 p.m.
While there were no unusual factors causing a distraction for controllers that night, staffing was “not normal for the time of day and volume of traffic,” the preliminary F.A.A. report said.
On Thursday, five current and former controllers said that the controller in the tower should have more proactively directed the helicopter and the plane to fly away from each other. Instead, the controller asked the helicopter to steer clear of the plane.
Some of the current and former controllers said the darkness could have made it more difficult for pilots to accurately gauge the distance between themselves and other aircraft. Some wondered whether the helicopter pilots mistook a different plane for the American jet.
The helicopter was supposed to be flying closer to the bank of the Potomac River and lower to the ground as it traversed the busy Reagan National airspace, four people briefed on the incident said.
Before a helicopter can enter any busy commercial airspace, it must get the approval of an air traffic controller. In this case, the pilot asked for permission to use a specific, predetermined route that lets helicopters fly at a low altitude along the bank on the east side of the Potomac, a location that would have let it avoid the American Airlines plane.
The requested route — referred to as Route 4 at Reagan National — followed a specific path known to the air traffic controller and helicopter pilots. The helicopter confirmed visual sight of a regional jet and the air traffic controller instructed the helicopter to follow the route and fly behind the plane.
But the helicopter did not follow the intended route, the people briefed on the matter said.
Rather, it was above 300 feet, when it was supposed to be flying below 200 feet, and it was at least a half-mile off the approved route when it collided with the commercial jet.
A senior Army official urged caution in making any assessments until the helicopter’s black box could be recovered and analyzed, along with other forensic data.
The official, who spoke on condition of anonymity because of the ongoing inquiry, said the Black Hawk’s pilots had flown this route before, and were well aware of the altitude restrictions and tight air corridor they were permitted to fly in near the airport.
Safety lapses in aviation have been increasing for years, leading to an alarming pattern of close calls in the skies and at airports involving commercial airlines. They have occurred amid rising congestion at the country’s busiest airports, including Reagan National, where the frequent presence of military flights makes controlling traffic even more complicated.
At the same time, a chronic shortage of air traffic controllers has forced many to work six-day weeks and 10-hour days — a schedule so fatiguing that multiple federal agencies have warned that it could impede controllers’ abilities to do their jobs properly. Few facilities have enough fully certified air traffic controllers, according to a Times investigation in 2023. Some controllers say little has improved since then.
The air traffic control tower at Reagan National has been understaffed for years. The tower there was nearly a third below targeted staff levels, with 19 fully certified controllers as of September 2023, according to the most recent Air Traffic Controller Workforce Plan, an annual report to Congress that contains target and actual staffing levels. The targets set by the F.A.A. and the controllers’ union call for 30.
An F.A.A. spokesman said on Thursday that Reagan National currently employs 25 certified controllers out of their goal of 28.
The controller who was handling helicopters in the airport’s vicinity Wednesday night was also instructing planes that were landing and departing from its runways. Those jobs are typically assigned to two controllers, rather than one, the internal F.A.A. report said. This increases the workload for the air traffic controller and complicates the job.
Controllers can also use different radio frequencies to communicate with pilots flying planes and pilots flying helicopters. While the controller is communicating with pilots of the helicopter and the jet, the two sets of pilots may not be able to hear each other.
As the passenger jet’s pilots were approaching the airport, they were asked by air traffic control to pivot the landing from one runway to another, according to the F.A.A. report, a person briefed on the incident and audio recordings of conversations between an air traffic controller and the pilots. That request may have introduced another complication shortly before the collision.
The American Airlines flight had originally been cleared by the traffic control tower to land on the airport’s main runway, called Runway 1. The controller then asked the pilot to land on a different, intersecting runway instead — Runway 33 — which the pilot agreed to do.
That decision, according to the person who was briefed on the incident and four other people who are familiar with the airport’s air traffic, happens routinely when regional jets like the American Airlines aircraft are involved. The decision may also have been made to help keep air traffic moving efficiently by not clogging the main runway, the people said.
Runway 33 is shorter, requiring intense focus from pilots landing their planes. The last-minute change raised questions within the F.A.A. on Thursday morning about congestion at Reagan National, the person briefed on the event added.
Robert Isom, American’s chief executive, said at a news conference on Thursday that the pilots of the passenger plane involved in the crash had worked for PSA Airlines, an American subsidiary, for several years, The captain had been employed by the airline for almost six years, while the first officer had worked there for almost two years.
“These were experienced pilots,” he said.
Nicholas Bogel-Burroughs contributed reporting.
Business
Disney+ to be part of a streaming bundle in Middle East
Walt Disney Co. is expanding its presence in the Middle East, inking a deal with Saudi media conglomerate MBC Group and UAE firm Anghami to form a streaming bundle.
The bundle will allow customers in Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the UAE to access a trio of streaming services — Disney+; MBC Group’s Shahid, which carries Arabic originals, live sports and events; and Anghami’s OSN+, which carries Arabic productions as well as Hollywood content.
The trio bundle costs AED89.99 per month, which is the price of two of the streaming services.
“This deal reflects a shared ambition between Disney+, Shahid and the MBC Group to shape the future of entertainment in the Middle East, a region that is seeing dynamic growth in the sector,” Karl Holmes, senior vice president and general manager of Disney+ EMEA, said in a statement.
Disney has already indicated it plans to grow in the Middle East.
Earlier this year, the company announced it would be building a new theme park in Abu Dhabi in partnership with local firm Miral, which would provide the capital, construction resources and operational oversight. Under the terms of the agreement, Disney would oversee the parks’ design, license its intellectual property and provide “operational expertise,” as well as collect a royalty.
Disney executives said at the time that the decision to build in the Middle East was a way to reach new audiences who were too far from the company’s current hubs in the U.S., Europe and Asia.
Business
Erewhon and others shut by fire set to reopen in Pacific Palisades mall
Fancy grocer Erewhon will return to Pacific Palisades in an entirely rebuilt store, as the neighborhood’s luxury mall, owned by developer Rick Caruso, undergoes renovations for a reopening next August.
Palisades Village has been closed since the Jan. 7 wildfire destroyed much of the neighborhood. The outdoor mall survived the blaze but needed to be refurbished to eliminate contaminants that the fire could have spread, Caruso said.
The developer is spending $60 million to bring back Palisades Village, removing and replacing drywall from stores and restaurants. Dirt from the outdoor areas is also being replaced.
Demolition is complete and the tenants’ spaces are now being restored, Caruso said.
“It was not a requirement to do that from a scientific standpoint,” he said. “But it was important to me to be able to tell guests that the property is safe and clean.”
Erewhon’s store was taken down to the studs and is being reconfigured with a larger outdoor seating area for dining and events.
When it opens its doors sometime next year, it will be the only grocer in the heart of the fire-ravaged neighborhood.
The announcement of Erewhon’s comeback marks a milestone in the recovery of Pacific Palisades and signals renewed investment in restoring essential neighborhood services and supporting the community’s long-term economic health, Caruso said.
A photograph of the exterior of Erewhon in Pacific Palisades in 2024.
(Kailyn Brown/Los Angeles Times)
“They are one of the sexiest supermarkets in the world now and they are in high demand,” he said. “Their committing to reopening is a big statement on the future of the Palisades and their belief that it’s going to be back stronger than ever.”
Caruso previously attributed the mall’s survival to the hard work of private firefighters and the fire-resistant materials used in the mall’s construction. The $200-million shopping and dining center opened in 2018 with a movie theater and a roster of upmarket tenants, including Erewhon.
“We’re honored to join the incredible effort underway at Palisades Village,” Erewhon Chief Executive Tony Antoci said in a statement. “Reopening is a meaningful way for us to contribute to the healing and renewal of this neighborhood.”
Erewhon has cultivated a following of shoppers who visit daily to grab a prepared meal or one of its celebrity-backed $20 smoothies.
The privately held company doesn’t share financial figures, but has said its all-day cafes occupy roughly 30% of its floor space and serve 100,000 customers each week.
Erewhon has also branched out beyond selling groceries.
Its fast-growing private-label line now includes Erewhon-branded apparel, bags, candles, nutritional supplements and bath and body products.
Erewhon will also open new stores in West Hollywood in February, in Glendale in May and at Caruso’s The Lakes at Thousand Oaks mall in July 2026.
About 90% of the tenants are expected to return to the mall when it reopens, Caruso said, including restaurants Angelini Ristorante & Bar and Hank’s. Local chef Nancy Silverton has agreed to move in with a new Italian steakhouse called Spacca Tutto.
In May, Pacific Palisades-based fashion designer Elyse Walker said she would reopen her eponymous store in Palisades Village after losing her 25-year flagship location on Antioch Street in the inferno.
Fashion designer Elyse Walker announced the reopening of her flagship store at the Palisades Village in May.
(Myung J. Chun/Los Angeles Times)
“People who live in the Palisades don’t want to leave,” Walker said at the time. “It’s a magical place.”
Caruso carried on annual holiday traditions at Palisades Village this year, including the lighting of a 50-foot Christmas tree for hundreds of celebrants Dec. 5. On Sunday evening, leaders from the Chabad Jewish Community Center of Pacific Palisades gathered at the mall to light a towering menorah.
A total of 6,822 structures were destroyed in the Palisades fire, including more than 5,500 residences and 100 commercial businesses, according to the California Department of Forestry and Fire Protection.
Caruso said he hopes the shopping center’s revival will inspire residents to return. His investment “shows my belief that the community is coming back,” he said. “Next year is going to be huge.”
Business
How the ‘Wicked’ Movies Boosted the Musical’s Broadway Sales
Oct. 30, 2003
Broadway Opening
“Wicked” is an undisputed juggernaut — one of the biggest productions in musical theater history. The stage show, by the composer Stephen Schwartz and the librettist Winnie Holzman, has grossed $1.8 billion on Broadway, and $6.2 billion globally. Worldwide, it has been seen by more than 72 million people.
But none of that was a foregone conclusion. Based on Gregory Maguire’s 1995 novel, which in turn was based on L. Frank Baum’s “The Wonderful Wizard of Oz,” the musical had a so-so reception during its pre-Broadway run in San Francisco in the spring of 2003. In New York that fall, it divided critics when it opened on Broadway at the Gershwin Theater, starring Idina Menzel as the green-skinned “wicked witch,” Elphaba, and Kristin Chenoweth as her frenemy, Glinda, a.k.a. the Good Witch of the South. (“There’s Trouble in Emerald City” was the headline on the review in The New York Times.)
“You wake up the morning after opening night, and some of those notices were pretty devastating, and you think, ‘Oh, well, this is the final word,’” Mantello said. “But then the audiences are telling you a completely different story.”
The production pretty quickly became a fan favorite, and over the years, audiences made the show their own. The “Wizard of Oz” base was, of course, a huge factor — the 1939 film is a much-loved American classic — but, also, the musical’s depiction of female friendship became a central part of its allure, and kept audiences returning for repeat viewings.
March 23, 2006
1,000th Broadway Performance
“Once word kicked in, it took on a life that none of us could have ever predicted,” Mantello said. “It was the audience, and not a critical consensus, that turned it into the hit that it became.”
Menzel, the original Elphaba, won a Tony Award for best leading actress in a musical in 2004. In 2005, the day before her final performance, she fell through a trap door onstage; she couldn’t perform at her last show, but made a cameo in a red tracksuit.
Sept. 27, 2006
‘Wicked’ International
The show expanded rapidly, and now has a global footprint. The London production opened in September 2006, after the prior year’s introduction of a North American tour and a production in Chicago, where it ran for three and a half years. Los Angeles, Japan and Germany began in 2007; and Australia in 2008. In the years since, productions have run in the Netherlands, Mexico, South Korea and Brazil; productions are still running in London and South Korea, and touring in North America.
Oct. 30, 2018
Another Milestone: 15 Years
In 2018, the show celebrated its 15th anniversary, a milestone achieved by few shows. And “Wicked” has continued to outpace its peers: It has since become the fourth-longest-running production in Broadway history, following “The Phantom of the Opera,” “Chicago” and the top-grossing show, “The Lion King.”
Sept. 14, 2021
‘Wicked’ Reopens After the Shutdown
Broadway shows were closed from the spring of 2020 through the fall of 2021 because of the coronavirus pandemic. In August 2021, the touring production of “Wicked” restarted in Dallas — the first Broadway touring production to do so — and in September 2021 “Wicked” reopened on Broadway.
Dec. 7, 2022
Yes, We’re Making a Movie
The idea of adapting “Wicked” for the screen goes way back. In fact, it predates the stage musical. Universal Pictures had optioned the novel but couldn’t figure out how to turn it into a film, and agreed to let Schwartz, working with Holzman, develop it into a stage musical first. (Universal didn’t miss out; it is one of the lead producers of the stage musical, along with Marc Platt and David Stone.)
Once the stage production became a ginormous hit, the film adaptation was an inevitability, but still there were false starts, abandoned schedules and creative-team overhauls along the way. News coverage of a film adaptation began in 2010; at one point, the director Stephen Daldry was attached and a 2019 release was announced; in 2021 Jon M. Chu became the director, and the next year he said it would be split into two films.
Grande and Erivo had both become fans via the stage show. Grande saw it with her grandmother on Broadway in 2004 (and met Chenoweth backstage); Erivo saw the London production when she was a student.
Feb. 11, 2024
Marketing Saturation
The “Wicked” films’ rollout began in earnest in early 2024, with a trailer that ran during the Super Bowl, and the actresses were ubiquitous throughout that year, including in promotional spots that aired during the Paris Summer Olympics. (NBC Universal, the parent company of Universal Pictures, has the American broadcasting right to the Games.)
The marketing budgets for most Hollywood films are vastly larger than those for Broadway shows. In this case, because there are two films — one released last year and one released last month — the marketing campaigns, as well as publicity and news coverage, was doubled. The films had an estimated marketing budget of at least $125 million each — or $250 million total — along with the numerous brand partnerships that also generated a ton of attention. By contrast, the Broadway show has an annual marketing budget of about $11 million.
Nov. 22, 2024
‘Wicked: Part I’ U.S. Theatrical Release
The movies’ effect on the stage production was significant. In 2023, “Wicked” grossed $97.85 million on Broadway; in 2024 it was up nearly 15 percent, to $112.13 million, and this year it expects to be up another 13.4 percent, to $127.3 million.
The show says the effect in London has also been sizable: It expects London “Wicked” grosses this year to be up 29.4 percent over last year, and last year the grosses were up 10.5 percent over the previous year. (The show also holds a record for the highest weekly grosses in West End history, set this year during the week that included New Year’s Day.)
“It’s amazing,” Schwartz said in an interview. “Before the movies came out, I wondered what the impact would be on the show. I don’t think any of us anticipated how strong it would be. You can never plan on this kind of thing, or even hope for it, but it’s really lovely.”
Dec. 25, 2024
$5 Million on Broadway
The Broadway production of “Wicked” grossed $5 million over Christmas week last year (just a month after the first film’s release) — it is the first and only Broadway show to gross that much in a single week. (It was also the first show to cross the $2 million mark and the $3 million mark.)
Nov. 21, 2025
‘Wicked: For Good’ U.S. Theatrical Release
What’s next? The second movie was released just before Thanksgiving, giving a second surge for “Wicked” in all its forms, and now the year looks to be ending strong for the stage show. The Broadway production grossed more than $3 million over Thanksgiving week (by comparison, it had generally been grossing $2.3 million to $2.5 million during Thanksgiving weeks that preceded the films’ release). Just around the corner: the Christmas and New Year’s stretch, always a good period for Broadway, and this year, even more so for “Wicked.”
Broadway grosses reflect the most recent box office receipts as reported by the Broadway League. Grosses are not adjusted for inflation.
Images: Sara Krulwich/The New York Times and Universal Pictures.
Videos: CBS; Wicked Musical Korea; Broadway.com; Theater Mania; Ariana Grande; Pink News; Out; FOX; NBC; Universal Pictures.
Produced by Leo Dominguez, Hollis Johnson, Rebecca Lieberman and Josephine Sedgwick. Additional reporting by Leo Dominguez and Jeremy Singer-Vine.
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