Business
Conditions May Have Stymied Black Hawk Crew Before Fatal Crash
Flying helicopters near Ronald Reagan National Airport always carries some risk. But the conditions on the moonless night of Jan. 29, when an Army Black Hawk helicopter and an American Airlines passenger jet collided, were unusually challenging.
Many of the factors that contributed to the disaster are still being uncovered as investigators from the National Transportation Safety Board try to reconstruct the collision that killed 67 people. The midair crash, which caused wreckage from both aircraft to tumble into the icy Potomac River below, was the nation’s deadliest aviation accident since 2009.
Investigators have said the helicopter was flying about 100 feet higher than authorized in its designated portion of the airspace and are trying to determine why.
But interviews with helicopter pilots suggest that the Black Hawk was also dealing with a set of complex flying conditions, some of which are typical for the bustling area around National Airport outside Washington and some of which were unique to the series of events that happened last Wednesday. And the crew was flying an older-model aircraft that lacked certain safety technologies in its cockpit that are commonplace in those of commercial airplanes in the United States.
“Given the complexity of everything going on there, it is a higher-risk place to fly,” said Austin Roth, a former Black Hawk instructor for the Army who says he often flew the helicopter routes near National Airport while in service.
N.T.S.B. safety investigators have not assessed any blame on the Black Hawk crew, which Defense Secretary Pete Hegseth described as “fairly experienced.”
The safety agency said on Tuesday that there was still information that needed to be collected from the helicopter, a process that is expected to begin this week when its wreckage is lifted from the Potomac. Investigators said the two aircraft collided at 300 feet — a detail that has raised questions about how the helicopter got off course, given that it was not authorized to fly higher than 200 feet above ground.
The New York Times, through interviews with six current and former military aviators and a civilian helicopter pilot who frequently flies the routes near National Airport, has pieced together some understanding of the conditions that the crew faced the night of the crash.
The crew in the UH-60 Black Hawk left its home base, Fort Belvoir in Virginia, after dark last Wednesday to conduct a training mission to allow the co-pilot, Capt. Rebecca Lobach, to perform a required annual evaluation flight.
It was part of the small group of military and civilian law enforcement helicopters authorized to fly in the highly restricted airspace over Washington and Northern Virginia. Those pilots must fly along designated routes that generally follow the Potomac and Anacostia Rivers. The air traffic controllers inside the tower at National Airport manage that airspace for helicopters and planes alike.
These routes specify certain altitude restrictions for helicopters along the water, including Route 4, the one that prohibits flying higher than 200 feet over the stretch of the Potomac where the collision occurred.
That restriction, according to several of the pilots, provides little room to maneuver in case of an emergency. At such a low altitude over a river, moving up — not down — is the more realistic response.
Mr. Roth said there are helicopter routes at Dulles International Airport and Baltimore/Washington International Thurgood Marshall Airport that allow pilots to fly over the commercial jet airspace rather than through it, which gives pilots more options in the event of an emergency.
“I can’t think of anywhere where you can fly next to a major airport at 200 feet,” said Mr. Roth, who was in the same unit as the crew of the helicopter that crashed. A combination of dark skies and surrounding city lights — lights that would have been amplified exponentially if the crew members were wearing night-vision goggles — may have distracted them as they searched for nearby air traffic.
“So they’re flying over a black water surface of the Potomac with ground clutter and the buildings behind them,” said Senator Tammy Duckworth, the Illinois Democrat who flew Black Hawk helicopters during her military career.
At about 8:46 p.m. last Wednesday, an air traffic controller warned the helicopter crew that a passenger jet was nearby. That plane, American Airlines Flight 5342, had been redirected from Runway 1, which regional jets commonly used, to the lesser-used Runway 33.
Captain Lobach was most likely in the right-hand seat, said a senior Army official who has flown the National Airport helicopter routes repeatedly but requested anonymity because he was not authorized to speak publicly.
This is significant, the official said, because if the instructor pilot was busy or distracted with something, Captain Lobach’s seat on the right side of the aircraft might have put her in poor position to view the descending American Airlines flight on her left.
Still, other experienced military pilots said they were puzzled at the crash, given that military pilots are trained to be ready for such hazards.
The Black Hawk, a twin-engine aircraft introduced in the 1970s that has inspired a variety of models, has long been a fixture in the U.S. military, both for general purposes and for more tailored missions. In the Army alone, about 2,000 Black Hawks are in operation today.
In the Washington area, which is home to the White House, the Pentagon and several air fields from which both training flights and the transport of the president and other senior officials often originate, Black Hawks are ubiquitous.
The 12th Aviation Battalion at Fort Belvoir flies two types of Black Hawks: the UH-60L, an old model, and the VH-60M, a newer one. The aircraft involved in the crash was the older model. It does not have the ability to let pilots fly on autopilot but it is not considered insufficient for the job, according to the senior Army official.
Regardless, the official said, the crew flying along the Potomac River would not have found autopilot helpful. Low-level flying, he said, requires constant attention to terrain, obstacles and routes.
The Black Hawks, even the older models, are not especially hard to operate, said current and former military aviators. But the congestion around National Airport, one of the country’s busiest public airspaces, requires particular adeptness and a willingness to hang back if necessary to let passenger jets take off or land safely.
“That aircraft was in the wrong place well before they were in the same literal airspace with the CRJ,” said Jon-Claud Nix, a former Marine Corps helicopter pilot, using the abbreviation for the jet that was involved in the collision.
Mr. Nix, who has reviewed the air traffic control recordings and other public details of the crash, added, “They just needed to hold off a little bit to properly identify or locate their correct traffic.”
He said that in the final moments before the crash, the Black Hawk crew was essentially on its own to avoid collision. That is because the crew, according to a recording of the air traffic control audio, had requested what is known as “visual separation,” which under aviation rules means the crew would search out nearby traffic on its own, without assistance from controllers.
And the older Black Hawk model the crew flew last Wednesday most likely did not have certain air-safety systems that are standard among U.S. passenger jets.
For example, it would not have had the Traffic Collision Avoidance System, nicknamed TCAS, which alerts pilots to the fact that their planes are dangerously close to other aircraft and can redirect pilots to quickly climb or descend if a crash seems imminent.
The pilots say one or all of these factors could have contributed to a tragic sequence of events.
“Especially on that route,” Mr. Roth said, “it’s 200 feet which is a low altitude. It’s in proximity to other aircraft. The lighting conditions are tough and there’s just not many places in the world where all of that is happening to anyone all at once.”
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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