Entergy Corporation today announced it has provided to Vermont Attorney General William Sorrell the results of its independent internal investigation into alleged contradictory or misleading information provided to the state government by company officials about underground piping at the Vermont Yankee nuclear plant.The report, prepared by the law firm of Morgan Lewis and Bockius LLP, did not find that any Entergy Nuclear Vermont Yankee employees intentionally misled the Vermont Public Service Board, the Department of Public Service, a Public Oversight Panel assessing the plant’s reliability as part of its application for renewal of its operating license, or a contracting firm working for the panel, Nuclear Safety Associates.The report noted that the communications in question were made by Entergy employees in the context of the scope defined by the state’s contractor, Nuclear Safety Associates, in performing the reliability assessment. The Entergy responses were limited to only pipes that touch soil (not those encased in concrete), that carry liquid (not gaseous matter) and that are part of whole systems as defined by law. However, the Entergy employees’ failure to specify the context of their communication led to misunderstandings and, taken out of that context, the responses were incomplete and misleading, the report maintained.As a result of that failure, Entergy has removed five senior Vermont Yankee employees from their positions at Vermont Yankee and placed them on administrative leave. They are the vice president for operations, director of nuclear safety assurance, manager of licensing, technical specialist and senior project manager.The company also reprimanded an additional six managerial employees. All the discipline taken had financial consequences for the employees involved. Michael Colomb, Entergy Vermont Yankee site vice president, was reprimanded for failure to maintain an organization that adhered to the highest standards of conduct in all actions and communications.In a statement, Colomb said he was disappointed in how the contradictory or misleading information was given to the state and he, as the lead Entergy official at Vermont Yankee, took responsibility for what happened.”While there was no intentional wrongdoing, it is not consistent with our expectations at Vermont Yankee or in the nuclear industry, nor is it consistent with our values at Entergy,” Colomb said.Entergy Corporation’s online address is www.entergy.com(link is external)SOURCE Entergy Corporation. MONTPELIER, Vt., Feb. 24 /PRNewswire-FirstCall/ —
Sign up for our COVID-19 newsletter to stay up-to-date on the latest coronavirus news throughout New York The June 9 Belmont Stakes will be Chef Drew Revella’s fifteenth at Centerplate Inc., which coordinates the racetrack’s restaurants and catering. But this year he is racing to prepare for a bigger crowd than usual.Even with that cushion of experience and his yearlong preparations now coming to a close, there’s no telling what challenges 90,000 hungry guests might bring on the day of the event.“There’s a love of that chaos,” Revella says. “It’s not like every other job.”The third and final leg of the American Triple Crown, the Belmont Stakes is the longest of them all at 1 1⁄2 miles. That, coupled with the fact that front-runner Justify, the horse that won both the Kentucky Derby and the Preakness in May, has the potential to become the thirteenth-ever Triple Crown winner, makes it likely that the crowd at Belmont Park’s Elmont arena will be full.Triple Crown years have a markedly different feel, Revella says, adding that he is not generally a horse racing fan. He said it was incredible when, in 2015, he saw American Pharoah cross the finish line and win the Triple Crown.“I had one manager who worked with me over 10 years, she was literally crying in my arms because it was such an emotional experience to be part of something that exciting,” Revella recalls. “When you’re down on the track and you feel the horses run by, there’s a feeling you get that — it’s very hard to put words to it — but people know it who watch it.”Such moments are rare, though. Catering executives and employees rarely catch a glimpse of the events they work.“I’ve been [at the Belmont Stakes] for two years — haven’t seen it,” says Robert DiChiaro, regional vice president of Centerplate Inc., the event’s caterer. “I’ve worked Super Bowls, World Series, Stanley Cups, Final Fours — very rare that I’ve seen anything.”He shrugs it off and catches the highlights the next day.Revella describes working the event as a “near-death experience.” In a similar fashion to the horses’ circuit, Revella moves in circles around more than a dozen satellite kitchen stations, making sure everything is going according to plan. Food preparation begins about nine days before the event, but the bulk of the work can be done only in the hours before race day to preserve freshness.Revella, 47, of Staten Island, might clock in as early as 2 a.m. during those last few days of preparations, coordinating with hired vendors to execute the menu he crafted specially for this year’s 150th anniversary. His primary focus will be catering to a VIP echelon of guests (nearly 6,000) who have paid as much as $1,200 for a premium experience.“We have a very New York-centric theme this year,” Revella says. “We’re taking some old subway signs and displaying food on that, and there’s pictures of Old World New York.”Some of the new menu items this year include Brooklyn-cured GMO-free pastrami, hot dogs, sausages and an array of other charcuterie. Revella aimed to source food as locally as possible, tapping Brooklyn-based Gotham Greens, which produces urban rooftop-grown lettuces that Revella will hand pick ahead of the event.Revella, who attended culinary school at Johnson & Wales University in Providence, R.I., says he started cooking at age 6, helping out with the family business — a catering hall. He says he was “bouncing around in the kitchen throwing ingredients in soup kettles.”Now, as a regional executive chef for Centerplate, he says he channels that fun-loving creativity into how he leads his kitchen staff. In a high-stress role such as preparing for the Belmont Stakes, he urges his staff to stay calm.“Never panic,” he tells them. “There’s always a solution. And don’t be afraid to ask for help.”After thousands flood Belmont Park for the big day, Revella says he will likely “fall down,” but come 8 p.m. he’ll start tweaking his ideas for next year’s event. And June 10 is a regular racing day at Belmont Park, which means the Centerplate team has to be ready to go the next day.“We still gotta open for another normal day on Sunday,” DiChiaro says. “It’s organized chaos.”
Would these jokes get the same kind of reception coming out of Shane Gillis’ mouth? Almost assuredly not. We know Chappelle; that’s just the kind of humor he’s always done and we continue to praise him for it. Audiences and critics obviously love him enough for him to receive the Mark Twain Prize for American Humor in 2019. In the special, C.K. does pull out some classic Louis-isms, including one bit about how he understands how one could be attracted to teenage boys, but these jokes that once seemed unbelievably dark and hilarious now seem strange and sinister. His act used to be so effective because it seemed to be him talking earnestly about his worst demons, the ones you never act on and are scared to talk about. The jokes hit differently when you know he’s the type of person to actually act on some of the disturbing things he talks about. Add the fact that he won’t apologize for the horrible things he’s actually done, and it becomes difficult to still find his material all that funny. Unfortunately, his comic response, which is included in his new special titled “Sincerely Louis C.K.,” was so tonedeaf and irresponsible to not only his career but the notion of dark comedy in general. These situations are obviously all very different, and I am not the ultimate judge of comedy’s moral line. If I was then I’d be killing the open mics (in 2021). Though, if there was any purpose in writing this column, it was to spread one gospel — that comedy is an incredibly nuanced and legitimate art form, and it must be treated as such. It’s not just the jolt of “haha” that you get from consuming a funny TikTok (although it can definitely be that as well). It’s an art form built upon analyzing the missteps of life and finding truth within them. When it is done well, comedy is as important of a reflection of our culture as any creative interpretation. When it is watered down and weaponized, it only corrodes the medium for everyone who wants to participate in and enjoy it. It’s not that serious, but take it seriously — ya know? As I’ve stated in this column many times before, stand up comedy, for many reasons, is a much different breed of cat than other art forms. Unlike film, music and visual art, comedy — especially stand up comedy — doesn’t often get the same pretension of subjectivity that these forms do. For one, people tend to think of themselves as intuitively good judges of comedy because it’s the one art form they participate in every day by telling jokes, even when they’re not that funny. It’s for this reason why I believe Louis C.K.’s attempt to come back to stand up has been an ill-conceived dumpster fire to watch as a consumer. Some Louis C.K. diehards might claim that, no matter how he went about it, there was no avenue for him to convince certain audiences to forgive him and allow him to continue performing comedy, and they’re probably right. Many people would not forgive him after he admitted to sexual misconduct. Sure, sometimes a comic might get a bad crowd that seems more inclined to judge than enjoy a performance, but for the most part, the consumer is always right. It’s why the notion of “political correctness” has been such a hot-button issue in comedy — it’s a perceived battle between the audience and the performer. There’s no way some of Dave Chappelle’s material from his recent specials would be lauded as brilliant if he wasn’t already grandfathered in as an all-time talent. Some of his jokes — especially those about alleged rape victims and the LGBTQ+ community — have received a fair amount of backlash from critics and viewers. Yet, audiences were overwhelmingly pleased with what Chappelle put out. Hell, he even won a couple of Grammys for it. Still, as I’ve discussed in earlier columns, the concept of political correctness means many different things to many different people. Why shouldn’t comedians joke about marginalized communities? Why is it that some comedians are able to talk about certain things but others aren’t? However, there was a large number of fans and nonfans willing to let the disgraced comic at least try to demonstrate that he had truly learned from his mistakes through his material, which is as dark and self-reflective as one can get. One of the most obvious, if sometimes unfortunate, rules in stand up comedy is that half of a joke’s success depends upon who is telling it. Reputation plays a pivotal role in how well an audience receives a joke from a comedian in the moment. A live audience is much more predisposed to laugh hard at a half-baked joke from Whitney Cummings than a meticulously conceived joke from Joe Schmoe. Again, dark comedy thrives on the suspension of belief — you know that the people joking about these subjects aren’t actually bad people. You wouldn’t be laughing at Jeselnik’s dead baby jokes if he had a history of clumsiness around infants. It’s the same reason why Louis C.K.’s once-brilliant darkness seemed rebellious, groundbreaking and strangely comforting when he didn’t have the reputation of being a real-life scumbag. It’s strange that the man whose whole stage persona once revolved around his fragile self-esteem now seems so eager to protect it. Are these jokes bad? Is someone a bad person for laughing at them? That’s certainly up for debate. What’s not debatable, at least to me, is that they definitely sound a lot funnier coming from Chappelle than they do from many other people. (Katie Zhao | Daily Trojan) However, there is another equally important factor for why stand up comedy can be so difficult as both a performer and consumer. The work of comedians is almost entirely judged by the audience’s immediate, in-the-moment reaction to it. Audiences are the ultimate judge of whether or not a joke works — because they’re who it’s meant for. In addition to reputation, context also matters in why we laugh at some jokes versus others. It’s always been my belief that certain, darker types of comedy operate on a suspension of belief. When Anthony Jeselnik jokes about dropping a baby, the audience laughs because of their fundamental understanding that he’s not being serious. Matthew Philips is a senior writing about comedy. He is also the wellness & outreach director for the Daily Trojan. His column, “Waiting for the Punchline,” ran every other Thursday.
DENVER — Frank Vogel and his players clamored for a do-over. Turns out, the Orlando Magic should have gotten one.The NBA acknowledged on Thursday that it was the incorrect call to award a jump ball at center court with six-tenths of a second remaining in the Lakers’ 108-107 win over Orlando at Staples Center on Wednesday after the clock started prematurely on the Magic’s final play.The league’s “Last Two Minute Report” said that Orlando “should have retained possession on the sideline at the nearest spot” because “the ball was still in the air when the clock expired.” The NBA automatically reviews all calls made in the final two minutes of a game that is within three points at any point during that time.Had the Lakers touched the ball before the buzzer sounded, the ruling would have been correct. After the game, lead referee Bill Spooner told a pool reporter that the ruling was made by the league’s replay center in Secaucus, N.J. #LABron: LeBron James to Los Angeles billboards appear before Lakers-Cavaliers matchup In pick-and-roll coverages, power forwards are most often guarding the screener while the small forward is assigned to the ball handler.“Now instead of calling out those coverages and being the man playing the help side and recovering on your own, you’ve got to jump into the ball handler,” Walton said. “You’ve got to fight over screens. Then you’re the one telling the big when to get back. Everything changes from the ‘three’ to the ‘four.’”Kuzma has embraced the transition, going so far as to call it fun.“It’s really a challenge to really guard people,” Kuzma said. “I’m more locked in defensively because I’ve never really guarded threes before now.”ISAIAH FOR 3When the Lakers acquired Isaiah Thomas from the Cavs at the trade deadline, all of his preferred jersey numbers were gone. No. 2, which he wore in college, belongs to Lonzo Ball; 22, from his Sacramento days, was retired for Gail Goodrich; his Boston number, 4, was on the back of Alex Caruso; and 3, which he sported in Cleveland and Phoenix, had been claimed a year earlier by Corey Brewer.So, for his first 10 games with the Lakers, Thomas wore No. 7. The team’s decision to waive Brewer last week, however, created an opening. The team announced on Thursday that for the final 18 games of the season, Thomas will wear No. 3. AD Quality Auto 360p 720p 1080p Top articles1/5READ MOREUCLA alum Kenny Clark signs four-year contract extension with Packers“Went well for us, helped us get a win,” Lakers forward Kyle Kuzma said. “Kind of really saved us.”Afterward, Vogel said the decision “kills any chance of us tying the game up and winning the game.“I would think that you give the ball back to the team that had it,” he added, “but they ruled that since the ball was in the air, it was a jump ball.”The Lakers (29-35) took the lead on a pair of free throws by Brook Lopez with 0.6 showing on the clock. It was a narrow escape for the Lakers after the Magic scored eight straight points over the final two minutes to overcome a seven-point disadvantage and seize a 107-106 lead on a driving layup by Aaron Gordon with five seconds remaining.KUZ SETTLING INIf there was one silver lining when Brandon Ingram went down with a pulled groin last week in Miami, it was that there was a natural replacement to step into the starting position. Just one problem: Kyle Kuzma had never really played small forward; or, in the vernacular of X’s and O’s, the “three.”“It’s a little different. I still think sometimes I’m playing ‘four,’” Kuzma said Wednesday, after his third straight start at small forward. “I just go to one spot, I snap out of it and (go to) the new spot. Our offense is interchangeable in a sense so (the key is) just knowing where you’ve got to be.”Despite a lanky frame and strong ball-handling skills, Kuzma has always slotted in as a power forward who can stretch the floor for the Lakers. His first 21 starts this season were, ostensibly, as a big man.Wednesday marked his breakout performance in a designated perimeter role. He scored 20 points and added 10 rebounds, while handling his defensive responsibilities. Luke Walton said earlier this week that the biggest challenge for Kuzma in his new job is adjusting to the defensive end.Related Articles Newsroom GuidelinesNews TipsContact UsReport an Error