By SAVANNAH PETERS

EDGEWOOD, N.M. (AP) — The reverse side of the U.S. Mint’s 2026 Sacagawea $1 coin will feature Polly Cooper, a woman from the Oneida tribe known for helping George Washington’s Continental Army during the Revolutionary War.

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The release of the coin this week coincides with celebrations of the 250th anniversary of the signing of the Declaration of Independence. It recognizes Cooper’s role in a 1778 relief expedition from Oneida territory in what is now central New York to the rebel troops’ winter encampment in Valley Forge, Pennsylvania, where they were facing a food and supply crisis.

“Polly Cooper symbolizes courage that is not just found on the battlefield but in compassion and willingness to help others, which is just a part of Oneida culture and hospitality,” said Ray Halbritter, a representative of the Oneida Indian Nation of New York.

Cooper and a delegation of 47 Oneida warriors carried bushels of white corn on the long, cold trek to feed the starving soldiers. According to Oneida oral tradition, Cooper intervened to prevent Washington’s hungry soldiers from eating the white corn raw, which would have made them sick. She taught them how to prepare hulled corn soup.

The coin features Cooper offering a basket of corn to Washington, a design that Halbritter said his community worked on closely with the U.S. Mint. The other side depicts Sacagawea, a young Native American woman who was a crucial guide for the Lewis and Clark expedition.

It’s the latest release under the Native American $1 Coin Program, established by a 2007 act of Congress to commemorate individual Native Americans and tribes.

Past coins have featured Osage prima ballerina Maria Tallchief; Jim Thorpe of the Sac and Fox Nation who was an Olympic champion and multi-sport professional athlete; and landmark historical events like the signing of the 1778 treaty with the Delaware, the first of over 400 treaties negotiated between the United States and Native nations, although not all were ratified.

Oklahoma Republican Sen. Markwayne Mullin, a citizen of the Cherokee Nation, said the program highlights those who helped establish a country grounded in freedom and self-determination.

Meanwhile, some coin designs previously authorized in anticipation of the 250th anniversary have been scrapped by President Donald Trump’s administration, including coins that would have featured suffragettes who pushed to give women the right to vote and civil rights icon Ruby Bridges.

The U.S. Department of the Treasury, which oversees the U.S. Mint, did not respond to a request for comment.

The Oneida Indian Nation of New York calls itself “America’s first ally.” It broke with the Haudenosaunee Confederacy in allying with the Continental Army “at great sacrifice,” Halbritter said. The alliance made the Oneida a target for retaliation by the British and other Haudenosaunee nations. By the end of the Revolution, as much as a third of the tribe’s population had perished.

“In the long run, the Oneida don’t fare any better than tribes that sided with the British,” said Dartmouth College professor Colin Calloway, an expert on Indigenous history during the revolutionary era.

Calloway said a desire to separate Native people from their land was one force that “catapulted” Americans into revolution, and that millions of acres (hectares) of Oneida territory were seized by the state of New York and private land speculators in the decades following the war. This eventually led to the displacement of many Oneida to reservations in Wisconsin and Ontario, Canada.

Like popular historical narratives around Sacagawea and the first encounters between Wampanoag people and the pilgrims, Calloway said Cooper’s story could be co-opted to signify a “benign, reciprocal relationship” that never truly existed between American settlers and Indigenous people.

Still, the coin commemorates what Oneidas consider their pivotal role in the nation’s struggle for independence.

“The whole country reaps the benefit of Polly Cooper’s conduct because we won the conflict and the United States was born,” Halbritter said.

By JOCELYN NOVECK

Now is certainly not the time for pettifogging. But can we confabulate about the comic brilliance of Catherine O’Hara?

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These radically arcane words, like so many others, dripped off the gifted comedian’s tongue so silkily as Moira, her singularly eccentric matriarch in “Schitt’s Creek,” that you laughed well before you wondered what the heck they meant. (For the record: “pettifogging” means to emphasize petty details, and “confabulate” simply means to talk.)

But conversely, O’Hara, who died Friday at 71, could make a ho-hum phrase utterly hilarious. As when she desperately declared, trying a bit of line-cutting in the crowded “Beetlejuice Beetlejuice” afterlife waiting room: “I have global entry!”

And for something even more concise, how about her simple, one-word line reading of “KEVIN!!!” — the child she kept leaving behind in the “Home Alone” movies?

In any case, as Moira would say, don’t be a dewdropper (a lazybones.) Here are some indelible O’Hara roles to catch up on:

Moira in “Schitt’s Creek” (2015-2020)

The commercial that Moira Rose films for local vintner Herb Ertlinger’s fruit wine starts out reasonably well. Until she tries to pronounce the product’s name.

“Herb Ervlinger. Erv Herblinger. Bing Liveheinger,” she intones, inebriated, in a virtuosic scene that recalls Lucille Ball in her Vitameatavegamin ad.

Moira, a career-capping (and Emmy-winning) role in the comedy created by Eugene and son Dan Levy, brought O’Hara legions of new fans — and elevated a new vocabulary. She discovered much of it in obscure word books, she said.

This image released by Pop TV shows, from left, Annie Murphy, Eugene Levy, Catherine O’Hara and Dan Levy from the series “Schitt’s Creek.” (Pop TV via AP)

O’Hara told The Associated Press she’d created the character by thinking of women married to wealthy men — women who wanted to be seen as special, in their own right. Her unique look included a series of eccentric wigs. “I knew a woman who would have dinner parties at her house and she would keep disappearing and coming back with different wigs. And she would appear like, ‘Tada’” — Whatever Moira was feeling on a particular day would dictate what kind of wig she would wear.”

“Schitt’s Creek” is available to rent on various platforms.

Delia in “Beetlejuice” (1988) and “Beetlejuice Beetlejuice” (2024)

Thirty-six years after the first “Beetlejuice,” Tim Burton retuned with a 2024 sequel. Why, you ask? Well, here’s one really good reason: O’Hara.

Her Delia Deetz, the narcissistic artist stepmom of Winona Ryder’s Lydia Deetz, was a supporting character who stole the whole show.

Catherine O’Hara as Delia in the movie “Beetlejuice Beetlejuice.” (Warner Bros./TNS)

To sample her comic timing, just take the quick scene where Delia, mounting a gallery show where she herself is the canvas, notifies Lydia: “You father has left me.”

“He’s divorcing you? Lydia asks. “What a horrible thought!” replies a shocked Delia. (Beat). “No, he’s dead.”

The “Beetlejuice” movies are available to rent on various platforms.

Kate McAllister in “Home Alone” (1990) and “Home Alone 2: Lost in New York” (1992)

OK, motherhood is chaotic. It’s hard to keep track of everything. Things can mistakenly be left at home. A child, even.

Once.

But, twice? That’s iconic.

Catherine O’Hara, left, and Macaulay Culkin in “Home Alone.” Culkin mourned his “Home Alone” co-star O’Hara after her death Friday at age 71. (IFA Film/ZUMA Press Wire/TNS)

On the plane in that first “Home Alone” movie, Kate tells her husband she has a terrible feeling she forgot something. “Did I turn off the coffee?” “Did you lock up?” And then, the awful realization: “KEVIN!”

Kate had changed her hair into a stylish bob — but apparently hadn’t updated her mothering skills — two years later when, in the sequel, Kevin again was discovered missing, at the Miami airport. This time, O’Hara’s “KEVIN!” was squealed at a high pitch — accompanied by her falling backwards, unconscious.

Those moments allowed O’Hara, in a mostly straight role, to add bits of signature zaniness. But the reunion scenes with Kevin (Macaulay Culkin) were heartwarming, and it was hard to not tear up when she apologized and said: “Merry Christmas, sweetheart.”

“Mama, I thought we had time,” Culkin said on Instagram Friday, alongside an image from “Home Alone.”

The “Home Alone” movies are available on Disney+ and can be rented on various platforms.

Cookie in “Best In Show” (2000)

We have 80 episodes of “Schitt’s Creek” to see the brilliant synergy between O’Hara and Eugene Levy, but If you want to see their early magic, look no further than Cookie and Gerry Fleck, the married dogowners in Christopher Guest’s classic mockumentary “Best In Show.”

370100 06: Eugene Levy, left, and Catherine O”Hara star in Castle Rock Entertainment’s film, “Best In Show.” (Photo by Wren Maloney/Online USA)

For example, when Cookie and Gerry sing an ode to their beloved Norwich Terrier.

O’Hara, for one, sings in a musical key that sounds too high to actually exist on this planet.

“God loves a terrier, yes he does” they sing. “God didn’t miss a stitch, Be a dog or be a bitch. When he made the Norwich merrier with its cute little derriere; Yes, God loves a terrier.”

“Best in Show” is available to rent on various platforms.

By MARYCLAIRE DALE

PHILADELPHIA (AP) — A federal judge warned Justice Department lawyers on Friday that they were making “dangerous” and “horrifying” statements when they said the Trump Administration can decide what part of American history to display at National Park Service sites.

The sharp exchange erupted during a hearing in Philadelphia over the abrupt removal of an exhibit on the history of slavery at the site of the former President’s House on Independence Mall.

The city, which worked in tandem with the park service on the exhibit two decades ago, was stunned to find workers this month using crowbars to remove outdoor plaques, panels and other materials that told the stories of the nine people who had been enslaved there. Some of the history had only been unearthed in the past quarter-century.

“You can’t erase history once you’ve learned it. It doesn’t work that way,” said Senior U.S. District Judge Cynthia Rufe, an appointee of President George W. Bush.

The removal followed President Donald Trump’s executive order “restoring truth and sanity to American history” at the nation’s museums, parks and landmarks. In Philadelphia, the materials were put in a pickup truck and then into storage, leading Rufe to voice concerns about whether they were damaged.

“Although many people feel strongly about this (exhibit) one way, other people may disagree or feel strongly another way,” said Assistant U.S. Attorney Gregory in den Berken.

“Ultimately,” he said, “the government gets to choose the message it wants to convey.”

Rufe swiftly cut him off.

“That is a dangerous statement you are making. It is horrifying to listen to,” she said. “It changes on the whims of someone in charge? I’m sorry, that is not what we elected anybody for.”

Rufe heard hours of testimony Friday from former city officials who had helped plan the exhibit, and said the city had kicked in $1.5 million toward the project. She plans to visit both the storage area and the site before ruling on the city’s request to have the exhibit restored. But she asked the Justice Department lawyers to ensure that nothing else is disturbed.

In den Berken said the Park Service routinely changes its exhibits and tours, and argued that the government cannot be forced to tell a certain story. But lawyers for the city and other advocates said the park service does not have “carte blanche” to interpret the nation’s history as it sees fit.

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The exhibit includes biographical details about the nine people enslaved by George and Martha Washington at the presidential mansion. Now, only their names — Austin, Paris, Hercules, Christopher Sheels, Richmond, Giles, Oney Judge, Moll and Joe — remain engraved into a cement wall.

Michael Coard, an attorney representing one of the advocacy groups supporting the exhibit, said the president was ignoring the power held by Congress, the judiciary and the American people.

“It’s one thing to whisper that type of dictatorial power. But to send lawyers into a public courtroom to make that argument is absolutely frightening,” he said. “I’m really worried about the state of America.”

Rufe said she planned to rule quickly, noting the surge of visitors expected to visit the nation’s birthplace this year to mark its 250th anniversary of being founded.

Residents who have visited the site have shed tears, left flowers and left a handmade sign that said “Slavery was real.”

Less than an hour after the “tools down” call ended the two-and-a-half day Minnesota State Snow Sculpting Competition at the Vulcan Snow Park at the Minnesota State Fairgrounds last Sunday, Jan. 25, sculptor Logan Thomas looked over at his team’s creation and was surprised by what he saw.

A snow sculpture is shown at the Vulcan Snow Park at the Minnesota State Fairgrounds on Jan. 28, 2026, without the “ICE OUT MN” inscription and whistle sculpture that had originally accompanied it. (Jared Kaufman / Pioneer Press)

An inscription reading “ICE OUT MN” near the top of the sculpture, which resembles the bottom half of a face ascending into a tornado-like swirl, had been haphazardly and hastily gouged away, and a small whistle sculpture near the base was smashed.

None of the team’s three sculptors saw who had altered their work, and they still do not know for certain, though based on comments from several bystanders who did witness it, the team believes the inscription was removed by Snow Park officials, Thomas and teammate Siera Himmerich both said. The team’s third member is friend Nick Langer.

Attempts to contact Vulcan Snow Park organizers directly were unsuccessful. In response to several specific questions about the circumstances surrounding the sculpture’s alteration, the Pioneer Press received the following statement from the Winter Carnival’s spokesperson:

“The Minnesota State Snow Sculpting Competition has been hosted by the Saint Paul Vulcans since 1985 to promote outdoor winter fun. This state sculpting competition, as with most sculpting competitions, has strict rules, regulations and guidelines shared in advance and reiterated onsite prior to the start. One of those rules requires sculptures to be family-friendly and non-political.”

The situation mirrors another incident this month at the World Snow Sculpting Championship in Stillwater, where organizers unilaterally deconstructed Team USA’s sculpture, which depicted peace signs and hand gestures in American Sign Language, including words for “love,” “unity” and “ICE out.”

At the Vulcan Snow Park, the core of Thomas’s team’s sculpture was reprised from sketches the trio had made for the 2025 competition, which they were unable to participate in due to illness. Their inspiration last year was the question, “What’s on your mind?”

In planning for this year’s sculpture, the team realized that their overwhelming answer — all that was swirling around their heads — was federal immigration agents’ conduct in the Twin Cities. So their updated design plans included a whistle, a tear gas canister, the hat a five-year-old Minnesota boy was wearing when he was detained by ICE on his way home from preschool and other subtle nods to resistance movements.

The decision to add the inscription “ICE OUT MN” was made on-the-spot Sunday morning, in the final hours of the competition, after the trio watched the shooting of intensive care nurse Alex Pretti and the resulting protests unfold the day before. The sculptors knew they were taking a risk and had accepted that their decision would likely hurt their sculpture’s competitive chances, Thomas said.

“It was almost hard not to do something; it was so upsetting,” Thomas said. “We knew it might get disqualified. We definitely didn’t know it was going to get defaced.”

Thomas said judges were walking around the Snow Park while sculptors were working and representatives from the Vulcans did not express specific concerns about the team’s piece during the two-and-a-half-day work period. On the contrary, he said, one judge thanked the team for speaking out, as did several community members watching the sculptors work.

Snow Park officials also did not at any point communicate with the sculptors about their ostensible plans to alter the sculpture, nor did they offer for the sculptors to modify the work themselves, Thomas and Himmerich both said. As of Thursday evening, the sculptors had not been contacted directly by Snow Park officials to explain the situation.

This, to Himmerich, is the most disappointing part of the whole situation.

“I thought that they would be more collaborative and talk to us about it,” Himmerich said. “We knew that maybe they wouldn’t like it, but we took a chance and expected a conversation — not that they would go break stuff.”

This year is Thomas’s ninth competing in the state snow sculpture competition and Himmerich’s eighth. The team got its start in snow sculpting through the Vulcan Snow Park and hopes to be allowed to compete again next year, but Thomas and Himmerich both said they do not regret speaking out rather than staying silent to fit the competition’s rules.

“We do art that speaks to us,” Himmerich said. “I do want to say I think it’s interesting that it was perceived as so controversial. We’re putting on that sculpture what we see every day. I feel like ‘neutral’ isn’t really possible right now. Saying nothing doesn’t necessarily mean neutral. Saying nothing is supporting, and saying something is anti.”

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