Given a document, generate a short title of the document. The title should convey the main idea/event/topic about which the document is being written. Note that URLs in the text have been replaced with [Link].

Bloom was quick to add that she’s not part of any litigation against the Times. Another attorney  Charles Harder — who represented wrestler Hulk Hogan in the defamation suit that led to the demise of the website Gawker last year — is handling that part of  Weinstein ’s response  she said.
But she said the newspaper gave  Weinstein  48 hours to respond to a long list of accusations and that it refused to grant  him  more time when “we begged for it.” (A Times spokeswoman said  Weinstein  was given adequate time to respond to “events  he  had first-hand knowledge of” and that the newspaper had included “all relevant comments from  Mr. Weinstein ” in its story. She added  “Mr. Weinstein and  his  lawyer . . . have not pointed to any errors or challenged any facts in our story.”)
Bloom said her role over the past year or so has been to counsel  Weinstein  about his workplace behavior  especially his treatment of women. She said she has had “frank talks” with him about his legendary temper  his use of profanity in public settings and his propensity for “loose talk about sex” around women he employs or has worked with.
In a statement Thursday  she said  Weinstein  “is reading books and going to therapy.  He  is an old dinosaur learning new ways.”
Bloom said Weinstein hired her about a year ago after he and the rapper Jay-Z jointly bought the TV rights to her 2014 book  “Suspicion Nation ” about the Trayvon Martin case. She said she began speaking with him at that time about long-standing rumors in Hollywood about him. “I don’t hold back  and I didn’t ” she said. “ Harvey  can take it  and  he  did.  He  said  ‘I’ve been stupid. I’m a dinosaur  and I’ve got to change.’ I thought  ‘Perhaps I can do something to make a difference.’ ”
A famed feminist attorney sides with Harvey Weinstein in harassment case

With the Nats and their latest new manager back in the news  longtime play-by-play voice  Charlie Slowes  had occasion this week to reminisce about the history of Nationals managers. Which led  him  to one of  his  favorite stories about a Nats manager  one I had never heard but immediately loved.
“I guess he’d just got into his car  he’s listening to the radio or something ”  Slowes  went on. “And he rolls his window down — and he was still in full uniform! He goes  ‘I’ve got to be back so early tomorrow  why even bother changing?’
“So my thought was — as he rolls his window up and he pulls away — he’s living in an apartment building in D.C. ”  Slowes  said. “And I’m just thinking  he’s got to go in the garage and go up to his apartment. He’s doing that in full uniform? If you lived in the apartment  you’d go  ‘Hey  who’s the guy in the Frank Robinson uniform?’ ”
“I couldn’t believe that he did it  and to this day nobody else knows that story ”  Slowes  said. “I’ve told  it  to a couple people  but nobody else saw  it   so  it ’s not believable to anybody else.” But  Slowes  called  it  “one of my great memories” from  his  time with the Nats.
Meanwhile   Slowes  — who also has a history with the Tampa Bay Rays — has known new skipper Dave Martinez for 20 years  and has spoken with him frequently about his desire to get a big league managerial job.
“I’ve talked to him every year ”  Slowes  said. “I talked to him during the [Nats-Cubs] playoff series. Each year I’d see him back in Florida — because we live near each other — and he’s say  ‘I’m so ready  I’m ready to have my own team  I’m ready to manage  that’s what I want to do.’ So I knew that he interviewed when Matt Williams was hired; he was the runner-up. I knew he was considered after Matt Williams  but they decided to go with the experienced manager. I knew he interviewed for other jobs.”
That time Frank Robinson left RFK Stadium in full Nationals uniform

The leader of the band is Django Reinhardt  the incomparably gifted Romani jazz guitarist  soulfully embodied by the French-Algerian actor Reda Kateb. He's biding his time in the French Alps during German occupation  hoping for stealth passage across Lake Geneva into Switzerland. One of the men throwing punches is a Nazi solider  which means the inevitable: a lineup  a lockup and the sternest of warnings.  Reinhardt  is no good  it would seem  at laying low.
 Django  isn't really a biopic  despite the implication of its title: There are no misty flashbacks to  Reinhardt 's childhood stealing chickens in the French countryside  and no scene depicting the caravan fire that badly damaged  his  left hand (though  his  two mangled fingers do come up for inspection). The film is more of a fraught character study  a portrait of the artist under pressure. Comar  best known as a writer and producer of the 2010 film Of Gods and Men  brings admirable restraint to his directorial debut  keeping the stakes high and the focus taut.
 Reinhardt  is a laconic and reluctant hero: "This isn't my war "  he  growls  citing allegiance not to a flag but to a Romani's coldly pragmatic ambivalence.  Django  charts  his  awakening to the horrors of the war â notably for  his  people  whose mass extermination imbues the film with a self-righteous  lugubrious air. Comar is more effective with uneasy proximities and grim capitulations  showing how complicity can form through a series of slippages.
But the film's story â loosely adapted from Alexis Salatko's novel Folles de Django â manages to feel at once oversimplified  underfed and overburdened.  Reinhardt 's personal evolution is clumsily tracked in dialogue with a former mistress who has suffered unnamed violations at the hands of the occupiers: "You're the only person this war hasn't changed " she says bitterly to  Reinhardt . (She later rescinds the charge.) A climactic set piece at a Nazi banquet feels pat.
It's not inherently a problem that Comar does less with plot than he does with imagery: There's vivid poignancy in his depiction of the mass evacuation  and in  Reinhardt 's desperate flight through the snow. But by all accounts â the most authoritative being Michael Dregni's excellent biography Django: The Life and Music of a Gypsy Legend â Reinhardt was even more conflicted during the occupation than this film makes him out to be.
And what's meant to be a wrenching coda â the post-armistice premiere of an organ mass called "Requiem for Gypsy Brothers" â is marred by the wan pathos of the music itself  composed by Warren Ellis. As the piece plays   Reinhardt  stands dumbstruck  overcome. But if we're supposed to believe this piece represents the peak of  Reinhardt 's emotional expression  the point is discredited by earlier musical evidence. In a film that's so often about taking sides   Django  can feel at war with  itself .

'Django': Life â And Music â During Wartime